Ermelinda Cuellar, Under a Lavender Sky Review

by Jeff Becker

Texan-Peruvian vocalist Ermelinda Cuellar’s latest project, Under a Lavender Sky, elegantly captures the fusion of jazz traditions and Latin American cultural influences, supported by well-written arrangements from Horace Alexander Young. Each song presents distinct musical colors, thoughtfully showcasing Cuellar’s nuanced artistry and the ensemble’s superb musicianship.

In “Poinciana,” Cuellar opens with a luminous, wordless vocal over the Afro-Cuban rhythmic foundation. Her pure, airy tone introduces the melody elegantly, demonstrating rhythmic precision by aligning phrasing with the clave pulse. Throughout the performance, Cuellar enriches the melodic line with expressive glissandos and modulated dynamics, showcasing fluid scat solos and an impressive vocal range. She is expressive from resonant lows to delicate falsetto flourishes.

“Echoes of the Past” channels the emotional authenticity of traditional Afro-Peruvian folk music. Multipart male-female harmonies employ a call-and-response form, resonating vividly with cultural storytelling rooted in Peru’s musical traditions. Exceptional percussion from Sam Dinkins III and Marlon Simon frames the rhythmic landscape. Through these authentic Afro-Peruvian textures, the rhythmic intensity and evocative power can be felt in the soul.

In “Morning,” arranger Young crafts a compelling Afro-Peruvian groove centered around a vibrant montuno pattern articulated by pianist Darrell Lavigne and percussionists Sam Dinkins III and Marlon Simon. The rhythm section is anchored confidently by bassist Anthony Caceres, whose active lines propel the arrangement authentically. Young’s horn arrangements are performed by the ensemble with precise accents. Highlights include Cuellar’s scat solos, engaging vocal interplay, instrumental interludes, and an expressive piano solo by Lavigne. After Cuellar’s second solo, trombonist Andre Hayward also delivers a stirring improvised expression.

“Muñeca Rota” weaves Peruvian tradition and Latin jazz into an alluring selection. Deborah Ungar’s accordion introduces mystery and depth, enhancing the medium-slow rhythmic sway. The authentic Peruvian rhythmic feel gracefully supports Cuellar’s compelling interpretation of the Spanish lyrics, allowing improvisational flair and nuanced note choices to distinctly shine, blending Latin jazz sensibilities with traditional Peruvian melodic embellishments.

In “Agua de Beber/Water to Drink,” Cuellar establishes a vibrant rhythmic atmosphere while singing the melody. The percussion by Marlon Simon adds energy as pianist Darrell Lavigne responds with lively syncopation, complementing the infectious Latin jazz pulse. Cuellar’s rhythmic command stands out in a stripped-down section featuring percussion and guitarist Greg Petito, reflecting a traditional Peruvian intimacy. When the full ensemble returns, Cuellar’s scat merges jazz and Latin rhythmic motifs enriched by subtle blues inflections, displaying impressive rhythmic nuance.

“Midnight Sun” features Young’s orchestration, opening with richly voiced horns complemented by guitarist Petito, whose atmospheric touches float gracefully around Cuellar’s vocal lines. Each melody statement features evolving textures around it, notably with woodwinds adding elegant counterpoint. The ensemble, anchored by Lavigne, Caceres, drummer Jerre Jackson, and percussionist Simon, supports an expressive trombone solo by Andre Hayward and an elegant piano solo from Lavigne. The brass section removes their mutes in the final chorus, brightening the arrangement.

In “Song for My Father,” Cuellar and the ensemble demonstrate extraordinary chemistry, evident in the rhythmic interplay between vocal lines and the ascending rhythm-section motif. Cuellar’s vocals continuously interact with written ensemble parts and spontaneous instrumental fills, enriching the conversational quality. A notable guitar solo by Petito and Cuellar’s dynamic scat improvisation further underscores ensemble cohesion.

Cuellar’s expressive narrative delivery in “Maria Lando” shows her skill in building emotional intensity by shaping dynamics and precise accents to vividly communicate the lyrical narrative. The powerful tutti section showcases her technical skills.

On “Tu, Mi Delirio,” Cuellar excels with nuanced expressive vocal techniques within a medium-up Latin jazz framework. Singing gracefully in Spanish, she captivates with subtle dynamic shading along with balanced legato and staccato phrases to carefully accent the emotional shading.

In “Sol de Medianoche,” Cuellar presents a compelling Spanish-language interpretation of “Midnight Sun,” highlighting her distinct ability to tailor vocal nuances to linguistic context. Her interpretation thoughtfully blends the natural musicality of Spanish syllables with the melody’s original shape and mood, showcasing an impressive attention to linguistic and musical detail. Particularly notable are Cuellar’s beautifully articulated Spanish “r” sounds, underscoring her precise vocal craftsmanship. Throughout, the integrity of the original melodic contour remains vividly intact, reflecting her respect for the composition’s identity while skillfully imbuing it with fresh expressive subtleties.

Throughout Under a Lavender Sky, Ermelinda Cuellar masterfully integrates cultural heritage and jazz tradition into a cohesive, deeply expressive musical journey, supported by superb musicianship and vibrant arrangements.