All About Jazz 
2010mojitoPublished: November 6, 2010 Negroni's Trio: Just Three On its fifth release, the Miami-based Latin jazz trio led by Puerto Rican-born pianist Jose Negroni continues to explore its various influences, which go from straight-ahead to Caribbean beats, with classically-inspired moments. The disc opens with the rumba-inflected "Fingers," a fast-paced tune that features Negroni on electric piano. The chemistry between the bandleader and his gifted son, drummer Nomar Negroni, is evident here, as the younger Negroni responds to each of his father's grooves with carefully placed accents that enhance each note. The same can be said about "Emotions," a tune with more of a straight-ahead feel with an arrangement built around Marco Panascia's walking bass and a killer samba-infused middle section. The more down-tempo title track has something of a classical feel, featuring Panascia playing mostly with a bow. Panascia also contributes an accomplished finger-picked solo, which is followed by equally dexterous individual moments by the two Negronis. The pianist plays mostly solo on the beautiful "Preludio en La Noche," an enticing tune that shifts tempos and textures, beginning with a soft melody that grows into a more up-tempo beat and then goes into a Chopin-inspired groove. The percussion appears only occasionally, accenting the tune's heavier moments. Without interruption, the group joins the leader on "Sabado en La Noche," which follows mostly the same melodic approach but with more of a bluesy feel. "Bailando La Rumba" is a percussion-rich tune that, again, features the bandleader on electric piano. As the Spanish-language title (which translates as "Dancing the Rumba") suggests, the beat has a danceable feel within a jazz format. The group seems to take a festive approach on it, no doubt a real high point in performance. Track Listing: Fingers; Emotions; Bailando Rumba; Milani; Just Three; Golden Man; Mi Triguena; Preludio en La Noche; Sabado en La Noche. Personnel: Jose Negroni: piano; Nomar Negroni: drums; Marco Panascia: acoustic bass. 

