Coming soon! August 8th Release on ZoHo records!

Latin jazz is more than just a genre—it’s a rich cultural dialogue, a celebration of rhythm, and a constant evolution of tradition. Few musicians understand this balance better than pianist, composer, and educator Andy Nevala. With El Rumbón (The Party), Nevala presents a powerful statement on the vitality of Afro-Cuban jazz, an album that blends reverence for the masters with a bold, contemporary vision. 

For Nevala, Latin jazz has never been just an academic pursuit. It’s a passion deeply rooted in years of study, performance, and personal connection to the music’s traditions. From his early days as a jazz pianist to his immersion in the complexities of Afro-Cuban rhythms, Nevala has dedicated himself to understanding and preserving this art form. “I try to be the bridge between old and new,” he explains. “I want to make sure people understand where this music comes from while also pushing it forward.”? 

This philosophy is at the heart of El Rumbón (The Party). Across ten tracks, Nevala and his ensemble take listeners on a journey through the vibrant landscapes of Afro-Cuban jazz, blending traditional grooves with fresh arrangements and inspired improvisation. The album title itself -- El Rumbón -- captures the essence of what this music is all about: movement, energy, and communal celebration.

Latin jazz thrives on collaboration, and Nevala has brought together an exceptional ensemble for this project. Bassist Andy Eulau provides a steady, propulsive foundation, while percussionist Frankie Quiñones and drummer Emrah Kotan drive the music’s heartbeat with dynamic interplay. The presence of guitarist Neff Irizarry and tenor saxophonist Carlos Averhoff Jr. brings additional texture and expressiveness, elevating the album’s arrangements with their fiery solos and intricate phrasing. 

"Playing with musicians who truly understand this music is everything," Nevala says. "When we’re locked in, it’s not just playing -- it’s a conversation."? 
That sense of musical conversation is evident throughout the album. Whether trading solos, comping behind each other, or collectively driving a groove forward, the musicians interact with an intuitive cohesion that can only come from deep

The album kicks off with the reimagining of Stevie Wonder’s Isn’t She Lovely, arranged in an Afro-Cuban 6/8 groove. The original’s infectious melody remains intact, but the rhythmic transformation breathes new life into the song. The syncopated bassline and driving percussion create a hypnotic backdrop, while Nevala’s improvisation injects a fresh, jazz-infused perspective. It’s a thrilling opener that sets the tone for the rest of the album. 

The energy continues with Lamento Cubano, originally composed by Eliseo Grenet. This piece pays homage to the golden era of Cuban music, evoking the lyrical elegance of Bebo Valdés. Nevala’s piano and Irizarry’s guitar engage in a beautifully woven dialogue, gliding effortlessly over a son montuno groove. The arrangement highlights the depth and sophistication of Cuban harmony, while maintaining an irresistible rhythmic drive. 

El Rumbón (The Party), a guaguancó-driven composition inspired by Chucho Valdés’ version on his 1998 Blue Note album Briyumba Palo Congo, begins with a slow, folkloric introduction, with the piece gradually building into a fiery, percussive groove. Nevala’s piano solo dances over the rhythm section, punctuated by explosive drum breaks and intricate montuno patterns.  

Herbie Hancock’s Butterfly takes on a mesmerizing quality through a bembe groove. The arrangement allows space for expansive improvisation, with a hauntingly beautiful bass solo that floats above the intricate rhythmic layers. Nevala’s delicate touch on the piano brings out the full harmonic richness of Hancock’s composition, creating a moment of meditative beauty. 

On Bemsha Swing, Thelonious Monk’s angular, off-kilter melody is reinterpreted with a fiery songo groove. Averhoff’s tenor saxophone solo is a highlight, soaring with a mix of bluesy grit and rhythmic precision. The interplay between the rhythm section and the soloists captures the spirit of Monk’s compositions—playful, unpredictable, yet always deeply rooted in groove. 

The album’s softer moments shine just as brightly. Fragile, Sting’s haunting ballad, is rendered with a bossa nova and partido alto foundation, allowing Nevala’s piano and Irizarry’s guitar to shine in an intimate, textured setting. The arrangement retains the emotional weight of the original while adding layers of rhythmic complexity.

Perhaps the boldest track is A Night in Tunisia, reimagined in a daring 7/4 songo feel. This arrangement brings a new rhythmic complexity to the Dizzy Gillespie classic. The odd meter adds an element of unpredictability, challenging the musicians to navigate shifting accents while maintaining the piece’s signature intensity. 
 
The breezy Garota de Ipanema (The Girl from Ipanema) serves as a moment of contrast, offering a nod to the rich tradition of Brazilian jazz. Influenced by Eliane

Elias’ interpretations, the arrangement blends Jobim’s timeless melody with Nevala’s modern harmonic approach. The interplay between piano and guitar captures the elegance and understated beauty of bossa nova.

John Coltrane’s Countdown takes on new life in a 5/4 arrangement, showcasing the ensemble’s technical prowess. The rapid chord changes and relentless forward motion make this one of the album’s most exhilarating moments, with Nevala’s dexterous solo work standing out as a testament to his command of the instrument. 

Closing the album is Los Bueyes (The Oxen), a traditional folk piece arranged in a guaguancó 2-3 caballo groove. Inspired by Gonzalo Rubalcaba’s version on his 2007 Blue Note album Paseo, this track is a deep dive into the roots of Afro-Cuban music, highlighting the rhythmic dialogue between piano and percussion. It’s a fitting conclusion to an album that bridges the past and present of Latin jazz. 

For Nevala, this album isn’t just about playing music. It’s about honoring a tradition while making it his own. "I’ve been lucky to learn from some of the best musicians in the world," he says. "Now, my job is to pass that knowledge on, whether through my playing, my teaching, or my recordings."? 

Recorded at Jacksonville State University and 800 East Studios in Atlanta, El Rumbón - The Party captures the excitement of live performance while showcasing the deep musicality of Nevala and his band. 
"I want this album to feel like a celebration," Nevala reflects. "Whether you’re dancing, tapping your foot, or just closing your eyes and getting lost in the rhythms, that’s what this music is all about."? 

With El Rumbón (The Party), Andy Nevala delivers a joyful, exhilarating journey through the world of Afro-Cuban jazz. It’s an album that honors the past while embracing the future -- a musical party that invites everyone to join.

Kabir Sehgal 
Recorded at Jacksonville State University, 700 Pelham Rd N Jacksonville, AL 36265, by Dr. James Woodward on Feb 6, 2023 (The Party, Los Bueyes, Fragile), and on Sep 21, 2023 (Butterfly, A Night in Tunisia, Countdown).

Recorded at 800 East, 800 East Studios LLC, 800 East Ave NE, Atlanta, GA 30312, by Martin Kearns on September 27, 2024 (Isn’t She Lovely, Lamento Cubano, Garota De Ipanema, Bemsha Swing).
Mixed and Mastered by Dustin Cicero. Producers: Andy Nevala, Joachim “Jochen” Becker. Art direction and package design: Al Gold. Executive Producers: Andy Nevala, Joachim “Jochen” Becker.

Neff Irizarry appears courtesy of Blue Canoe Records. Carlos Averhoff appears courtesy of Sunnyside Records.

Publishing: Comanche1941, Innercat Music Publ. (1); Southern Music Publ Co Inc (2); Black Bull Music Inc, Jobete Music Co (3); Hancock Music (4); Second Floor Music (5); Songs of Universal (6, 8); Universal Music Co. (7); Hipgnosis (9); Public Domain (10)