When Long John Oliva’s “LUCUMI” was released in 2002, a radio show host hailed it as one of the top 100 Latin Jazz records. Despite the acclaim and three subsequent impressive records, Long John Oliva, the man, and his music are, with rare exceptions, out of sight and out of mind.
Telling Lucumi’s backstory is complex for several reasons. Oliva tragically passed away in 2004, and a private investor owns Lucumi’s original master. Thanks to Omar Sosa, who performed, composed, and arranged most of the material, I gained insights into making Lucumi that are not widely known.
Initially, Lucumi was supposed to be a tribute to Chucho Valdes, Irakere, and master percussionist Jorge Alfonso “El Nino,” whom Oliva revered. When Oliva presented the concept to Omar Sosa, he respectfully suggested they create something original. To Oliva’s credit, he agreed.
Interestingly, in an interview fourteen years earlier, the “Jazz Rumbero” visualized his first recording as a leader. In said interview, Oliva described himself as a “progressive musician from the same generation as Jaco Pastorius, Chick Corea, and Herbie Hancock.” Also, he envisioned his music as a “fusion of various musical elements, including the Yoruba tradition, Cuban folklore, traditional rumba, original compositions, North American standards, and jazz improvisation with rhythmic colors and percussive energy.” At the time, he could not have known that he was describing Lucumi.
HISTORIC LINEUP
Lucumi’s core members were Long John Oliva, Jose Luis Quintana “Changuito,” Orlando “Puntilla” Rios, and Omar Sosa. The supporting cast included trumpeter Julio Jr. Melendez, trumpeter flugelhorn player Bill Ortiz, trombonist Jeff Cressman, bassist Rahsaan Fredericks, and percussionist and vocalist Jesús Díaz.
The recording session was a reunion of sorts. “Changuito” was Oliva’s teacher and mentor in Cuba, and Orlando “Puntilla” Rios was his “Godfather” (Padrino) in the Yoruba tradition.
THE REPERTOIRE
RITMO DE BELEN This song, a unique blend of Cuban and Puerto Rican influences, is a nostalgic tribute to the neighborhood in Old Havana where Oliva was born and raised and is essentially a reinterpretation of Ted Koehler and Harold Arlen’s 1933 classic “Stormy Weather. The song starts leisurely and gradually accelerates, transitioning into a lively Comparsa (Carnival) rhythm. At 3:14, the trumpet introduces a riff from the Puerto Rican anthem ‘Que Bonita Bandera.’ The song culminates with the chorus proclaiming, “Ritmo Tu Quieres, Ritmo Te Voy a Dar!’-‘If it’s the rhythm you want, it’s the rhythm you’ll get!“
EL CALLEJON The Yambu rhythm sets the stage for a heartfelt narrative with its slow tempo and rhythmic percussive playfulness. The protagonist’s fondly recalls an alley near the sea, a hub for rumberos, dock workers, and Abakua members and evokes a sense of nostalgia. As the tune gradually transforms into a dance rhythm, the chorus passionately chants, ‘I can feel the sound of the drums. They are full of flavor, and everyone is having a good time. That’s where I want to be!’
INLE DE MOMENTO Combines Bata rhythms with jazz improvisation. Omar Sosa, Rahsaan Carter, and trombonist Jeff Cressman deliver mesmerizing solos.
SARANDAGA is an energetic rumba with a 6/8 feel. Puntilla masterfully sings over a Kongo theme.
IROKO VAN VAN is a Bembé rhythm with a hint of Guaguancó influence.
EL SOLAR DE LA CUEVA HUMO Is a beautiful tribute to Pancho Quinto’s classic album of 1996. The song’s lyrics paint a vivid picture of the residents of a humble home and their small store, which sells simple yet delightful treats such as candies, fried potatoes, rum, and “Duro Frio.” As the song’s melody evolves into a timba montuno, it transports the listeners to the vibrant streets of Cuba. In the song’s climactic finale, the police arrive, and the residents scramble.
Omar Sosa’s “SI CUBANO” pays tribute to some of the greatest legends of jazz and Cuban music. The composition is dedicated to Dizzy Gillespie, John Coltrane, Charlie Parker, Thelonious “Sphere” Monk, Chick Corea, and Miles Davis. It is infused with the rhythmic essence of iconic Cuban percussionists such as Tata Guines, Chano Pozo, El Nino, Yeyito, Mongo Santamaria, Francisco Aguabella, Carlos “Patato” Valdes, Candido, and Pancho Quinto.
SOKE MAMDO – Features a multitude of polyrhythms, including Yoruba, Caravales, Congo, and Yesa.
OYANZA Is dedicated to the deity Oya (the Orisha of winds and storms).
ZARABANDA CULLE Integrates bongos, timbales, maracas, guiros, congas, and clave. This contemporary Cuban son showcases the intense groove and collaborative spirit of the AC Jazz Project.
Omar Sosa sums up Lucumi: “Long John Oliva was among the most impressive percussionists I’ve known. He understood the Cuban tradition in its purest form. We have Roman Diaz in New York today, but Long John was before him. Participating in the Lucumi sessions and working with Changuito and Puntilla, was an honor. The band was tight, and the music was ahead of time! We we talk about Lucumi we are talking about Long John, but we are also talking about Puntilla, Changuito, and the band. Lucumi is a proper tribute to Long John and everyone who participated in the sessions.”
SUBSEQUENT RELEASES
In 2003, Oliva and AC Timba Jazz released “Buscando La Ortografia.” The title represents Oliva’s relentless pursuit of the perfect musical path. The album was dedicated to Chucho Valdés, Jorge Alfonso “El Nino,” and the celebrated Puerto Rican musician and composer Rafael Hernández. The sound was inspired by Cuban timba, which consists of progressive music and dance-oriented rhythms. The music perfectly balances upbeat and energetic tunes and is a dancer’s delight.
Oliva released Cuba Rico in 2004, expressing his love and admiration for Cuba and Puerto Rico. However, he later changed the album’s title to Buleya in honor of his mother. The reasons behind this decision are not clear. Tragically, Oliva passed away in the same year.
AFTERMATH
Following Oliva’s passing, the AC Project performed at various events, including the KCET’s 24th Annual Christmas Celebration, MOCA’s high-profile fundraiser, and the IAJE Conference in New York City, where they received the Best Latin Jazz Award. They also performed at the Long Beach Jazz and Playboy Jazz Festival (Pasadena Rose Bowl), as well as other festivals, such as the Jazz Aspen Snowmass and the Utah Arts Festival. In 2013, trumpeter Josiel Pérez led the AC Project in the release of their album, Conga Buena, which was a hit. The album also featured several popular tracks, including “Tamaya Tumbao” and “El Dano Esta Hecho.”
Throughout a career that spanned over two decades, Oliva collaborated with a wide variety of artists, including Dizzy Gillespie, Chick Corea, Arturo Sandoval, Paquito D’Rivera, Andy Garcia, Strunz and Farah, Jackson Brown, Anthony Jackson, Dave Weckl, Kenny Loggins, Frank Emilio Flynn, Hilario Duran, Omar Sosa, Changuito, Dave Samuels, Wilie Bobo, Bobby Matos, Jane Bunnet and the Spirits of Havana, the Cuban Piano Masters, Dafnis Prieto, Batacumbele, Zaperoko, Orishas, Okanise, and Mango Bango, among others.
To date, the original master recording of Lucumi has not been recovered. Still, Long John’s widow, Peggy Jo Oliva, hopes to remaster the Jazz Rumbero’s recordings with new liner notes and packaging. In the interim, the original version is available on select digital platforms. I highly recommend listening to this exceptional recording.
