Dred Scott, Cali Mambo Review

By Jeff Becker

Dred Scott’s eclectic career, marked by vibrant collaborations with luminaries such as Liza Minnelli and Nina Hagen, reaches an exciting milestone with Cali Mambo, his inspired return to the jazz club scene, and his deep-seated passion for Latin jazz. Released by Ropeadope Records, the album captures Scott’s remarkable ability to blend historical respect with fresh interpretations of Latin jazz.

At the heart of Cali Mambo lies an ensemble whose profound understanding and authentic execution of Latin jazz elevate the album. Dred Scott’s rhythmically vibrant piano anchors the band. Vibraphonist Tom Beckham delivers a distinctive performance, while Matt Pavolka’s bass provides nuanced depth, and Moses Patrou’s percussion channels the vitality of Afro-Cuban rhythms with expressive precision.

Throughout the album, Dred Scott’s piano playing is a study in stylistic integrity and creative development. His solo on “Star Eyes” begins with lyrical single lines before blooming into voice-led chordal passages that echo the elegance of George Shearing’s quintet recordings. Tom Beckham’s vibraphone work shines as well, particularly in moments where the arrangement shifts between distinct rhythmic feels. On “Poinciana,” his improvisation bridges Cuban, Puerto Rican, and broader Afro-Caribbean styles with melodic fluency and rhythmic grace.

“La Engañadora” finds the group steeped in Cuban tradition, delivering a performance marked by careful phrasing, dynamic articulation, and a joyous double-time feel. The interplay between Scott and Beckham, particularly in the slower and more introspective “Danza Cubana #2,” reveals a shared musical vocabulary that blends jazz phrasing with Cuban lyricism. Matt Pavolka’s arco bass solo is another highlight, drawing warmth and depth from the tune’s romantic character.

The infectious cha-cha of “Guachi Guaro” demonstrates the ensemble’s ability to animate classic Afro-Cuban material with precision and joy. Scott’s solo here is particularly playful, threading Afro-Cuban rhythmic figures with modern jazz tension and release. Beckham’s solo is rhythmically buoyant and melodically inventive, dancing atop Moses Patrou’s ever-responsive percussion.

“You and the Night and the Music” opens with a nod to J.S. Bach before transitioning into a lush Latin jazz treatment, proving how show tunes can serve as natural vessels for the passion and complexity of Cuban and Puerto Rican rhythmic traditions. Scott’s solo here is articulate and buoyant, playful in melodic contour but deeply rooted in rhythmic clarity.

“Lulu” is Scott’s heartfelt original tribute to his daughter. Steeped in traditional 50s and 60s Latin jazz aesthetics, Scott further solidifies his understanding of the styles. His elegant transition to a modern jazz vocabulary within his solo encapsulates his wide-ranging musical understanding and depth.

Closing with Gillespie and Pozo’s iconic Afro-Cuban jazz piece “Manteca,” the ensemble powerfully captures Latin jazz’s passionate spirit. Beckham’s solo, intricately aligned with Patrou’s rhythmic support, complements Scott’s contemporary yet authentically rooted solo, marking a dynamic finish to the album.

Cali Mambo celebrates the enduring legacy of Latin jazz pioneers like Mario Bauza, Dizzy Gillespie, and George Shearing. Scott vividly demonstrates the ensemble’s deep connection and contemporary revitalization of this genre’s historical roots throughout the album.

The album’s production masterfully captures the ensemble’s vibrant energy and detailed musical interactions. Each instrument shines clearly, creating a listening experience that authentically replicates a live performance setting.

Cali Mambo stands as a spirited tribute to Dred Scott’s enduring passion and dedication to Latin jazz. Scott and his ensemble tap directly into the legacy of Afro-Cuban jazz, drawing from the driving pulse of mambo, the melodic sensibility of cha-cha, and the rhythmic backbone of son. Inspired by George Shearing’s 1950s Latin jazz recordings and the pioneering collaborations of Dizzy Gillespie and Chano Pozo, the group brings a modern spark to a classic sound. This style of Latin jazz, rooted in Cuban musical traditions and brought to life through jazz improvisation, piano montunos, and the distinctive shimmer of vibraphone, first flourished in 1940s and ’50s dance halls and small clubs. Scott’s arrangements and performances carry that energy forward, offering a heartfelt tribute to the genre’s vibrant heritage and enduring groove.