Carlos Jimenez

Musicians Heats up White Plains with Salsa
Posted by Editor
Friday, 23 May 2008
White Plains, NY - Internationally renowned jazz flautist Carlos Jimenez will heat up White Plains with the sounds of Latin America for a Hot Night of Salsa on Saturday, May 24th beginning at 7:00 pm, at the Arts Exchange, 31 Mamaroneck Avenue, in White Plains.

Joined by bassist Gregg August and celebrated pianist Gilberto “Pulpo” Colón Jr., Jimenez will perform Latin dance standards from such greats as Tito Puento and Cachao as well as his own original compositions.

Called a “stellar” and “compelling” musician and marked as a “prominent figure” in the world of Latin music, Jimenez has received international praise for his artistry since his debut Latin Jazz album, Arriving, in 2005. Jimenez, a Yonkers, New York native, began his musical education in Puerto Rico, learning the rhythms and soul of the Latin sound from the source itself. As a performer and composer with a diverse musical background and deep passion for Latin music, Jimenez brings a distinctive style to the Latin standards of the late 60’s & 70’s and to his own unique compositions.

The dance floor at the Arts Exchange will be primed for a Hot Night of Salsa when Jimenez will perform the salsa, mambo, and cha cha for Latin dance enthusiasts. Instructors will be on hand to help amateurs learn the steps while those who have already mastered the mambo can dance the night away. Bassist Gregg August and pianist Gilberto “Pulpo” Colón Jr., will join Jimenez for the evening. Pulpo has achieved legendary status as a Latin pianist, a master who captures the “very essence” of the Latin sound. Considered “one of the most exciting and innovative musicians on the scene today,” August is a jazz celebrity in his own right and was featured on Jimenez’s 2006 album El Flautista.
WESTCHESTER.COM - WESTCHESTER.COM (May 23, 2008)
- WEstchester.Com

Jazz flutist Carlos Jimenez was born in New York and studied in Puerto Rico, getting immersed in the country's music idiom for life. After high school, he moved back to New York and studied at the Westchester Conservatory of Music, where he found numerous teachers and fellow students who felt the same way that he did about jazz. Aiming for a wide spectrum of the genre, his teachers and mentors have included pianist Hilton Ruiz, saxophonist Bobby Porcelli, flutist Dave Valentin, pianist Mike Longo, saxophonist Mario Rivera, and pianist Sonny Bravo.
The program explores mainstream jazz as well as Latin jazz. Slow boleros and up-tempo mambos show several sides of the artist and his all-star band. With the albums feature centering on Jimenez' flute, we're treated to a fiesta of good times that wax lyrically gentle and rhythmically complete. While the songs are mostly his own compositions, the aura of the affair speaks more in terms of the music of Dizzy Gillespie. The program shows a deep love for pure Latin jazz.
Jimenez' brother Willie plays timbales and Chembo Corniel plays congas for a solid percussion foundation. Bassist Gregg August gives the session both a welcome rhythmic lilt and a highly effective harmonic flavor. David Braham, a substitude for Hilton Ruiz, turns in an exciting performance that brings cohesion to the ensemble as well as adding another powerful solo voice. Meanwhile, Jimenez' flute remains the center of attention--for a darn good reason: he's terrific. Wht a lovely tone that floats over the preceedings and a fluid technique that weaves seamlessly through the session, his flute provides the glue that makes this session a solid winner. There are no points, since each selection scores in the top percentile. Jimenez closes the program with "New Arrival," a musical memorial to pianist Hilton Ruiz, who passes away last year at the age of 54 from injuries sustained while working on a Hurricane Katrina benifit project in New Orleans. His dedication to the jazz community served as a role model for the rest of us,and won't be forgotten. Jimenez and his stellar band carry the torch well.

By Jim Santella
JIM SANTELLA - JAZZ IMPROV MAGAZINE (Sep 1, 2007)
- By Jim Santella

Carlos Jimenez @ Enbreve Latin Jazz

"El Flautista" that is the title of Carlos Jimenez's latest CD, and once again, this talented flutist, band leader, composer arranger and producer delivers a quality CD. From the first number to the the last, every track is a testament to the quality of this collaborative work. New Arrival, a song written by the late Hilton Ruiz and arranged by the ensemble as a homage to Hilton. What can we say? Carlos you did it once again, great work!!!. Accompanying Carlos on this CD are David Braham - Piano, Guillermo Jimenez - Timbales, Greg August - Bass, Chembo Corniel - Congas, Percussion. Featured Performers on this CD include: Bobby Porcelli - John Walsh, trumpet
John Irizary - @ Enbreve Latin Jazz (Dec 4, 2006 - John Irizary

There is no doubt that for a large part of the movie-watching population, jazz flute will instantly call to mind Will Ferrell’s heroically unhinged performance on said instrument in a scene from Anchorman: The Legend of Ron Burgundy. That Ferrell is now synonymous with jazz flute in some quarters says something, although I’m not exactly sure what. Regardless, Carlos Jimenez approaches the flute on Arriving in a traditional manner, without a sense of irony.


