Described by the artist as a rich cultural dialogue, El Rumbón (The Party) is the 2025 album by master pianist Andy Nevala. The Colorado native, based in Georgia, is truly a Latin Jazz maven. Mixing straight ahead jazz with Latin and Brazilian jazz and Afro Cuban rhythms, El Rumbón (translated to The Party in English), features an impressive exchange between jazz musicians including Andy Eulau (bass), Frankie Quiñones (percussion), Emrah Kotan (drums), as well as Neff Irizarry (guitar) and Carlos Averhoff Jr. (sax). Recorded in Alabama and Georgia during 2023 and 2024, the studio sound is crystal clear with the Latin percussion sparking up the high-octane jazz sounds.

While the sound is presented in the realm of Latin and Brazilian jazz, the music itself draws on classic jazz and spotlights timeless compositions penned by Dizzy Gillespie “(A Night In Tunisia”), Antonio Carlos Jobim (“The Girl From Ipanema”), Herbie Hancock (“Butterfly”), Thelonious Monk (“Bemsha Swing”), John Coltrane (“Countdown”) as well as those from the pop world including Sting and modern day Cuban pianist virtuoso Gonzalo Rubalcaba. Interestingly, El Rumbón (The Party) kicks things off with an upbeat Latin jazz instrumental cover of Stevie Wonder’s 1976 R&B favorite “Isn’t She Lovely”.

The 10-track, 55-minute album was released on the NYC-based Zoho Records label with the set being produced by the artist and Zoho chief Joachim “Jochen” Becker. In his detailed liner notes, Nevala adds, “I try to be the bridge between old and new,” adding “I want to make sure people understand where this music comes from while also pushing it forward.” With its mix of timeless classics from a wide range of songwriting masters, all given the Latin Jazz treatment, Andy Nevala’s El Rumbón (The Party) sets a new standard in Latin and Afro-Cuban jazz. 

 

RMR Speaks With Andy Nevala

RMR: Can you tell us where you were born and where you live now? How did you develop your passion for Latin and Brazilian jazz and does some your family have roots in those countries where that music emanates from?

Andy Nevala: I was born in Denver, Colorado, and now live outside of Atlanta in Rome, Georgia. My father is a military veteran, so we moved around a lot when I was a kid, and I have lived in many different places. I am currently Director of Jazz Studies at Jacksonville State University, in Jacksonville, Alabama, and living in Rome allows me an easy commute to both Atlanta and JSU.

I have always been drawn to Latin Rhythms. The first Latin musician that really connected to me was Tito Puente with his mix of Jazz and Latin. Sonny Bravo on piano connected everything together, and I knew that was what I wanted to play. When I returned to Colorado for graduate school in the 1990’s, I started playing with Conjunto Colores, a salsa band in Denver that is still performing. Those guys gave me a stack of CDs, which included ChuCho Valdés, Giovanni, Papo Lucca, Eddie Palmieri, all the greats, and said “now get it together.”

There is also a great radio station in Denver, KUVO (89.3FM). They were playing all this great stuff, Latin Jazz, you name it, and I could listen in the house or in the car and learn something. They were also great people, too, and would support local musicians. They would let us play live on the radio, they would come to gigs; really, it was a tremendous experience that you don’t see in most places.

 

RMR: Tell us about the group of musicians that recorded with you on El Rumbón (The Party). How did you meet and then organize the line-up of musicians for the sessions and how would you describe the chemistry between you and these musicians during the recordings?

Andy Nevala: We all met playing in the same Salsa band in Atlanta, Orquestra MaCuba. That group performs at least twice a week, and many different musicians cycle through. When I first heard Frankie Quińones, I knew right away I needed to include him in anything I was going to do. He’s got that Puerto Rican fire that can’t be described, but only understood once you hear him play.

Emrah Kotan is one of the most incredible drum-set musicians I have ever played with. He hails from Turkey, and went through the conservatory system there. The odd-meter stuff we do, at fast tempos, is right up his alley. He makes it very comfortable to play over. On bass is Andy Eulau. He moved to Atlanta from New York, where he was playing with all the great Latin and Jazz musicians. His experience and knowledge of the Clave and Latin styles hold it all together for us.

The chemistry is great... we have done some touring and that always brings a group closer together. This past summer we did a two-week tour of Spain, highlighted by a performance at the Grenada International Music Festival – an amazing experience!

 

RMR: Most of the tracks on El Rumbón (The Party) are well known in the jazz world but several are kind of rarities. How did you find the track “Lamento Cubano” by Cuban pianist / composer Eliseo Grenet?

Andy Nevala: I first heard this song on an album by Bebo Valdés, El Arte del Sabor, released in 2001. His arrangement, in the way the harmonies are constructed, is full of emotion and feeling. It starts in D minor, and has a sad beginning, and after a short journey, turns to D Major, and that’s then you feel the joyfulness in the song. Songs like this are why I play music… the music has an effect on emotions and the heart.

 

RMR: The Jobim track you cover is very straight ahead. Do you think that “Ipanema” is his most famous track? He has so many songs that are equally brilliant. Would you consider covering one of his lesser known songs like “Mojave” or “Corcovado”? What is your favorite Jobim song and/or album and period?

Andy Nevala: “Ipanema” is probably the best known song from Jobim. It’s been done in so many different versions, from elevator music to orchestral arrangements. Our version came from the great Brazilian pianist Eliane Elias, on a recording she did with Michael Brecker. She changes keys in nearly every section of the song, which brings it to life!