The Latin Jazz Corner
Just Three Negroni’s Trio Mojito Records 

by Rebeca 
There’s an old adage that promotes the idea of strength in numbers, but Latin Jazz has proved countless times that bountiful possibilities exist in small groups. Latin Jazz certainly holds roots in groups with powerful sizes - the mambo big bands of the Palladium era laid the foundation for the whole style. When musicians like Cal Tjader and Mongo Santamaria stepped away from big bands and established small groups, a wealth of opportunities opened that took the music in different directions. These musicians altered their performance practices drastically, breaking away from the tightly arranged compositions that defined the big bands. Improvisation became a major emphasis for musicians, growing into the focal point of their performances. They developed a new way of playing that combined the melodic content of bop and the rhythmic structures of Afro-Cuban traditions into a distinct language. Drawing upon the influence of bebop, individual interaction evolved into a major part of small group Latin Jazz. Multiple percussionists intensified this process, allowing musicians to build their improvisations into a powerful group statement. The instrumentation for the small group Latin Jazz format never completely solidified, ranging from septets to quintets and more. Groups continued to shrink, eventually finding their way to a trio - this demanded more changes, but once again, it opened major opportunities. The artistic advantage behind each of these possibilities becomes readily visible on Just Three from Negroni’s Trio, as pianist José Negroni, drummer Nomar Negroni, and bassist Marco Panascia apply their creativity in a variety of settings. 
Diversifying The Trio’s Sound 
José Negroni integrates electronic keyboard sounds on several different tracks, diversifying the trio’s sound. Panascia sets up a percussive vamp while Nomar Negroni riffs around the clave on “Bailando Rumba” while José Negroni runs through an elegant melody on Fender Rhodes. A switch to acoustic piano adds a nice contrast to the melody, and after a unison rhythmic phrase between the two Negronis, José moves back to Fender Rhodes for his improvisation. The elder Negroni spins ear catching melodies that work around the groove with smart phrasing, using repetition and variation to develop his ideas. José Negroni matches the ferocious groove behind him with quick minor runs on “Fingers” before falling into a bluesy melody over a quick son montuno. Panascia easily matches the intensity of the song with an impressive solo that combines virtuosity with jazz fueled lines and modern melodic development. José Negroni follows Panascia with a passionate drive, pushing the mellow sound of his Fender Rhodes into new heights with forceful syncopations. An odd meter montuno sets a slightly askew mood on “Milani,” before the group jumps into a synthesizer melody that floats over Latin and swing. Nomar Negroni draw upon all the various colors of his drum kit, creating a powerful statement between rhythmic piano hits. José Negroni alternates between judicious use of space, flights of melodic integrity, and thick tension, leading into a richly understated improvisation from Panascia. The inclusion of Negroni’s electronic keyboard on these pieces deepens the texture, creating the opportunity for textural development. 
The Piano Taking Center Stage 
José Negroni takes center stage on several tracks, shaping compositions around his refined jazz skills. The full trio charges into a dramatic minor melody at full speed on “Golden Man,” constructing a forceful and complete thought with a complex band arrangement. As the rhythm section settles into a supportive role, José Negroni takes his time shaping his improvisation, building from beautiful melodies into sharp edgy attacks. As he moves his solo into an aggressive up-tempo statement, he inspires avid response from his son, demonstrating their almost telepathic connection. José Negroni stands alone on “Preludio En La Noche,” showcasing his refined skills as a solo pianist. The pianist moves through harmony with a delicate care, embellishing melodies with extravagant flourishes and broad colors. The piece gains some momentum with sparse rhythmic vamps and sparks of assertive dissonance, building cleverly into the next piece. José Negroni takes the mood established in the solo piece and moves it into a full force rhythmic drive on “Sabado En La Noche,” a fact made more potent by Nomar Negroni’s strong presence. After a dramatic melody, the group thins the texture behind José Negroni’s piano solo, using texture to help build his improvisation into a storm of fierce syncopation and tension. A cluster of piano notes sends Nomar Negroni charging into a colorful display of smart technical virtuosity and rhythmic development, only to give way to a climactic bass solo from Panascia. The trio format offers a chance for José Negroni to stretch his skills here, demonstrating his impressive skills as a soloist and composer. 
Mixing Up Latin Rhythms And Modern Swing 
The trio effectively utilizes rhythmic variety on several by switching between Latin rhythms and modern swing. A quick roll from Nomar Negroni sends the drummer and Panascia into a fiercely modern swing on “Emotions” before falling into a tightly arranged melody with José Negroni. The bass and drums duo leap into a driving rumba behind José Negroni’s piano solo, pushing the pianist’s dramatic lines into an intense forward drive. Pieces of the melody serve as sharp interjections between Nomar Negroni’s cleverly constructed solo, full of wild twists and turns. José Negroni gently moves through a series of arpeggios, providing a soft backdrop for Panascia’s delicate bowed melody on “Just Three.” The pianist elaborates upon the melody while the rhythm section implies swing behind him, leading into a solid solo from Panascia that moves through the chord changes with finesse. José Negroni leaps into an assertive improvisation with a lively spirit, moving into an impressive display of creative brush work from his son. Angular band hits lead into a mind spinning fast swing on “Mi Triguena” while José Negroni and Panascia play intertwining melodic lines. Bass and drums disappear as José Negroni constructs a beautifully flowing idea, only to jump back into a rhythmic drive as a rumba groove bubbles to the surface behind him. Panascia offers crisp clear melodic ideas that run across the full range of his instrument, creating an attention grabbing solo. The group’s movement between rhythmic styles opens the door to inspired flights of improvisation and engaging arrangements. 
Massive Strength In An Intimate Setting 
Negroni’s Trio finds massive strength in an intimate setting on Just Three, clearly demonstrating the broad possibilities in the small group format. José Negroni smartly plays upon all these strengths with a number of smart compositions that highlight each musician’s individual strength. He balances a number of cleverly arranged melodies that draw upon interlocking parts with several sections open for improvisation. The pianist really leads the group in many ways, showing an equal command as a player and improviser. There’s an equal amount of Chick Corea and Eddie Palmieri in José Negroni’s playing, fueled by a sense of bombastic drama and intensity taken from both influences. As a result, José Negroni is a master of tension and release, improvising with a command over the instrument’s syncopated possibilities and lyric beauty. Nomar Negroni stands as an similarly prominent voice throughout the album, integrating impressive virtuosity with a consistent sense of support and musicality. As a drummer, he holds that unique combination of playing melodically, filling the background with color, and driving the group with a massive groove. Panascia holds the group’s foundation with an understated power, popping into the forefront for several top notch solos. All three musicians bring large amounts of artistic insight, technical ability, and performance experience into the mix on Just Three, proving that the right combination of players can find strength in small numbers.