The great danger of playing flute in a jazz setting is that the light breathiness of the instrument can evaporate into the ether, leaving listeners with nothing to hold on to. Luckily, Jimenez solves this problem by ensuring that the music behind him has a heavy percussive base. For the most part, the rhythm section locks into a solid timbal and conga-spiced groove while Jimenez solos freely on top. The contrast between the high and low makes both ends that much more compelling and vivid.


Four of these eight tracks feature guest musicians who help keep the sound fresh and evolving. Violinist Lewis Khan’s appearance on “Flute & Violin” is particularly stimulating. Khan and Jimenez play over a Middle Eastern-tinged melody that is both exotic and alluring. On Miles Davis’ “So What”—incidentally, the only track not composed by Jimenez—Dave Valentin also sits in on flute, with a deeply hypnotic result.


Arriving is a fine display of mellow Latin jazz on which the high points outnumber some of the more generic tunes. And, just in case fans of Anchorman may be wondering, the album does not feature a quote from “Aqualung.”

-All About Jazz - October 7, 2005
761 Sproul Road, #211
Springfield, PA 19064 - Stephen latessa

New York City is home to a thriving Latin jazz scene, including several fine flutists, Andrea Brachfeld, Mark Weinstein, Jessica Valientes and recent Grammy winner Dave Valentin. Carlos Jimenez is a new addition to this fold and this is his debut CD appropriately entitled Arriving.
Jimenez arrives after a number of years paying his dues, some in his birthplace and current home of Yonkers, some in Puerto Rico where he spent several years. Since taking up the flute he has studied with some fine Latin players, Mitch Frohman from Tito Puente's band, Mario Rivera, Bobby Porcelli, who appears on this recording, and, more recently, Dave Valentin who also puts in a guest appearance. Jimenez also attributes much of his inspiration to pianist Mike Longo. These influences can be heard in Jimenez' flute work; he has a good full sound, a secure rhythmic sense and a good flow of invention in his improvisations. He has wisely chosen to center his rhythm section around a seasoned veteran–pianist Hilton Ruiz, with whom Jimenez has also studied. With Ruiz at the controls the rhythm section snaps and crackles. Jimenez takes central stage as soloist but leaves room for Ruiz, plus cameo appearances by Khan, Porcelli and Valentin, the latter on the final track, the only one not an original composition by Jimenez. It says something for Jimenez' prowess as a flutist that it is hard to tell him and Valentin apart!

This is certainly a fine debut for a new artist. Along with his flute work, he also contributed seven original compositions. On the whole these are strong, with the usual Latin vamps and grooves, bossas and cha chas, with one slower ballad, My Allison. One caveat. If I had been the producer, I would have suggested leavening these with one or two standards. Jimenez' originals are not quite distinctive enough to carry the whole album. Dave Valentin, Jessica Valiente--these are good composers, but their recordings benefit from a program that mixes their originals with traditional Latin forms and/or jazz standards. I think such a formula would serve Jimenez well on his next recording, which I look forward to hearing.



Tracks: Tomando Café, Flute & Violin, Natalie's Cha Cha Cha, Arriving, Tunnel of Flowers, My Allison, Que Paso?, So What

Reviewed by: Peter Westbrook - Peter Westbrook

Carlos Jimenez, Arriving. A tasty Latin jazz debut from this promising New York flutist. ...

Flute is a scary instrument; jazz flute doubly so. Too often flute players fall back on either candy sweetness or the tired breath tricks that Ian Anderson has been doing with Jethro Tull for more than thirty years now. The instrument suffers as well by its overuse in Muzak and tepid soft rock, to the point where people reflexively assign flute music to the "eww" file. For my part, all the great jazz flute players who push my buttons (and that's not many, owing to my own ignorance) are experimenters who use the flute as a tool to explore the outer limits rather than just play some good old straight music.