I love “Corcovado” as well and am working on an arrangement for the next recording. Jobim’s approach is silky smooth, in both the way he constructs the chords and in his comping rhythms. If you want to know what a Bossa Nova should sound like, listen to Jobim playing with Gilberto.

My favorite Jobim album is actually Getz/Gilberto, from 1964. Jobim plays piano, jazz great Stan Getz plays sax, and João Gilberto plays guitar. To me, this is a perfect album, and definitely in my top five albums of all time.

 

RMR: The title track “El Rumbón (The Party)” is very unique. Who wrote that? It sound a bit like McCoy Tyner and it has some amazing percussion. It’s also the longest track on the album. When did you first hear that one and what else can you tell us about the title track?

Andy Nevala: This is from a ChuCho Valdés album, Briyumba Palo Congo, or (in English) Religion Of The Congo. We took the melody and put our own Latin jazz twist on it. I’m glad you mentioned McCoy, because he has been a huge influence on my playing! This track is different from the other jazz tracks because when we finally get to the solo section, it’s over one chord.

All those other harmonies you hear are being superimposed over the root, using 4ths, much like what McCoy Tyner was doing on some of those great jazz albums he played on. After the piano solo we let the percussion guys have at it. The way those two are locked in on this one is amazing, and it really comes to life.

 

RMR: Did you decide on the track lineup of songs covered here or did someone else have input on what tracks would work best for the recording sessions? Do you consider yourself a musical historian when it comes to legendary jazz or does that come second to being a seasoned musician and recording artist?

Andy Nevala: Most of these songs are all songs from albums I listened to that influenced who I am as a musician, and are songs I always wanted to play, because they had a certain energy and vibe.

Some of these arrangements I’ve been working on for years, while others just “happened” in the recording sessions. You never know when inspiration is going to make its presence felt, so to speak. The guys in the group all contributed, from suggesting songs to try to helping put together the arrangements. We tried to put together a good mix of things that best showcases what we can do, and I hope listeners enjoy it.

I don’t consider myself a musical historian, but a musician who has been fortunate enough to learn from some of the best, either watching live, playing with, or listening to the recordings, and I can’t thank everyone who has been a part of my career. I feel we never stop learning, and as you dig deeper into a style or genre, you realize just how much you really didn’t know.

 

RMR: How did you join forces with Zoho Records and how involved was Zoho Records chief Joachim “Jochen” Becker and what did he bring to the album? It’s an amazing label with so many classic albums and will you stay on the label for your next album?

Andy Nevala: Jochen has been great! Once we had a finished product, I sent him the mixes to see what he thought, and he was willing to put this record out. I knew it was a great label to be on for a pianist, as there are several world class Latin jazz pianists on it, and to just be on the same label as them is a tremendous honor and privilege. I would love to put out the next one on ZoHo! I am in the process of flushing out new material as we speak.

 

RMR: I heard Gonzalo Rubalcaba’s music before or rather his musicianship as I actually wrote liner notes for an album he played on. Did you meet him before and what album by Gonzalo do you recommend? Tell us something about “Los Bueyes”, the Gonzalo track on your new album.

Andy Nevala: I have not met him, but I love his music. He is taking the traditional Cuban songs and sending them into the future, without a doubt. My favorite album of his is Paseo, released in 2004. Everything about it is just tremendous. From the engineering and mix, to the arrangements, to the use of synths to fatten up the sound, I love every track. His playing is incredible, too. Check this album out!

 

RMR: Tell us about recording El Rumbón (The Party). You said it was recorded in both Jacksonville, Alabama and in Atlanta, Georgia. Did you record live with the musicians or was there overdubbing? Was it a challenge to assemble all the musicians in the studio at the same time?

Andy Nevala: We did two sessions in the studio at Jacksonville State University, and one session in Atlanta at 800 East. At JSU, it was a live performance setup, with no options for isolation so what you hear is what we played. At 800 East, we recorded tracks for the guests that appeared on the record, and once we laid down the tracks, I sent them to Carlos Averhoff (sax) and Neff Irizarry (guitar). They recorded their parts at studios near them and sent them in.

 

RMR: What piano did you record the album with? What are some of your favorite piano’s and do you play other instruments like synth or electric pianos (Rhodes) or other instruments and do you have any gear endorsements?

Andy Nevala: I recorded the first session on a Steinway Concert Grand at Jacksonville State University then the rest were on Yamahas. I own a Yamaha C-3 Grand, and I think they are the best for playing Jazz and Latin music. Yamahas have a lighter action, a brighter tone, and are more forgiving than a Steinway.

For other gigs, I use Yamaha keyboards, going back all the to the old S0-8’s to the current Mox line. Yamaha keyboards all have a great piano sound, weighted action, and can take a beating. Love them.

I don’t have endorsements, but it would be Yamaha for sure if it were up to me. I also own a Fender Rhodes and a Hammond C-3. I do a lot of recording for other projects and these come in handy!

 

RMR: What other plans do you have for 2025 and into 2026 when it comes to writing, recording and performing live concerts? Will there be a follow up to El Rumbón (The Party) at some point?

Andy Nevala: We are trying to get back to Europe in the spring for another tour, and looking to play jazz clubs and festivals here in the US. I’m working on new arrangements for the next project, which will also include many originals this time around. I’m looking forward to going to Cuba in March with the Jacksonville State University Jazz Studies Program, that should be an amazing experience!