When LUCUMI dropped in 2002, the historic lineup, original repertoire, and distinctive sound garnered praise and proclaimed the arrival of Long John Oliva and the AC Jazz Project, an ensemble to be reckoned with. Two decades after its initial release and eighteen years after Oliva's premature death, Lucumi is revered by musicians and enthusiasts but mostly forgotten.
Fortunately, Oliva's widow and soul mate, PEGGY JO OLIVA, is paying tribute to his body of work in the form of Limited Edition (LP) Collector's Box Sets, the first of which will be Lucumi (release to be announced).
THE BACKSTORY
As told to me by pianist, and composer OMAR SOSA, in the late 90s, Oliva approached him about participating in a record featuring the music of IRAKERE. "I told Long John respectfully no one plays Irakere's music like them and suggested we create something unique." To his credit, Oliva agreed. Still, the cover art suggests Oliva found an alternate way to pay tribute to his favorite ensemble. Note the similarities between the album covers above and below.
HISTORIC LINEUP
Oliva's relationship with Orlando "Puntilla" Rios and Changuito dates back to his childhood. Changuito was a mentor and teacher, and Puntilla was Long John's "Padrino" (Godfather) in the Yoruba tradition. Before arriving in the States, Sosa knew about Changuito and Puntilla, but they met at the Lucumi sessions.
Left to Right: Changuito, Long John, Puntilla. Photo Courtesy of PJ Oliva
Though Long John, Changuito, Puntilla, and Omar Sosa were at the ensemble's core, the supporting cast was no less formidable. The horn section consisted of trumpeter Julio Jr. Melendez, trumpeter flugelhorn player Bill Ortiz, and trombonist Jeff Cressman. Rounding out the ensemble was bassist Rahsaan Fredericks and master percussionist and vocalist Jesús Díaz. The result was a historic and irrepliceable lineup.
THE REPERTOIRE
In a 1988 interview with Luis Tamargo, Oliva described himself as a "progressive musician from the same generation as Jaco Pastorius, Chick Corea, and Herbie Hancock." Also, he envisioned his first LP. "My first LP will include elements of the Yoruba tradition, Cuban folklore, traditional rumba, original material, North American standards, and jazz improvisation with rhythmic colors and percussive energy." In 2002, Oliva's realized his vision.
TRACKS
RITMO DE BELEN - A nostalgic song that recalls the barrio in Old Havana where Oliva was born and raised. Also, a "Cubanized" riff on Ted Koehler and Harold Arlen's 1933 jazz standard, "Stormy Weather." The song starts slow, builds momentum, and transforms into a Comparsa (carnival rhythm). At 3:14, the trumpet riffs on the Puerto Rican anthem, "Que Bonita Bandera," and the song ends with the chorus chanting, "Ritmo Tu Quieres, Ritmo Te Voy a Dar!" (If it's the rhythm you want, it's the rhythm you'll get!).
EL CALLEJON - A Yambu rhythm characterized by a slow tempo and rhythmic percussive playfulness. The protagonist reminisces about an alley near the sea where rumberos, dockworkers, and Abakua members gathered and jammed. The tune evolves into a dance rhythm, and the chorus chants, "I feel the sound of the drums. They have flavor, and people are having fun. That's where I'm going!"
INLE DE MOMENTO - Combines jazz improvisation and Bata rhythms. Omar Sosa, backed by bassist Rahsaan Carter and trombonist Jeff Cressman, contribute mesmerizing solos.
SARANDAGA - An energetic rumba with a 6/8 feel. Puntilla masterfully and soulfully sings over a Kongo theme.
IROKO VAN VAN - A Bembe Son with a touch of Guaguanco.
EL SOLAR DE LA CUEVA HUMO - The song tips its hat to Pancho Quinto's 1996 classic album. The lyrics describe the inhabitants of a residence and their "Bodega del Medio," where they sell candies, fried potatoes, rum, and "Duro Frio." The tune evolves into a contemporary dance timba montuno. It closes as the police arrive, and the inhabitants scramble and hide their wares.
SI CUBANO - Composer Omar Sosa describes the original composition as a "Cuban Jazz Thought." The tune is dedicated to Dizzy Gillespie, John Coltrane, Charlie Parker, Thelonious "Sphere" Monk, Chick Corea, and Miles Davis, with the rhythmic feeling of Tata Guines, Chano Pozo, El Nino, Yeyito, Mongo Santamaria, Francisco Aguabella, Carlos "Potato" Valdes, Candido and Pancho Quinto (Oliva's father).
SOKE MAMDO - Features a multitude of polyrhythms, including Yoruba, Caravales, Congo, and Yesa.
