The only album ever recorded by Peruvian sax player Nilo Espinosa and his group, also known as the Nil’s Jazz Ensemble, remains not only a grail item for collectors of Latin-American jazz but also as an outstanding piece of music, seamlessly flitting between Jazz Fusion, Funk and Latin modes in it’s own particular style. After being unavailable for many years—having previously been reissued back in the 1990s—Vampi Soul present the 1976 album in its full glory, with remastered sound and original artwork, including a replica of the rare promo poster that initially came with the album.
The set begins with “Reflexiones” which was a well known Jazz-Dance cut, a funky track dominated from the get go with a cry-baby clavinet and light, airy drumming punctuated by open and closed hi hats and light snare rolls. Written by the groups pianist Miguel Figueroa, the track is a reflection of his musical sensibilites according to the original liner notes, imbibing certain mystical and delicate characteristics. He heightens the atmospherics of the track by incorporating a Mellotron keyboard—among other FX and analogue keyboards—adding the texture of a string section and an overall ethereal quality to the music. Espinosa’s soprano sax noodling doesn’t go amiss. He shares similar tones with the likes of Kathryn Moses and Grover Washington Jr and combines with Pancho Saenz on horn for a supple duet. “Summer Love” is a loose and catchy break with the inclusion of a wah wah electric guitar, homing in on the groove over the top of soulfully harmonized brass and slinky electric piano movements. “Black Angel” errs more towards the Latin-Jazz spectrum, Espinosa putting down his saxaphone in lieu of flute duties, Jorge Montero stepping up the rhythm section with his deft conga playing while also performing on the kit. “Siempre” is a jovial samba dotted with Latin percussion—from agogo bells, vibraslaps and numerous shakers—with a suprisingly funky organ solo that screeches into action around the midway mark, a track that bears resemblences to Lonnie Smith’s “Straight To The Point”. The set ends with a cover of the John Handy track Hard Work, a joyful an swinging rendition with Espinosa keeping things close to the original with some fine alto soloing.
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Check out the full album below
