As for songs not their own, tunes by Perez Prado and Israel “Cachao” Lopez are well done and feature the only vocals you’ll find on the album, all done in a well-harmonized chorus. But it’s the Rachmaninov “Prelude” that’s the inspired choice. I’ll allow that some will find it gimmicky, but I’m totally on board (just like with Megan Jo Wilson and her Tears for Fears — and you don’t have to pay publishing rights for Rachmaninov). It puts the talented Reed on display early, playing fairly straight-up, and then alters the rhythm and switches into a Latin take (obviously). It’s like classical with the hiccups. But it reaches a second level when the horns come in, house afire. Reed’s straight finish provides a fine bookend.
What all of this adds up to is a statement of ownership by a talented gang of 10. It could be nothing more than homage and still be positively received by a certain portion of the audience starved for anything not 100 percent all-American. But the seamless incorporation of jazz elements, especially, speak of a band who are merely using a genre for their purposes, who didn’t simply decide to play salsa on a lark, or simply to be unique, but who can’t imagine playing anything else.
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Sam Pfeifle: sam_pfeifle@yahoo.com
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New England Music News
, Entertainment, Music, Miles Davis, More 
, Entertainment, Music, Miles Davis, Perez Prado, Megan Jo Wilson, Tears for Fears, Less 
