(Cuban Jazz, Hard Bop) [CD] Nachito Herrera - Live at the Dakota 2 - 2006, FLAC (image+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 28. December 2013, 14:41
Nachito Herrera / Live at the Dakota 2
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     Filename G:\Donkey Files\Nachito Herrera - Live at the Dakota 2 (2006, Dakota Live) [eac-flac-scans] byDrBull\Nachito Herrera - Live at the Dakota 2.wav
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---- CUETools DB Plugin V2.1.3
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REM GENRE Latin
REM DATE 2006
REM DISCID 6D0DE709
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Nachito Herrera"
TITLE "Live at the Dakota 2"
FILE "Nachito Herrera - Live at the Dakota 2.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Introduction"
    PERFORMER "Nachito Herrera"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Spain in the Twins"
    PERFORMER "Nachito Herrera"
    INDEX 01 00:42:23
  TRACK 03 AUDIO
    TITLE "Speak No Evil"
    PERFORMER "Nachito Herrera"
    INDEX 01 07:05:74
  TRACK 04 AUDIO
    TITLE "Yes or No"
    PERFORMER "Nachito Herrera"
    INDEX 01 14:29:06
  TRACK 05 AUDIO
    TITLE "Afro 6/8"
    PERFORMER "Nachito Herrera"
    INDEX 01 20:22:21
  TRACK 06 AUDIO
    TITLE "Tulipan"
    PERFORMER "Nachito Herrera"
    INDEX 01 30:06:16
  TRACK 07 AUDIO
    TITLE "Danzon para Aurora"
    PERFORMER "Nachito Herrera"
    INDEX 01 37:57:64
  TRACK 08 AUDIO
    TITLE "Baba Fururu"
    PERFORMER "Nachito Herrera"
    INDEX 01 45:18:07
  TRACK 09 AUDIO
    TITLE "West Side Latin Jazz"
    PERFORMER "Nachito Herrera"
    INDEX 01 52:23:22

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This 2003 date by pianist Nachito Herrera, a veteran of both the Cubanismo group and an idiosyncratic migration from Havana to Minneapolis, is his second live record from the Dakota, located in his adopted hometown. This time around, the large-group format of the first live disc gives way to a smaller ensemble.
Herrera's group masters the dynamic contrasts at the heart of Latin jazz. One motif is turning up the volume for the climatic resolution of repetitive themes; the opening and closing tracks are especially good examples. Another is the easy back and forth between Afro-Cuban and post bop rhythmic signatures, in the vein of Ignacio Berroa's recent Codes (Blue Note, 2006). "Afro 6/8," following a Baroque piano intro, applies this latter effect to a barely disguised variation on "Afro-Blue."
The aural quality of the recording is just fine, but the quality of the relationship between Herrera and the appreciative Minneapolis club audience is really crackling. Herrera rises (repeatedly) to crowd-pleasing crescendos in the manner of, say, Gene Harris, even if his virtuosity is considerably more refined.
The highlights of the set list include a pair of Wayne Shorter tunes; the slightly wistful treatment of "Yes or No" is even nicer than the straight-ahead Latinization of "Speak No Evil." (It's a good season for Shorter covers: see also the witty reading of "E.S.P." by Florian Weber's trio on Minsarah, Enja/Justin Time 2006.) The group manages to successfully adapt the intensity of the faster numbers to "Danzon para Aurora," a virtual catalogue of Latin jazz effects taken at less than breakneck speed.
Shai Hayo (whose own idiosyncratic migration led from Israel to Puerto Rico, before reaching Minneapolis) sounds not so much like a percussionist as a percussion army. Seconded by the powerful and sympathetic work of the delightfully named (for a Latin jazz drummer) Gordie Knudsen, Hayo makes it hard to believe this orchestral sound is essentially that of a piano trio augmented by an extra pair of hands.
Herrera's daughter Mirdalys provides an entirely credible vocal for her father's adaptation of the Yoruba-inspired "Babá Fururú."