All this goes triple for Latin jazz flute, where the light tone of the instrument can get buried underneath an avalanche of percussion. It's a neat trick, then, that Yonkers, NY native Carlos Jimenez has pulled off. As a young Latin jazz flutist, he has made an album that leaves the flute front and center, counterbalanced by a rhythm section that for all their propulsion and weight still leave plenty of room for the flute on top. Moreover, Jimenez is a straight-ahead player interested in exploring groove and melody rather than orbiting Neptune on a descending-modal whole tone run. And even though the words "tasteful flute" generally make me want to run screaming for my Slayer albums, he has made a very promising debut album, titled Arriving.

Jimenez' tone is light and airy, about as far from the round caramel sweetness of classical flute as it's possible to get, and he has developed a voice as a soloist that makes the most of this lightness. He sometimes leaves phrases open ended, building up questioning statements for bars at a time before tying them together again. Although he is young (and plays young), his ideas have enough meat on them to promise a lot of room for him to develop as a player.

His band backs him up in style with great comping and tight rhythms that balance the Latin and jazz sides of their sound nicely. Bassist Geoff Brennan in particular skips across the beat with a feel that digs in like Stanley Clarke but bounces like a salsa band. The percussion line of Hilton Ruiz (piano), Guillermo Jimenez (timbales), Aryam Vazquez (congas) and Adam Weber (drum kit) keep Brennan tied to earth with knotty and dense rhythms that smolder and spark. In particular, Ruiz' solos and tartly dissonant comping fill in harmonic and rhythmic details beautifully, and the occasional backbeat fill from Weber sometimes send things in a welcome bebop direction.

Arriving is a collection of originals by Jimenez (plus Miles Davis' "So What"), most of which are open-ended head charts that devote most of their space to soloing (I'm not even sure if a couple of Jimenez' compositions even have heads or not). While this suggests that Jimenez' writing has a lot of growing up to do, it doesn't actually detract from the album as a whole. With a rhythm section as tight and alert as his, Jimenez can carry tunes on solos that, though sometimes limited, are expressive enough to retain interest.

Standout tracks include the opening "Tomando Cafe," "Natalie's Cha Cha Cha" and "Arriving," which percolate with sparkling rhythms and probing solos from Jimenez, Ruiz, and guest player Bobby Porcelli (alto sax) on "Arriving." Elsewhere, as on "Tunnel of Flowers" and "My Allison," Jimenez and crew give over to prettiness that goes on too long to really hold interest.

The greatest compliment I can give is that I have Arriving on an IPod playlist with a number of heavy hitters in Latin and Latin hybrid music - The Spanish Harlem Orchestra, Mandrill, Jimmy Bosch, Poncho Sanchez, Mongo Santamaria, and so on - and the best selections from Arriving always send me rushing back to the "now playing" screen to remind myself who's making this good noise.

Although not perfect, Arriving is a strong debut from a young player. - JOHN OWEN

CARLOSJIMENEZ : “Arriving”. Ενα ακόμα απαστράπτον ντεμπούτο, τούτο το CD του νεαρότατου πορτορικανού φλαουτίστα μας φέρνει ενώπιον ενός εξ αρχής ολοκληρωμένου ταλέντου : Αποκλειστικός συνθέτης και κεντρικός σολίστας του μεστού υλικού που περιλαμβάνει αυτό το πλήρες χυμών άλμπουμ, ο νεαρός Jimenez δείχνει ιδιαίτερη ωριμότητα και στα δύο καθήκοντα, χτίζοντας μεθοδικά μια ονειρική latin jazz ατμόσφαιρα όπου ως κυριώτερα εργαλεία του αυτοσχεδιασμού αναδεικνύονται ακουστικώς «ήπια» όργανα, όπως (φυσικά) το φλάουτο και ακολούθως το πιάνο, παιγμένο με υποδειγματική πληρότητα απ΄τον πρωτομάστορα Hilton Ruiz. Αξια δείγματα τα “Tomando Café”, “Flute & Violin”, “Que Paso?” και η διασκευή του (πάντα αποτελεσματικού) “So What” του Miles Davis.


English Text...

