Jim Stubblefield: Press

REVIEW OF JIM STUBBLEFIELD'S "GUITARRA EXOTICA" (from a Metal Website!)

"Okay, why am I reviewing a flamenco guitarist on a rock and metal webzine? Well, because sometimes I come across stuff that is beautiful, inspiring, and strikes a chord with me. And also because I find a lot of rock and metal fans and even musicians like other types of music in addition to their main passion. And because we're all bettered by the music we listen to. I came across this guy and listened to his music and it's awesome stuff. This is his first solo release in a decade and he's traveled all over the world and has been inspired by the music he's come into contact with. He's also one of those people you can't apply a label to because he plays such a variety of different music. This guy's music is well composed and excellently played and produced. All of the compositions take you on a mystical carpet ride through Latin America, Spain, and even the Middle East. He understands and respects different cultures and he takes you along on an experience that is mind blowing and that you won't forget soon. This is your ticket to world travel on a sonic level. Enjoy the trip. "

REVIEW OF JIM STUBBLEFIELD'S "GUITARRA EXOTICA"

Jim Stubblefield’s latest solo album ‘Guitarra Exotica’ is a delectable feast for all of your senses that stirs with passion, evokes mysticism, and kindles the human spirit. You’ll literally feel the wind blow through your hair as ‘Guitarra Exotica’ sweeps you off your feet and takes you on a magical carpet ride that journeys through the heart of South America’s rainforests, relaxes in a quaint Spanish village, glides across a vibrant desert sunset, and lands amidst a colorful gypsy gathering.

Stubblefield’s roaming spirit and respect for other cultures resonates through all of the songs on his album, as they cross borders offering listeners a taste of tradition infused with his visionary creativity that is truly ‘exotic’. From the passionate ‘Gitana Mora’ to the beautiful La Selva Negra, and from the soothing ‘The Mystic’s Dream’ to the flirtatious ‘A Gypsy’s Kiss’, you can hear the attention to detail yet feel the open melodic and rhythmic flow of the stellar the musicianship of ‘Guitarra Exotica’ that features Jim Stubblefield on nylon and steel string acoustic guitar, and electric guitar; Ruben Ramos and Randy Tico on bass; Bryan Brock on percussion; and famed violinist Novi Novog.

JIM STUBBLEFIELD
"GUITARRA EXOTICA"

This collection of music, shows one key aspect in every song.
Passion. This is music created within the heart and brought forth through the hands of this fine player, JIM STUBBLEFIELD, and the musicians in his band. With his guitar, he can ignite the flame of his passion. Full of beauty and grace, one should take the time to embrace this music of guitar influenced sounds.

FUSION IN ITS TRUEST SENSE

Jim Stubblefield’s “Guitarra Exotica” fuses jazz, flamenco, Latin acoustic guitar and percussion at Coffee Gallery Backstage

Fitting and making peace with labels has been a prevailing theme in guitarist Jim Stubblefield’s career: “New Age.” “Fingerstyle.” “Nuevo flamenco.” “Latin jazz.” “Latin rock.” “Fusion.” “Rumba flamenco.” “Gypsy.” “Ethnic.” Over the past decade, his music has been slapped with one or another of those tags, each of which has described some but not all aspects of his sound.

Stubblefield’s music is an organic melding of the various influences accrued over time by a creatively hungry musician, from jazz trailblazer Al di Meola, metal shredder Yngwie Malmsteen and Mahavishnu Orchestra’s John McLaughlin to acoustic world duo Strunz & Farah, flamenco guitarist Vicente Amigo, fearsome country picker Albert Lee and onetime bandmate/Kuwaiti oud player Waleed Hamad.

The label that’s perhaps most responsible for making it sinfully easy to take an artist like Stubblefield for granted is the dreaded “l” word: local. A longtime Arcadia resident before relocating to the Valencia area, he was a semi-regular presence at area coffeehouses and acoustic venues in the late 1990s while promoting his solo instrumental albums “Cities of Gold” and “Rhythm of the Heart.”

Then again, he’s only local for those who live in the greater Pasadena/LA area. And for the past several years, he’s made himself scarce on the local landscape. Much of the time, he’s touring elsewhere with Incendio, the heavily percussive “Latin world guitar fusion” band he co-founded with bassist Liza Carbe and fellow guitarist Jean-Pierre Durand in 1999. As a unit they’ve toured nationally, landed high on Billboard charts with half a dozen albums and garnered radio airplay nationwide.