OYANZA - Dedicated to the deity Oya (the Orisha of winds and storms).
ZARABANDA CULLE is a contemporary Son that integrates bongos, timbales, maracas, guiros, congas, and clave and is arguably the best example of the AC Jazz Project's collaborative spirit.
When Lucumi was released in 2002, it was declared "one of the Top 100 Latin Jazz recordings all of time." In 2003, Oliva and AC Timba Jazz released "Buscando La Ortografia," whose title signifies Oliva's continual search for the perfect musical path. Dedicated to Chucho Valdes, Jorge Alfonso "El Niño," and the Puerto Rican musician, composer Rafael Hernández, the music was timba-based, progressive and dance-oriented. In 2004, Oliva released "Cuba Rico," whose title signifies his love and respect for Cuba and Puerto Rico. The same year, for reasons that are not clear, Oliva altered the title to "Buleya" (after his mother) and the names of the tracks. Regrettably, Oliva died the same year.
LONG JOHN OLIVA's LINER NOTES: "I hope this musical work is to your liking. I appreciate you taking the time to listen to my modest work based on Cuban folklore. Before anything, I want to thank the deities for giving me the talent to make music from my heart with measure and cadence, especially my father, Chango, and my mother, Yemaya! Also, the musicians who spontaneously and sincerely put their talent into making one of the best CDS I have recorded so far in the US. His arrangements allowed me to embody ideas that are part of my daily life. And Jose Lusi Quintana "Changuito," who put the best of him, and Orlando "Puntilla" Rios, who sings and plays like the master he is. These were the pillars that started the project. Rahsaan (bass), Bill Ortiz (trumpet), Jr. Melendez (trumpet), Jeff on the trombone, and Jesus Diaz on percussion and vocals. The engineers in Los Angeles and San Francisco, where Lucumi was recorded. Maferefun la Ocha and modupue Chango! Ache!" Juan 'Long John' Oliva.
Omar Sosa sums up Lucumi: "When we talk about Lucumi, we are talking about Long John, but we are also talking about Puntilla, Changuito, and the band. Long John was the leader, but Lucumi was a collaboration. Lucumi pays tribute to Long John and everyone who participated in the sessions."
AFTERMATH
After Oliva's death, the AC Project performed at the KCET'S 24th Annual Christmas Celebration, a high-profile fundraiser at MOCA and the IAJE Conference in New York City (after receiving the Best Latin Jazz Award), the Long Beach Jazz and Playboy Jazz Festival (Pasadena Rose Bowl) and various other festivals, including the Jazz Aspen Snowmass and the Utah Arts Festival.
In 2013, under the direction of trumpeter Josiel Perez, the AC Project released "Conga Buena," which was well-received and produced several hits, including "Tamaya Tumbao" and "El Dano Esta Hecho."
In a career that spanned over two decades, Oliva recorded and toured with Dizzy Gillespie, Chick Corea, Arturo Sandoval, Paquito D'Rivera, Andy Garcia, Strunz and Farah, Jackson Brown, Anthony Jackson, Dave Weckl, Kenny Loggins, Frank Emilio Flynn, Hilario Duran, Omar Sosa, Changuito, Dave Samuels, Wilie Bobo, Bobby Matos, Jane Bunnet and the Spirits of Havana, the Cuban Piano Masters, Dafnis Prieto, Batacumbele, Zaperoko and lesser-known bands such as Orishas, Okanise, and Mango Bang among others.
Today, Long John Oliva's artistry and work are revered but mostly forgotten. The Long John Oliva Project seeks to resurrect Oliva's music and introduce it to a new generation of listeners and emerging artists who, until now, have never experienced the depth and beauty of Oliva's artistry. On a larger scale, it seeks to raise awareness about Oliva's significant contributions to jazz and Cuban music and spark a renewed interest in Oliva's body of work. As the testimonies below indicate, Long John Oliva was a charismatic master percussionist who understood the Cuban tradition in its purest form and a "Jazz Rumbero" whose name deserves to be mentioned in the same breath as Pancho Quinto, Tata Guines, Jose Luis Quintana "Changuito," Mongo Santamaria, Francisco Aguabella, Willie Bobo, Tito Puente, Candido Camero, Carlos "Patato" Valdes, Anga, Jerry Gonzalez, and Ray Barretto, among others.