Jazz Times Magazine

2010mojitoPassing Notes
Negroni's Trio - 'Just Three' by Mark E Hayes 
Negroni’s Trio – Just Three (2010 Mojito)

by Rebeca 

The fifth album from the gifted core of the Negroni musical family – father José on piano and son Nomar on drums – finds Marco Panascia to be an able, nimble, and imaginative collaborator on a release that captures the listener from the first notes and doesn’t let up for nine songs. There is so much packed into Just Three, you’ll be turning the title into a question directed at the matter of how many people are really playing: “Just three?” The opening track, “Fingers,” appears to be a driving, dramatic, stop-and-go Latin number, but when the excitement settles down, we find ourselves in the midst of a barbed blues that pushes Panascia forward with a terrific solo, topped only by José Negroni’s good-natured work on the Fender Rhodes. Nomar Negroni’s drumming on the track is furious and witty, and as tight as that little tiny rototom on the end of the rack. You know the one: ploink! “Emotions” begins with a delightful swing-to-clave alternating structure, combined with that telepathic Negroni unison playing in the breaks, all of which gives way after the complicated head to a relaxed piano solo with some remarkably voiced chords that float over the drums. The song concludes with a huge drum solo that features some intricate support from piano and bass, adding to Nomar Negroni’s already giant sound. After that, “Bailando Rumba,” a sly, subdued song that makes the most of the Fender Rhodes’ sound, is a welcome breather. Another song that boldly combines different rhythmic feels is “Milani,” which moves from a funky piano groove to a smooth semi-samba to a odd-metered rock beat, then finds its heart in a swinging samba again. The title track, feels more through-composed and like a chamber jazz piece, as the piano and bass – bowed with great effectiveness by Panascia – are moved to the front, and Nomar Negroni eases off a little by working the brushes and cymbals a bit more. Panascia steps up for a wonderful solo in the middle of the song, and José Negroni demonstrates just how clear and confident his musical imagination is by delivering a truly lyrical and expressive statement. There’s good fun and mock drama in “Golden Man,” which sounds to the ear like a mix of every spy movie soundtrack ever heard, and features a several riffs and licks that can evoke a laugh. As one might expect from a title like “Mi Triguenda,” this song is a blend of many things – a piano concerto in places, a Latin number in others, a march in still others, all bound together by the trio’s distinctive approach to stops and breaks, their unusual sense of musical punctuation. Two paired songs complete the album, “Preludio En La Noche” and “Sabado En La Noche.” The “Prelude” is a romantic, impressionistic, if sometimes sad composition for solo piano, with musical allusions to both “Eleanor Rigby” and the blues (among others). Its loveliness shifts to the busy, brighter texture of ”Saturday,” which may be a similar composition to the one that preceded it, with the added energy and color of drum and bass, which builds and builds as the track hurtles toward a forceful but nevertheless expressive solo from Nomar Negroni. All in all, very little time and space are wasted in Just Three, as Negroni’s Trio delivers an album that is full of interesting compositions, bold and imaginative playing, outstanding musicianship. It is a dense, rewarding, and entertaining musical experience. You might find yourself at the end of the last track, still excited by what you heard, asking yourself, “Is that all the songs there are? Just nine? I’d like a couple more, please.” 

José Negroni – Piano 
Nomar Negroni – Drums 
Marco Panascia - Bass

Jazz Times Magazine
by Rebeca 

Pianist/composer José Negroni continues his journey as a trio leader with his Cacao Música release Father & Son, uniting sounds of his native Puerto Rico with jazz and other world textures. With a compelling fusion of classical chops and Afro-Caribbean sensibility, Negroni’s flair for theatrical color and musical storytelling are evident on this follow-up to his 2004 Grammy-nominated release Piano/Drums/Bass. In the company of his son Nomar on drums and Italian-born bassist Marco Panascia, Negroni weaves dramatic lyricism punctuated by explosive rhythmical play, especially on the title track, where the Flamenco-inspired melody evolves into a funky, songo-tinged drum solo. Panascia and Nomar are the perfect complement to Negroni’s powerful and dynamic skills, with the majority of the tunes showcasing intimate conversation between the three, peppered by tasty fills and breaks as well as quiet introspection in the Velázquez standard “Bésame Mucho.”