Those tours have enabled him to reach audiences less enamored of labels than genuine musical exploration. As Duke Ellington famously put it, “There are two kinds of music: Good music, and the other kind.” At a recent release party for “Guitarra Exotica,” Stubblefield’s first solo CD in several years, a cursory study of listeners — fellow musicians from various backgrounds, esoteric jazz hounds, guitar geeks, well-heeled pop lovers and sophisticated executive types — left no doubt as to which category they assigned his nimbly fingered solos. They were less concerned with whether he fit some preconceived genre definition than with the fluidity of his fretboard articulation and the quality of his melodic ideas.

Backed by a tight combo (violinist Anna Stafford, percussionist Bryan Brock and fretless bassist Ruben Ramos), Stubblefield’s live shows are less thunderous than Incendio’s yet driven by a refined rhythmic pulse that sparks excitement. He ably melds myriad sonic influences, sweet tone and spiraling guitar patterns that reflect his tastes and travels over the past decade — fusion in the truest sense of the term.

Jim Stubblefield
Guitarra Exotica
Natural Elements Records
10 song CD

"Jim Stubblefield takes the listener around the world with his Guitarra Exotica, mixing and melding a wide variety of international music styles with an assuredly Latin-flavored rhythmic foundation. With the guitar as his centerpiece, Stubblefield examines the rhumba, the bulerias, the tango, and flamenco, among others, interchanging fluidly from traditional to more modern sounds. His sound is passionate and expressive, always gripping and intricate.

Stubblefield also backs himself with talented musicians, especially the brilliant viola of Novi Novog, which serves as the perfect complimentary instrument for much of the disc. The result is an album that sounds like a true group effort instead of a solo project, adding a depth and breadth that makes for a truly classic piece of work. My favorite tracks include the nouveau-flamenco of Gitana Mora and the epic, driving sounds of Eye Of The Sun, Parts I & II."

Jim Stubblefield - Gitana Mora (featured song)

"The guitar work is superb, but what makes this album stand out is the addition of violas transporting my spirit to a Moorish village to watch the dancers pronounce benedictions on Ruben, Randy, Bryan and Novi enchanting Jim on to flourishes that are found only when inspired by other superb musicians bringing out powers previously unknown. A powerful group effort bringing a vision to my ears that allows me to travel far distances in mere moments. I have to also make special mention of Novi Novog. All the musicians add depth to this music, but the interplay between Novi and Jim on several tracks is breathtaking. Shoutouts for La Selva Negra, Rumba Arabe, Eye of the Sun Pt 2, and A Gypsy's Kiss."

Jim Stubblefield - Guitarra Exotica

"Native Californian Jim Stubblefield, who formed the Latin guitar group Incendio in 1999, shows the versatility of the guitar in “Guitarra Exotica.” Rich with traditionally exotic sounds and propelled by Latin rhythms, “Guitarra Exotica” is a veritable exhibition of international styles of acoustic guitar.

In the album’s opening track, “La Selva Negra” plays on percussive and exotic sounds, and Stubblefield masterfully presents a traditional rumba melody. What makes this track even more enjoyable is the alternation of guitar with brass and strings, creating a well-rounded, evocative rhumba piece.

Another excellent track in “Guitarra Exotica,” “Gitana Mora” is a richly percussive flamenco made passionate by the melody played by the guitar and strings.

“Eye of the Sun – Part I” and “A Gypsy’s Kiss” are arguably the best tracks of the album. “Eye of the Sun – Part I,” in particular, breaks with the tradition of the previous tracks in the album by evoking what can only be an ominous desert scene. “A Gypsy’s Kiss,” on the other hand, capitalizes on a simple melody, which cleanly closes “Guitarra Exotica.”

Stubblefield’s “Guitarra Exotica” is enhanced by the members of his band: Anna Stafford, violin; Brian Brock, percussion; and Ruben Ramos, bass and guitar. Also featured on this album is Novi Novog on viola, Bryan Brock on percussion, and Randy Tico on bass. Together, Stubblefield and his band present a colorful and fairly diverse album, one I would recommend to any listener."