The Long John Oliva Project is a Work-in-Progress. New Information will be added as it becomes available. If you, or anyone you know, has relevant information about Long John Oliva, please get in touch with me at jazzdelapena67@gmail.com
THE MUSICIANS
MASTER PERCUSSIONIST AND EDUCATOR LONG JOHN OLIVA
Juan Sanchez Oliva was born in Havana, Cuba's Belen barrio, surrounded by the polyrhythmic sounds of traditional Afro-Cuban rumba and the Yoruba tradition. His father, a master drummer and founder of the renowned rumba ensemble, Yoruba Andabo, Pancho Quinto, started "Juanito" on the drums at three. In his teens, Oliva studied under the master percussionists Jose Luis Quintana "Changuito" and Tata Guines. Also, he idolized Chucho Valdes and Irakere and the percussionist Jorge "El Nino" Alfonso.
From rumba to the Yoruba tradition and Jazz influences, Oliva created a unique language and progressive sound. His unparalleled energy, grace, and style result from his traditional training and passion for contemporary music, regardless of genre. Long John died in 2004. His recordings as a leader include "Lucumi," "Buscando La Ortographia," and "Cuba/Rico."
FOLKLORIST, PERCUSSIONIST, VOCALIST ORLANDO "PUNTILLA" RIOS (1947 – 2008)
He is a master of the many Cuban musical folkloric forms. Born in Havana, Puntilla came to the US in 1981 with the Mariel Boatlift, quickly changing the bata scene in New York single-handedly, becoming the new influence for American bataleros. When 'Puntilla' arrived in New York, he brought knowledge of the profound folkloric music unique to Cuba. He became a teacher and mentor to many. Ríos was also the foundation of the religious community in New York, providing and guiding the music at ceremonies and celebrations throughout the tri-state area. He performed with great musicians from the worlds of Latin music and jazz throughout the United States, South America, Europe, and Japan.
MASTER PERCUSSIONIST JOSE LUIS QUINTANA "CHANGUITO "
Los Van Van is my orchestra, and it will be my orchestra as long as I live," said Changuito. In 1970, he and Juan Formell founded Los Van Van. Together, they developed the rhythm known as Songo, which combines percussion instruments (timbales, bells, drums, cymbals) with beat and folk music. After this phase, Changuito pursued a solo career and dedicated himself to studying and teaching percussion. Some believe that Changuito has not received the credit he deserves because he was a "purist" ahead of his time. Changuito held a chair at The Cuban Institute of Art and became a teacher and mentor to Giovanni Hidalgo, Long John Oliva, Karl Perazzo (Santana), Karlos Marrufo, and Patricio "El Chino" Diaz, among others. His timbal and tumbadora master classes at The University of Puerto Rico, The Modern School of New York, and Berklee College of Music are legendary. In 2007, he released "Telegrafia Sin Hilo" (Cacao), his only recording as a leader.
PIANIST, COMPOSER, ARRANGER OMAR SOSA "SOKERE"
Cuban composer and pianist Omar Sosa is one of the most versatile jazz artists today. He fuses a wide range of jazz, world music, and electronic elements with his native Afro-Cuban roots to create a fresh and original urban sound – all with a Latin jazz heart. Omar Sosa's musical trajectory has taken him from Camagüey and Havana to touring in Angola, the Congo, Ethiopia, and Nicaragua in the 1980s; to a vacation in the African-descent communities of Ecuador in the early 1990s; to an extended presence on the San Francisco Bay Area Latin jazz scene; to his current engagement with artists from France, Cuba, Brazil, and several North, West, and East African nations. His career embodies the expansive outlook of a visionary artist who has taken Monk's uncompromising spirit to heart while working ceaselessly to craft and project a unique voice.
TROMBONIST JEFF CRESSMAN
A unique talent who is equally in demand as a trombonist and a sound engineer. Jeff is a native of San Francisco who began playing trombone in the same Berkeley Public School Jazz Project that encouraged such contemporaries as Peter Apfelbaum, Benny Green, and Joshua Redman. From 2000-2016, Jeff Cressman toured internationally with the Carlos Santana Band, recording multiple CDs with the band, including the blockbuster "Supernatural" and the recent release "Corazón." In addition to his work with Santana, Jeff has recorded and toured with such diverse artists as Don Cherry, the Peter Apfelbaum Sextet, the Hieroglyphics Ensemble, Trey Anastasio Band, Jai Uttal and the Pagan Love Orchestra, the Charlie Hunter Trio, Tito Puente, Sheila E., Pete Escovedo, the Machete Ensemble, Ray Obiedo, and Jon Jang and the Pan Asian Arkestra. Jeff's interests in the recording arts have led him to engineer and produce numerous Jazz and Latin CD projects. Jeff has recorded and produced 12 multi-CD sets for the San Francisco Jazz Collective. He has engineered CDs by John Santos and the Machete Ensemble, Eddie Marshall and Holy Mischief, Peck Allmond, Wayne Wallace, Hafez Modirzadeh, Rob Sudduth, and many more. Jeff also has engineered live recordings for NPR, the Monterey Jazz Festival, and See's Candies' Sunday Night Suites syndicated radio show. Jeff has mixed numerous live shows for such artists as Betty Carter, Toots Thielmanns, the Modern Jazz Quartet, and Sheila E.