Featured guest artists include drummer/percussionist Alex Acuña, who gets the spotlight on “Cajón y Tecla,” a Corea-inspired piece that brings out the percussive nature of both artists. “Raíces” is another standout track, combining acoustic and electric piano in this varying-tempo piece that twists and turns while keeping the energy high, and also features Panascia on a grooving bass solo. Additional guests on the date include vocalist María Nahíma, who is featured on “En Silencio,” and guest cuatro-player Quique Domenech, who adds some typical flavor to the funky and angular danza “De Un Pájaro Las Dos Alas,” a tribute to the eternal bond between the islands of Puerto Rico and Cuba. Father & Son is not only fresh and intimate, it showcases Negroni’s unique approach to the Latin-jazz medium, showing us that it is indeed possible to say something new.

Negroni's Trio Live

The Latin jazz Corner


Latin Jazz piano trios place musicians in a thought provoking position; it requires them to consider a balance between freedom and constriction. Latin Jazz piano trios generally utilize drum kit, leaving the group without any percussion. In most Latin Jazz settings, percussion creates an immediate connection to Latin traditions, clearly defining the music’s Latin heritage. Without this easy path, the group freely implies the original styles, sometimes playing fusions of Latin styles and other music. This freedom benefits the group in some ways, providing the ability to compose without the strict clave guidelines. The further the group strays from the original styles though, the less their music sounds like Latin Jazz. They run the risk of playing watered down versions of Latin rhythms that sound more like exotic rock than authentic Latin Jazz. It’s a fine balancing act, and the trio must carefully compose songs that balance these elements. Negroni’s Trio finds a powerful line between these two ideas on Father and Son, presenting a strong group of compositions and arrangements that clarify their personal vision while maintaining a connection to Latin traditions.

A Strong Connection to Latin Roots
Some songs retain strong connections to Cuban rhythmic styles, giving the compositions a solid conceptual foundation. “De Un Pájaro Las Dos Alas” brings together the Cuban danzón and the Puerto Rican danza with drummer Nomar Negroni’s rim shots, pianist Jose Negroni’s elegant melody, and Quique Domenech’s cuatro. Steady piano breaks and Nomar’s sparse drums make room for bassist Marco Panascia’s improvisation, full of blues licks and quick runs. A texture change welcomes alternating ideas from Domenech and Jose, until a piano and bass vamp leaves space for Nomar’s complex fills. Panascia’s funky bass line establishes a modern songo groove on “Your Melody,” broken by the melody’s open feel. The Negronis develop an aggressive funk vamp for Panascia’s soulful statement, which transitions into an extended interlude. Nomar and Panascia drop into a timeless feel, allowing Jose to build from a whisper into a storm of rhythmic invention. A series of band breaks leads the group into a dramatic melody over a clave-driven groove on “Father & Son.” José’s solo enters with dignified phrasing over a march rhythm, until a modern son montuno provides the opportunity to stretch the time with polyrhythmic ideas. After a return to the introduction, José and Panascia play recurring breaks, leaving room for Nomar to develop an intriguing drum solo. Jose’s personal interpretation of a classic melody opens “Bésame Mucho,” complimented by Panascia’s intertwining lines. Nomar transitions into a bolero for José’s thoughtful improvisation, which weaves between references to the melody and his own creativity. José introduces more rhythmic lines while Panascia plays an active bass line, subtly transforming Nomar’s bolero into a funky groove. Each song here retains an identifiable connection to the music’s Latin roots, strengthening the already intricate compositions.

Stylistic Implications and Strong Compositions
The trio implies musical elements to build a link to Latin style, allowing his compositions to hold the music’s weight. Jose’ opens “Raíces” with a rubato electric keyboard until a call and response run between piano and bass introduce the melody. The group carries the main melody through a long series of thematic developments, ending with an electronic keyboard solo from José. Panascia displays impressive virtuosity and a strong understanding of clave as he improvises over the sparse texture of Nomar’s drumming. A tense run leads into a rhythmic piano part countered by Panascia’s bass line on “Teatro.” While the song implies Latin styles, the compositions’ dramatic contrasts and the tight coordination between the drums and piano provide the power. José plays a solo that follows the song’s emphasis on extremes, going between quick virtuosic lines and open phrasing. José establishes a melodic vamp in 6/8 that Nomar counters with a double time polyrhythm, leading “50 Years” into its melody. The band explores a variety of variations on the 6/8 feel, moving through a complex composition into José’s solo. He emphasizes melodic development, leaning upon syncopation to build rhythmic tension until a striking interlude transitions back to the melody. Negroni’s group holds a link to Latin styles without blatantly exposing them, focusing upon carefully constructed compositions.