Reviewer's Rating: 8

Jim Stubblefield - Guitarra Exotica (CD, Natural Elements, Instrumental)

"... the best way of summing up these instrumental tracks would be to say that Jim writes and records exotic modern instrumental music that incorporates sounds and ideas from a wide variety of sources from all over the world. Stubblefield surrounds himself with some really classy players. His band features Anna Stafford (violin), Bryan Brock (percussion), and Ruben Ramos (bass, guitar). These tracks are polished to perfection and were recorded with minute attention to detail."

Ten cool cuts including "One Quiet Night," "Eye of the Sun - Part 1," and "A Gypsy's Kiss." (Rating: 5+)

"Californian guitarist/composer Jim Stubblefield is one of the rising stars of the nuevo flamenco movement, joining the passion of traditional flamenco with contemporary elements like South American rhythms and Afro-Cuban jazz. His 1994 debut November introduced his signature blend of world-beat, new age, jazz and rock, using electric and acoustic guitar textures for a contemporary feel. Cities of Gold arrived a year later, and 1999 saw the release of Rhythm of the Heart which also featured the Jim Stubblefield Group, the guitarist's touring band since 1995."

"If you love guitar don’t wait to get this one - buy it immediately! This one will break the Jim Stubblefield Group into the big time. Customers have already said this is better than Jesse Cook and Armik. "

"Stubblefield displays his training in Spanish guitar with crisp expression and bright fretwork."

PASADENA WEEKLY

"What makes Stubblefield stunning is the way in which he draws out such pure tones while making each note spin and dance on his nuevo flamenco compositions."

Q & A with Jim Stubblefield for upcoming "Guitarra Exotica" CD release:

Q: It has been 10 years since you released "Cities of Gold". Why did it take you so long to release a new solo album?
A: The main reason is Incendio. Since the band formed in August of 1999, Incendio has released 6 CDs, a DVD, and averaged about 150 gigs a year. There just was no time and almost all the material I wrote ended up being recorded by the band.
Q: Why did you name the CD "Guitarra Exotica"?
A: I felt that it was the best way I could describe my music. Music with exotic tonalities, rhythms and instruments really appeal to me.
Q: So you would not call some of it nuevo flamenco or a similar label?
A: Absolutely not. In fact, the term nuevo flamenco is incredibly misused.
Q: How so?
A: A lot of people hear a melody played on a Spanish guitar against an Andalusian cadence (Note: Paco de Lucia refers to this as a chord progression such as - Am G F E7) and immediately want to call it flamenco or nuevo flamenco. Many musicians are guilty of this as well by describing their music as flamenco or nuevo flamenco. Flamenco is a gypsy form of music from Spain; specifically from Andalucia. The music is built upon forms called palos which include names like alegrias, bulerias, tangos, fandangos, etc. The true nuevo flamenco artists are people like Tomatitio or Vicente Amigo who have a strong background in flamenco, but push the envelope harmonically and arrangement wise. They might take a bulerias for instance and add extended chords pushing the music in a jazz direction.
Q: What about Incendio’s music?
A: We have always called the music “latin guitar world fusion”. It’s a mouthful, but the industry loves labels. It is also more liberating in that it allows us to write music drawing influences from different genres. At the heart of the music, the vocal if you will, is the Spanish or latin guitar.
Q: That being said, how is your new solo album different from your work with Incendio?
A: Aside from working with different musicians, I produced and recorded the music myself in my own studio. The "Guitarra Exotica" project, to my ears, has an earthier vibe in its execution. I also went for a more ensemble sound than Incendio’s Steely Dan approach.
Q: Steely Dan approach?
A: That’s what I call it when you have a small core group (ala Donald Fagan and Walter Becker of Steely Dan) that augments various songs on a recording with a bevy of different players depending on the mood of the piece. On "Guitarra Exotica" every song features guitar, bass, percussion and viola.
Q: Speaking of the viola; there is a lot of viola playing melodies on "Guitarra Exotica".
A: That is more a function of what the song called for more than anything else. I had written some melodies that called for a long sustaining melody line which can’t be properly done on an acoustic guitar.
Q: Novi Novog, your viola player, has quite the resume.
A: Well, she has played with Prince, Jon Anderson, Toto, David Arkenstone, Seal, the list goes on. She also played that great solo on the Doobie Brothers tune Blackwater.
Q: What about the other musicians on the CD?
A: Randy Tico played some awesome acoustic and electric bass. He has played with Strunz and Farah, Flora Purim and Airto. Bryan Brock is just an amazing percussionist. He is a North Texas music school graduate who is a human clock with an incredibly musical ear. The other bassist on the CD is Ruben Ramos. Ruben is a great all around musician who really lent some fantastic ideas to the arrangements on the CD.
Q: Liza Carbe’ and Jean-Pierre Durand from Incendio mixed the CD. Why?
A: Two reasons. They are damn good mixers and it was important to have another set of ears involved before the CD went to mass production. I also had Bernie Becker, who has worked with Neil Diamond and Tenacious D among others, do the mastering.
Q: The CD overall has a nice cohesiveness to it, but still has a lot of twists and turns.
A: It is still for the most part an acoustic record. I’ve pulled influences from traditional flamenco, South American music, Middle Eastern music, gypsy jazz, and even rock and jazz, but I also tried to keep things under control.
Q: The song "Gitana Mora" has an interesting rhythm to it.
A: The rhythm is actually bulerias inspired. The melody on this song starts on beat 12 and Bryan, the percussionist, plays accents around beats 3, 6, 7(8), 10, and 12. It was a challenging piece to write, but a fun piece to see come together.
Q: You also play some electric guitar on the CD.
A: I plan to use the electric guitar on more recordings in the future. It is a great contrast to the acoustic and allows for different kind of phrasing and melodic lines. The trick is using it in such away that it does not sound out of place on a mostly acoustic recording.
Q: What inspired you to use a gypsy jazz guitar on "A Gypsy’s Kiss"?
A: I ‘m a big fan of gypsy swing and players like Django Reinhardt and Bireli Lagrene. Although this piece is not a swing tune, I felt the tonality of the guitar worked well. There is something about playing a guitar with a trapeze style bridge and zero fret which worked well in the song. It gave the piece a more rustic vibe.
Q: Are there any plans to tour behind the "Guitarra Exotica" CD?
A: I definitely plan to do shows under my own name. I will most likely be performing songs from not only "Guitarra Exotica", but pieces from older albums like "Cities of Gold" and "Rhythm of the Heart".