MASTER PERCUSSIONIST AND VOCALIST JESÚS DÍAZ
Cuban-born percussionist and vocalist Jesus Diaz arrived in the United States from Habana in 1980. He quickly identified the Bay Area music scene as the grounds to establish his new home. His local and worldwide performances, in collaboration with world-renowned and acclaimed artists, are recognized for their contributions to the richness of an ever-expanding musical genre. A multi-instrumentalist, arranger, and vocalist, Díaz has established himself as one of the most in-demand performers and studio musicians worldwide. As an educator, he has participated in several prominent clinics and workshops, including Berklee College of Music, SFJAZZ, Stanford Jazz Workshop, Drummers Collective NY, and Jazz Camp West. In collaboration with his group Talking Drums, which includes fellow percussionists Michael Spiro and David Garibaldi, he has contributed to various Warner Brothers instructional books and videos. Jesus Diaz has performed, toured, or recorded with such artists as Stevie Wonder, The Dave Mathews Band (DMB), Carlos Santana, Andy Narrell, Dizzy Gillespie, Bobbie Womack, Steve Coleman, Caribbean Jazz Project, Planet Drum, Talking Drums, Pete Escovedo / Sheila E, José Luis Quintana "Changuito," Giovanni Hidalgo, Rebecca Mauleón & Round Trip, Omar Sosa, Columna "B," John Calloway, and Conjunto Céspedes, among many others.
BASSIST RAHSAAN FREDERICKS
Rahsaan Fredericks is currently based out of Barcelona, Spain. Information on Fredericks is scant.
TESTIMONIES
NELSON RODRIGUEZ (LATIN BEAT MAGAZINE) - "Lucumi is one of the Top 100 Latin Jazz recordings of all time."
PIANIST, COMPOSER, ARRANGER OMAR SOSA - "Long John Oliva was one of the most impressive percussionists I've known. He understood the Cuban tradition in its purest form. Today, we have Roman Diaz in New York, but before him there was Long John. Participating in the Lucumi sessions was an honor, and working with Changuito and Puntilla was a privilege. The band was tight, and the music was ahead of its time!"
PIANIST, COMPOSER, ARRANGER, BANDLEADER MICHELE ROSEWOMAN - "The recording is just too beautiful! These are songs that Puntilla did with 'Nueva Generacion.' The group and the recording seriously honor Puntilla. Lucumi is an expression of the times. The arrangements are great, and the percussion is killing! The vibe and sound are on such a high level. It's a gift to the world!"
MASTER PERCUSSIONIST RICKY CARRIDO - "Lucumi is in a class by itself. First is the historic lineup: Long John, Jesus Diaz, Omar Sosa, Rahsaan Fredericks, Julio Jr. Melendez, Bill Ortiz, Jeff Cressman, and Changuito. My goodness! Each track has something to be said because they are unique and have every musician's flavor. Lucumi is a classic! It can never be replicated!"
VISUAL ARTIST, MUSICIAN, ACTRESS VIVIAN ARA REGUEROS - "A great percussionist and a generous colleague."
REED PLAYER, BANDLEADER JANE BUNNETT - "Long John was a skilled, charismatic percussionist who 'raised the bandstand."
MASTER DRUMMER, COMPOSER, ARRANGER, EDUCATOR PRIETO - "I met Long John Oliva through Jane Bunnett shortly after I arrived from Cuba in 1997. I knew him as Long John "Penalty." Long John was a great all-around percussionist. In his heart, he was a rumbero, but I remember his positive attitude and passion for music the most. It was contagious!"
REFERENCES
Bunnett, Jane - Testimony
Cantrell, David - Contributor
Carrido, Ricky - Testimony
Miller, Ivor - Contributor
Oliva, Peggy Jo - Producer, Contributor
Peña, Tomas - Long John Oliva Interview (2003)
Rodriguez, Nelson - Latin Beat Magazine ()
Rosado, Paula - Interview with Long John Oliva (La Opinion, 1990)
Rosewoman, Michele - Testimony
Sosa, Omar - Interview (2022)
Tamargo, Luis - Long John Oliva Interview (La Opinion, 1988)
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