By: Matt Warnock
Photos courtesy of N. Riveros.
There is something about Latin Jazz that just feels good, when it’s played well that is. A lot of modern jazz has moved beyond its roots as dance music, pushing the boundaries of harmony and melody in new and exciting directions, but nobody’s going to dance to it.
This is why Latin, and Brazilian Jazz for that matter are so much fun to listen to. The top players in these genres know how to keep that deep groove, all while bringing advanced harmonic concepts to the mix.
By doing so they not only appeal to folks who like to get up and cut the rug, but also to those who like to be intellectually stimulated when they listen to a jazz record or concert.
New York guitarist Nelson Riveros is a player who floats between the worlds of danceable groove and sophisticated jazz. His playing is modern in his approach to soloing and harmony, but his songs also possess strong Latin beats that will have everyone in the room groovin’ to his tunes.
His latest recording, Camino Al Barrio, is a testament to the dual nature of his playing. The guitar work is first rate as Riveros twists and turns through the chord changes with ease and a thoroughly modern harmonic understanding.
At the same time, the rhythm section is always deep in the pocket, keeping a strong focus on groove and allowing the soloists to do their thing.
Guitar International recently caught up with Riveros to talk about his new album, gear and the importance of jazz guitar education.
Nelson Riveros
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Matt Warnock: The album features a quartet with keys. Do you find that you have to alter your playing at all when there’s a pianist in the group as opposed to a trio setting?
Nelson Riveros: For the music on the CD, the piano was an integral part of the ensemble. There are a lot of sophisticated harmonies that were written with the sound of the piano in mind. Therefore, when I improvise I need to hear those particular chords, and I may alter my playing according the voicing’s that the pianist is using, if I can do it on the fly that is. Playing this music in a trio setting would be more challenging, both in regards to the melodies and the improvising.
Matt: When you were writing these songs did you have a particular ensemble in mind, or did your come up with the quartet arrangement and pick the musicians after the material was written?
Nelson Riveros: As I was getting closer to finishing the music I started to think of the players that I wanted to include on the project. I knew what they would be able to bring to the music once we recorded it. Pianist Hector Martignon was an obvious choice for me for his experience, arranging and composing skills. He was very helpful in putting the music together.
Matt: The album sounds very relaxed and organic, with the improvisations sounding very in the moment. How many rehearsals did you have before going into the studio and did you often use first takes once you started laying down tracks to keep that freshness alive on the recording?
Nelson Riveros: I’m glad you hear the album as relaxed, organic and in the moment. In New York with so many great musicians that are all very busy, it can be very difficult to rehearse. We only had one rehearsal, then a gig the night before the recording. Even though we only did two takes for every tune, we did go back later to redo some solos and melodies and overdub some percussion where needed.
Nelson Riveros
Matt: You’ve had some great teachers over the years, including Gene Bertoncini and Pete McCann. What were some of the biggest lessons you learned from studying with these great musicians?
Nelson Riveros: One of the lessons I learned from Gene and Pete was how to really learn a tune. They taught me how to get inside of a song and learn the nuts and bolts of it; the melody, the harmony, the scales and melodic approaches to use when improvising over the chord progression.
Matt: Now that you are an accomplished teacher yourself, do you find that your playing influences your teaching and vice-versa?
Nelson Riveros: Yes I do find that my playing influences my teaching. I’ve had a wide range of students and I’ve passed on much of what I’ve learned in terms of learning songs and improvising. I’ve also taught the importance of dedication and patience.
Matt: What guitars are you using on the record and why are you drawn to those particular instruments?
Nelson Riveros: For the electric I used a ’68 Gibson ES-335 that I’ve had for many years and the nylon string guitar is a Takamine CP-132 SC that I believe they don’t make any more. I like the feel of the Gibson. The Gibson’s sleek neck and it very comfortable and versatile. The Takamine just has a beautiful sound no matter what I plug it into. And it has a wide neck like a classical guitar.
Matt: What amps are you using and does your studio setup differ at all from your live rig?
Nelson Riveros: The amp I used on the recording was a Fender Twin. It’s the best amp that Fender makes. It’s very heavy. It has a clean, clear sound with a lot of character. For live shows I’ll sometime use a Tech-21 Trademark 60. It’s a very reliable and consistent solid-state amp. I particularly like the drive and punch features. I set those just enough to give my guitar slight edge. For effects I use a Digitech RP 200 with reverb and a bit of delay. I use another patch with the same and added distortion from one if the amp modules. I also use a Boss Blues Driver.