WIND AND WIRE MAGAZINE
Jim Stubblefield Group
Rhythm of the Heart
Natural Elements Records (1998)

The Jim Stubblefield Group's album, Rhythm of the Heart, is an imminently listenable nuevo flamenco/adult contemporary instrumental recording that goes down very smoothly. The music is accessible, likable, and infectious. Jim plays a mean acoustic guitar and the other group members (second guitar, drums/percussion, and bass) play with authority and conviction. This group is tight - very tight. Something tells me these guys play together a lot. There is real camaraderie at work here and it's a lot of fun to listen to.
Michael Peters is the other guitar player and his guitar is miked into the right channel, while Jim's is in the left channel. This produces some startling imaging fireworks on a good stereo system. The CD itself is engineered flawlessly. I won't tell you that the quasi-flamenco music on Rhythm of the Heart is exceptionally original, but it is a nice blend of traditional Spanish textures with a more contemporary approach to melody. It's hard to pin down what I mean but it's there nonetheless.

Starting off with the mid-tempo romantic title cut, the Spanish elements are present in full-force. There is a lilting flamenco beat and fiery spirit to the music. "Sombra" is more sultry, as it's rhythm is slower and the music has an element of heat to it. "Agua Azul" (Blue Water, if my Spanish is still worth its salt) is light-hearted and sunny-sparkly. The two guitars circle each other in a lively dance, while the rhythm section keeps up a nice fast tempo undercurrent. "Temple of the Sun," while certainly having its flamenco elements, also has a solid AC feel to it as well. The rhythm is at a relaxed gallop pace, so to speak, and the mood is mysterious. It's one of the best songs on this solid album. "Conscious" is the one oddity on the CD, since it's best described as "flamenco-funky" with an overemphasized bottom and a sexy slower beat. There is even an element of the blues to this number - and that, of course, sits just fine with me!

Obviously, Rhythm of the Heart will appeal most to fans of artists like Ottmar Liebert or other nuevo flamenco players. However, I'd suggest that fans of guitarists like Chris Spheeris and Jamie Bonk give it a listen too. While Jim Stubblefield eschews the use of anything but minimal keyboards, the musicianship and compositions on this album warrant a lot more attention than relegating it to world music fans alone.