Exploring a Variety of Directions
Negroni steps completely outside of the Cuban tradition for some songs, exploring a wide variety of directions. A unison break leads José into a strong theme over percussionist Alex Acuña’s Peruvian cajon on “Cajón y Tecla.” José performs a short solo based upon melodic exploration, returning to the song’s opening break. Acuña attacks a ferocious roll to begin his solo, leading into an inventive rhythmic statement that both defines his voice and compliments José’s comping. José plays flowing arpeggios against an airy groove on “Cielo Azul,” until a series of band breaks moves the group into a driving swing section. As the rhythm section continues to move between swing and son montuno rhythms, José creates a startling statement that boldly weaves through the different styles. Nomar ends the song with an extended and unaccompanied drum solo that explores space and texture, employing a variety of techniques and colors. Maria Nahíma’s striking voice opens “En Silencio” alone, gaining strength as the trio enters behind her. José supportively provides a variety of chordal colors while Panascia and Nomar establish a solid rock feel underneath Nahíma’s passionate phrasing. José briefly asserts himself as a soloist between vocal breaks, presenting a much more subdued improvisatory voice. These pieces allow the trio to display a wide range of influences, while maintaining their individual voices.

Taking Latin Jazz Trio Performance to a New Level
Negroni’s Trio brings out the best elements of Latin Jazz trio playing on Father and Son, presenting a highly personal approach that maintains authenticity. The group demonstrates a thorough understanding of Cuban and Puerto Rican music throughout the album, referencing both rhythmic structures and traditional phrasing. Although they often embellish the original styles, their deep knowledge allows them to imply the genres without loosing their essence. The album’s complex compositions strengthen the trio and provide momentum to their overall concept. The songs generally exist outside the norms of jazz standards, utilizing extensive melodic development and longer forms. The precise correlation between trio members creates a powerful sound; everything played by the trio members during composed sections relates to the larger structure. When the trio members improvise, the almost telepathic communication between the soloists and rhythm section consistently pushes the group to exciting levels. Negroni’s Trio successfully performs the balancing act between freedom and authenticity; in fact, they make it look easy, taking Latin Jazz trio performance to an exciting new level.

Nomar Live

All Music Guide

by Alex Henderson
One term that is being used more and more in the jazz world is Afro-Cuban jazz. The term is used out of a desire to be specific; Poncho Sanchez and others who are mainly interested in combining jazz with Afro-Cuban rhythms (son, guaguancó, cha-cha, mambo, danzón, etc.) have a different approach from, say, a pan-Latin jazzman like pianist Danilo Pérez (whose interest in Latin music includes not only Afro-Cuban salsa but also, a variety of South American rhythms). So where does Negroni's Trio — a threesome consisting of José Negroni on acoustic piano, his son Nomar Negroni on drums and Jaime Rivera on electric and acoustic bass — fit in? Essentially, they're a post-bop group that is capable of playing both Afro-Cuban jazz and non-Afro-Cuban Latin jazz. José Negroni, a hard-swinging virtuoso whose influences range from Chick Corea and Keith Jarrett to Michel CamiloEddie Palmieri andIrakere founder Chucho Valdés, wrote or co-wrote most of the songs on Piano-Drums-Bass — and quite often, his playing and writing underscore his love of salsa and Afro-Cuban rhythms. But not all of the Latin rhythms that are heard on this 2004 release originated in Cuba, the birthplace of what came to be known as salsa. "Los Duendes," for example, has a strong Spanish flavor — the piece isn't unlike some of Corea's more Spanish-minded compositions — while "Bougainvillea" is Brazilian-influenced and "Mavi" employs the Puerto Rican bomba rhythm. Nonetheless, everything on this CD is relevant to Latin music in some way; that is true of the original material as well as interpretations of Wayne Shorter's "Footprints"  and George Gershwin's "Summertime"." And the album, although not innovative or groundbreaking, is consistently enjoyable if one is open to hearing a variety of Latin jazz.