"Arriving". one still apastra'pton debut, this CD nearo'tatoy portorjkanoy' flaoytj'sta to us brings front one from beginning of completed talent: Exclusive composer and central soloist of mestoy' material that includes this complete juices album, the young Jimenez show also particular maturity in the two duties, building methodically a onejrjki' latin jazz atmosphere where as kyrjw'tera tools of improvisation are elected akoystjkw's "soft" bodies, as (naturally) the flute and followingly the piano, played with exemplary plenitude tangible prwtoma'stora Hilton Ruiz. Value samples "Tomando Cafj", "Flute and Violin", "Que Paso" and the adaptation of (always effective)"So What of" Miles Davis


Latin Music Gr, Basilio Stamatiou, GREECE - Basilio Stamatiou

The tradition of the flautist in the world of Latin jazz is probably that of one of the most solid and full bodied of contemporary music. The brass sound has always been the most propulsive moment of the sound of the Caribe, consolidated by a tenacious technical preparation that, as is the case with Carlos Jimenez, has allowed many to become solo artists who are not only capable of writing, but are also able to arrange in accordance with their own styles, offering some intense chromatics for which are thickly contaminated with pathos.

Typical of the phrasing from this instrumentalist from New York is the evocation of sonorous landscapes for certain verses that belong to an unrepeatable repertoire, to a classical and cultural patrimony that is topically rendered by a groove that is neat and rich with vital impulses, physically concentrated with interventions that place it over and beyond fashions, in as much as it puts a stamp on a flow that is wholly personal and believable, for the sense of renovation of formulas are not too often heard.

The solemn gait is clouded by many vibrant colours which don’t seem destined to stay in the shade for too long, from the moment that this great poetic imagination is tightened and buckled up it soon becomes very distinct that this is an ample breath to take: it’s an accurate choice and opportunistically maintained by a rhythm that hails from a great school, operating in the sonorous research area that is indicated in the same variegated compositions.

The soft melodic traces that are produced here by the flute of Jimenez outline an interpretive capacity which is strongly wrapped up, immersed in a seducing atmosphere of blue type traditions grained smooth and funky (“Yours For Sure”, “Bluedo”, “No te apures”), following along with the best traditions from Latin jazz.

The album offered by the flutist is an image of sensitive music, refined and yet never excessive in the technicalities employed, a lover of linear arrangements which is well balanced, woven polyhydric rhythms and an improvising talent that is typically jazzy, in which the sensitive element is not sparse and becomes very passionate, warm, energetic and, at the same time, lovingly sensual, (“Thoughts”, the title…) which in a courteous way makes evident to, and helps conduct Jimenez to never forget his collaborations with Dave Valentin and Hilton Ruiz.

Rounded out harshness in its dialogue, this winding solemn gait of the emotive impulse brings back the suggestive shades of an artistic language that is alive with interior forces which sweats with passion, calm and restless like the sky of the Caribe.



recensione di Fabrizio Ciccarelli per VINILEMANIA.NET

La tradizione flautistica del Latin jazz è probabilmente una delle più solide e corpose della musica contemporanea. Il set degli ottoni è da sempre il momento propulsivo del sound del Caribe, consolidato da una tenace preparazione tecnica che, come nel caso di Carlos Jimenez, ha consentito a molti di divenire solisti capaci tanto di scrivere quanto di arrangiare secondo vari stili, offrendo intensi cromatismi e contaminazioni dense di pathos.

Tipica del fraseggio dello strumentista newyorkese è l’evocazione di paesaggi sonori per certi versi appartenenti ad un repertorio irripetibile, ad un patrimonio culturale classico reso attuale da un groove nitido e ricco di impulsi vitali, fisicamente concentrato in interventi che si pongono al di là delle mode, secondo un flusso ed un timbro del tutto personali, credibili per il sotteso senso di rinnovamento di formule fin troppo ascoltate.

Il suo incedere sfumato da molte coloriture vibranti non sembra destinato a restare nell’ombra, dal momento che si lega saldamente ad un’immaginazione poetica ben distinta e di ampio respiro: è una scelta accurata e opportunamente sostenuta da una ritmica di ottima scuola, operante nell’area della ricerca sonora indicata dalle sue stesse variegate composizioni.

I morbidi intrecci melodici prodotti dal flauto di Jimenez sottendono una capacità interpretativa fortemente avvolgente, immersa in atmosfere seducenti di tradizione blue venate di smooth e funky (“Yours For Sure”, “Bluedo”, “No te apures”), come nella miglior tradizione del Latin jazz.

L’album offre del flautista un’immagine di musicista sensibile, raffinato, mai eccessivo nella tecnica, amante di arrangiamenti lineari e ben equilibrati, tessuti fra ritmicità poliedriche ed un estro improvvisativo tipicamente jazzistico, in cui l’elemento sensibile non di rado diviene passionale, caldo, energico e, allo stesso tempo, piacevolmente sensuale, lasciando talvolta intuire angolature notturne e sentimentali ( “Thoughts”, Pensieri, il titolo…) che in modo tanto garbato quanto evidente conducono Jimenez a mai dimenticare le proprie collaborazioni con Dave Valentin e Hilton Ruiz.