71st ACADEMY AWARDS

"Definitely the sound and style that we wanted for a first class affair."

ALL MUSIC GUIDE
Review of Jim Stubblefield Group's "Rhythm of the Heart"

"Jim Stubblefield's Rhythm of the Heart continues the guitarist's exploration of Middle Eastern, Spanish and Latin musical elements. Tracks like "Sombra" combine driving, syncopated rhythms and languid guitars, resulting in an interesting blend of passion and reflection."

Review of Incendio's "Illumination"
GRADE: A
If you don't usually dip into the new age/world beat bins, Los Angeles-based modern pop flamenco ensemble Incendio may broaden your shopping radius. Illumination blends "global excitement with urban sensibilities" and is good for both contemplating the poems of Wordsworth and getting your groove on. Composed of three Spanish guitarists, a drummer and a wide variety of ethnic influences from Middle Eastern and Latin music to African fusion - Incendio has a lot to offer.
Each song on the disc conveys a story. The mesmerizing sitar and flamenco guitar-laden first track "Prjapati" is named and inspired by the Hindu creation god of the same name and is reminiscent of India's colorful, throbbing "Bollywood"(think Indian Hollywood) pop ballads. "Caipirinha" was named after the famed Brazilian drink and pays tribute to the music and culture of the country. "Dancing with the Dead" closes the disc with a beautiful, dusky and slow, strumming lullaby of three acoustic guitars.
Incendio may not be at the level of either the legendary sitar master Ravi Shankar or the popular Gypsy Kings - both tough acts to follow. But the recently formed group stands out in the world music genre as having created an album that embraces and goes beyond the "new flamenco style" pioneered by Ottmar Liebert, among others.
At moments, hints of New-Age cheesiness creep in around the edges of the disc. That being said, the bottom line is that you will want to dance (and if necessary, cram for that impending final in equal parts) while listening to this CD. Break out the bindi and the castanets - this double-duty disc is worthy of the cheapest of cheapskates' tight budget.

Review of Incendio's "Seduction"
4/4 Stars

Almost as beautiful as the art design on the CD is the sound of Incendio`s music. A truly international style, this band who consists of Jim Stubblefield (guitar), Jean-Pierre Durand (guitar/guitar synthesizer), Liza Carbé (bass), Joe Shotwell (drums/percussion) and Nicole Falzone (drums/percussion) seems to be that blazing, bright light of fire they are named after. At times the songs are reminiscent of what you would hear at an authentic tapas bar or on a beachfront in an exotic South American country somewhere. Ultimately, it is that sense of authenticity to the music which makes Incendio seem much like…well a Seduction, as this CD title implies. 

Incendio explains their music as ‘Latin guitar world fusion.’ Seduction does have a lot of Latin guitar in it, to be sure, but it seemed to have a lot of 80s Jazz influence to it as well. This sound was something reminiscent of `mood music` and heavily based in smooth saxophone. Incendio has a substantial collection of CDs and a great reputation for their originality and hard work ethic (over 200 concerts a year!). They have managed to place themselves into an arena of music that seldom gets exposure, without becoming anonymous. In fact, one could say, Incendio has helped to highlight the attributes of the Latin styled guitar playing.
 
Songs like `Violet` or ‘La Cabonita’ which are full of rhythm and excitement are great to move about to and in one persons recommendation on the New World Music website (www.newworldmusic.com) the CD was reported to be great to do housework to. The rhythms and dance-ability really seem to make this an enticing collection of tracks. As a nice balance, a song like ‘Ledges Road’ is emotive and tender.  
 
At times the music felt a little too chaotic, dipping into that Jazz type style at times, which didn’t feel entirely cohesive. However, the chaotic moments are not distracting enough to be too distracting on the whole. Overall, this was a great collection by Incendio, one more CD of theirs to add to an already substantial collection.  

9 out of 10!
With a sensational mixture of music from all around the globe, Incendio, which means fire in Italian and Spanish, lives up to its name. The latest installment from the band, Dia y Noche, creates the experience of a live performance wherever you listen to the album. The sultry Spanish guitar resonates through every track and is accompanied by Celtic, Middle Eastern, Jazz, and many other styles to produce incredible melodies. The talent of the musicians is evident on each track. In each song, you can hear the love and passion Incendio has for music. Dia y Noche is more than just an album, it is a showcase of excellent talent.