After teaching for seventeen years at the prestigious Conservatorio de Música de Puerto Rico, pianist José Negroni moved to Miami. In 2003 his trio released its first CD, Naturaleza/Nature, followed last year with Piano-Drums-Bass (both on Universal Latino). As part of a new wave of Puerto Rican musicians whose music goes beyond traditional salsa forms, Negroni and his band, which includes his equally virtuosic son Nomar on drums, combine a hard postbop style and a lyrical classicism with their Latin roots. It's a little Chucho Valdes with a bit of Chick Corea. And while Negroni's music has been gathering critical acclaim on a national scale, he can still be heard pounding the keys at local jazz joints like Van Dyke Café. Readers´ Choice: Nestor Torres

Negroni Editors Pick:;;46

By Peter Watrous
Jose Negroni's the pianist here, and the leader; he's a longtime educator and pianist based in Puerto Rico. He's joined by his son Nomar on drums and Jaime Rivera on electric and acoustic bass. The music ranges from originals to cleverly reworked jazz standards-"Summertime" gets a repeating bass line-and through it all Negroni's improvising, heavily based in the European classical tradition, sparkles with intelligence. Ed Calle, the saxophonist, is on a few tunes. Sammy Figueroa Percussion on "Mavi.

O's Place Jazz Newsletter 

by D. Oscar Groomes
CD Review Negroni's Trio - Piano/Drums/Bass 3/4

O's Notes: The Trio is pianist Jose Negroni, Nomar Negroni on drums and bassist Jaime Rivera. Each of the players has a formidable game which is very apparent from the opener, "Los Duendes", a syncopated tune with a rapid pulse. Jose wrote 8 of the 10 tracks, the balance being cool covers of "Summertime" and "Sentimental Mood", the latter with a warm sax solo from Ed Calle. It's a nice balance culminating the fusion laced "Rev It Up".

All About Jazz

by Jim Santaella
Forging ahead with his exciting contemporary jazz celebration, pianist José Negroni sparkles with unrestrained passion. His forceful keyboard work brings each interpretation into view head-on, with no holds barred. The trio's “take no prisoners” physicality gives its audience a highly rhythmic affair with unbridled powers of persuasion. Negroni, with his son Nomar at the drums and Jaime Rivera on electric bass, delivers a dramatic lesson in piano power. His physical attacks on the keyboard result in a highly percussive and forceful performance.

Wayne Shorter's “Footprints” charges ahead at full speed, with no room left for thinking things over. George Gershwin's memorable “Summertime” follows a similar path, scooting rapidly over an established theme and leaving little to the imagination. Negroni doesn't like to slow down. He prefers to blaze a percussive trail and dares his audience to keep up.

“Red Light” doesn't mean stop. It signals the trio's drummer for an extended solo. Piano and bass eventually join him in a fiery exposition on a classical theme. Similarly, “On Time” and “Rev It Up” indicate the kind of solid desire that pushes hard. Piano, drums, and bass build fires and keep them burning brightly. Audio samples are available at

Father & Son

Radio Show - "Still Another Jazz Show" (Sacramento, CA)

by Dick Crocket
Next segment begins with NEGRONI'S TRIO with pianist Jose Negroni, drummer Nomar Negroni and Jaime Rivera on electric/acoustic bass. We played "Red Light" with Nomar's drum opening somewhat reminiscent to Art Blakey's frenetic intro to "Night In Tunisia." This is pure modern Cubanisimo with a quick smooth.

Jose's piano runs textured with funk and the electric bass. Nothing placid about this. So rapid in a pure modern sense and yet with signature Cuban runs. There are very unique jazz time signatures on Wayne Shorter's "Footprints", "On Time" and "Rev It Up",_ with Ed Calle and a stellar performance on soprano sax on Negroni's "Sentimental Mood". "Negroni's trio" is an excellent modern Latin jazz CD.

Audiophile Audition Magazine

by John Henry
A simple and unassuming little CD in a cardboard package, but it packs a wallop of fiery Latin jazz licks. As one of the tunes is titled, they really do Rev It Up. Without a big percussion section this little trio burns thru ten tracks - mostly originals but two surprises: One is a chance to hear a really alternative version of Wayne Shorter’s Footprints that’s a kick, and the other to dig a Latin version of a tune you probably never thought of that way - Gershwin’s Summertime. Good sonics assists the impact of the tasty tracks; this is the best piano trio disc I’ve heard in some time.

Tracks: Los Duendes, Waiting for You, Mavi, Summertime, Sentimental Mood, Bougainvillea, Red Light, Footprints, On Time, Rev It Up

Nomar Negroni

For More Information please contact Nomar Negroni:
Tel. 786.269.6243 or