Smussata ogni asprezza del dialogo, l’incedere sinuoso dell’ impeto emotivo riconduce alle suggestive sfumature di un linguaggio artistico vivo di forza interiore e passioni suadenti, pacato e inquieto come il cielo del Caribe.

Fabrizio Ciccarelli - Italy - Fabrizio Ciccarelli - Italy

Carlos Jimenez is the next generation of great Puerto Rican flute players, following in the steps of Dave Valentin and Nestor Torres.

Thoughts is Carlos third album. The second one, El Flautista (The Flutist), had more of a Latin Jazz flavor. In contrast most of the music on Thoughts has a modern, smooth Jazz feeling to it.

The musicians on this album are different too. With Ruben Rodriguez, an experienced Salsa and Latin Jazz Bassist, Vince Cherico, who played with the likes of Tito Puente, Ray Barreto and Patato Valdes, on Drums and Colombian pianist Fidel Cuellar. A quartet format more suitable for the music on this CD.

This is a CD full of optimism; just take a look at the titles, Don't Worry, Storm of Love and Life is Great. But you can also hear that optimism in the upbeat, funky sounds of the music. The repetitive melody lines in some tracks like Bluedo, makes them more accessible for non Jazz listeners.

The title track Thoughts feels like a Tango and has some of the most sensitive and brilliant playing on the album. The Latin feeling comes out on pieces like No te apures (Don't Worry) and For You and Me, where Carlos seems more confident showing his improvisational skills with more flowing effortless solos.

Even though you can hear some influence of Dave Valentin in Carlos music, he is quickly developing his own voice. Carlos has a nice, clear tone and excellent phrasing. Listen to the solos on Carlitos my son, Don't Worry and Swift. Fidel Cuellar also contributes some delightful solos on I see you smile and For you and me.

One of my favorites is Storm of Love, on this track every one has the opportunity to showcase their talents, with Ruben taking the first solo on Bass, followed by beautiful Carlos and Fidel solos, and complemented with an excellent work on drums by Vince Cherico.

We will be waiting for next step in the evolution of this excellent Jazz musician. - WILBERT SOSTRE-PUERTO RICO

Carlos Jimenez has a new CD, his third release, entitled Thoughts (Pensamientos), a Latin jazz smooth cruise that sails through eleven Jimenez compositions with moments of excitement, passion, beauty and a fine sense of musicality. Mr. Jimenez is a gifted flutist; he is joined on this outing by Ruben Rodriguez (bass), Vince Cherico (drums) and Fidel Cuellar (piano). The rhythm section combines to provide excellent accompaniment and tasteful fills when called upon. The original compositions follow similar patterns. The songs flow, combining elements of smooth jazz with hip Latin rhythms performed in a funky groove.

The opening track “Carlitos My Son” is in a smooth jazz style, a pleasing melody with easy to take laid back rhythms in a moderate tempo. The feature is Carlos Jimenez playing a listenable flute solo. Playing in a mid range tone he delivers a fine sound and the song develops into an exciting opener.

The song “No Te Apures (Don’t Worry)” is also performed smooth but has a much funkier rhythm section. The bass player, Ruben Rodriguez puts heart and soul into this number. Vince Cherico adds some serious funk to the mix. And keeping everything on the same page is pianist Fidel Cuellar, solid chords that drive the rhythm home and allow for spirited playing by the other members of the band.

One of the highlight tunes of the CD is “Swift”. Charging out of the single beat intro headlong into a fast tempo. The flute of Mr. Jimenez takes flight, laying a trail of inspired playing. With long single notes that sustain and blend rapidly into trills and flutters, with smooth changes to melodically hit notes of pleasing sounds, with bird like singing that cascades into screams of passion that fade gracefully to an impassioned plea. A pure statement of excitement that cracks the smooth jazz mold.

On the song “Life Is Great” Mr. Jimenez plays as a man on a mission, another exciting tune. He opens the door for the pianist Fidel Cuellar and with playing that sounds as joyous as the title of the song, Cuellar burns through an emotional feature.

Thoughts is a very positive outing for Carlos Jimenez, the playing is joyful, upbeat and easy listening. The songs are all about passion, spirit, love and how things should be. What’s not to like? - PAUL J. YOUNGMAN