EDITORS PICK!
Recorded live at two separate concerts, one during daytime and the other at night, “Dia y Noche” is an exploration of the fusion of Latin rock with Latin jazz and various South American styles like bossa nova, salsa, and others. The day show was recorded at the Strawberry Festival in early 2004 while the night show was from the Countrywide Thousand Oaks Civic Arts Plaza later that year. Both shows expose Incendio incendiary instrumentation and crafty arrangements.

A fury of flamenco flued by infectious rhythms, Misterioso, the debut album from Incendio, is a firestorm of exotic grooves. Explore with excitment the sensual style of songs like Emerald Sea and Luna, as they lure you with their lush melodies. Incendio uses a blend of global styles from the spicy dance clubs of Spain to the deserts of Northern Africa, including mambos, sambas, rumba flamenco guitars, and Middle Eastern influenced world-fusion. Guitarist/composer Jim Stubblefield will entrance you with his acoustic skills as will special guests Lisa Lynne and Novi Novog on this truly spellbinding album.

Incendio, by the group of the same name, is – as promised by its name – fiery! Combining Latin or Spanish guitar with a variety of styles – flamenco, Middle-Eastern, Celtic, trance, jazz, rock, and classical – the album is truly a global experience. I like 'Zocolo' for its powerful bass line, and 'Isis' for its Middle Eastern drums and sensuality. Fans of Latin and flamenco music will find Incendio a sexy, passionate, energetically charged album that will warm winter nights.

One of the reasons I was interested in this CD was because although I'm not particularly a lover of Spanish guitar music, I did like the sound of the flamenco, Middle-Eastern, Celtic, jazz, rock, trance and pop amalgamation. It sounded spicy and interesting and to be honest it is. The underlying sound is always the Spanish guitar but it is combined with so many other types of music, some subtle, some more obvious that it makes it a pleasure to listen to. Happy, rhythmic, yet calm and easy, I dare anyone not to have a little boogie when listening to it. It reminds me of warm evenings and good food while relaxing on holiday. Brilliant!

"Incendio" is the Italian word for fire. Considering the aural pyrotechnics on display with this release, it's not hard to see that the name is quite fitting. INCENDIO is an album of Spanish guitar virtuosity with a healthy dose of ethnic spice thrown into the mix. The music has a smooth fluidity, reminiscent of "nouveau flamenco" innovators like Ottmar Liebert or Jesse Cook. The four-member group gets points for style with their sinuous Middle Eastern flavors, energetic Latin rhythms and playful jazz. Passion, however, remains the music's central attribute, and INCENDIO proves that the group can still balance fire and romance with the greatest of ease.

Describing music has got to be one of the most difficult things for me to do. Would it help if I told you I audibly gasped when I heard the first strains of this recording? And that when I accidentally left it at a friend's house, it ended up in his car's CD player for a solid week? The group Incendio (Italian and Spanish word for fire) is comprised of five culturally diverse artists — three are North Americans, one is French, and one is Peruvian. Talk about a global musical experience. This release features Spanish flamenco guitar, energetic Latin rhythms, exotic Middle Eastern flair, as well as a touch of Celtic and Jazz influences.

JAZZIZ
Review of Incendio's "Misterioso"

The four-piece ensemble Incendio's debut, Misterioso, is driven to varied-tempo levels of exotica and energetic excitement by the Strunz & Farah-like dual-guitar interaction of leader Jim Stubblefield (who plays the lead melodies) and Jean-Pierre Durand (who carries the rhythm lines). The two are certainly capable of those astounding, lightning quick passages that sound like dueling bumble bees. On "Luna," for instance, Stubblefield darts off the main melody line every few bars for sparkling solos that dare Durand to roll along faster.

But the real joys of the disc come when the two go after a more lilting sound closer to that of Ottmar Liebert, but with more aggressive percussion pizzazz. The title track is a fitting example: the guitars swirl like hypnotic harp strings over a tender soundscape and then Nicole Falzone's pitter-patter percussion. Stubblefield and Durand then sway along beneath a lush, emotional violin solo by guest Novi Novog. While the guitar and percussion weavings are the core of the Incendio sound, Novog's few appearances and the staccato horn-section accents of "Festival Del Luces" add some necessary color. Durand also reveals a nice touch on acoustic piano, calling forth lush harmonies beneath Stubblefield's sweet, loping melody on "Emerald Sea."