Roger Glenn: My Latin Heart

Roger Glenn, son of the renowned instrumentalist Tyree Glenn, has never been content to stay in one lane. A master of reeds and vibraphone, he continues to embody the spirit of crossing boundaries. On My Latin Heart, Glenn undertakes an energizing session that celebrates the rhythmic vitality of the African diaspora as much as it serves as a personal manifesto.

Flanked by a stellar ensemble of seasoned collaborators—pianist David K. Mathews, guitarist Ray Obiedo, bassist David Belove, the late beloved drummer Paul van Wageningen and vocalist-percussionists John Santos and Michael Spiro—Glenn channels a pulsating energy that links jazz to its Afro-Caribbean cousins. These musicians, all veterans of jazz's upper echelons, bring both precision and fire to this session.

The album opens with a dynamic jolt: "Zambo's Mambo" is a minor-key burner driven by Glenn's flute, both ethereal and commanding, darting over a rhythm section that functions like a well-oiled machine. Mathews takes a solo full of wide-ranging inspiration. "Cal's Guajira" is both a respectful nod and an evolution, highlighting Glenn's skillful vibraphone work, which summons the spirit of Cal Tjader without slipping into mimicry. Obiedo joins the mix, showing his extensive experience with Latin rhythms, adding to the swirling blend of melody and groove that honours the lineage to which Glenn pays tribute.

"A Night Of Love" tempers the set with a sensuous lyricism. Glenn's deep-toned flute glides with the softness of a whisper. Mathew's piano fills the background with subtle harmonic keystrokes that evoke the romanticism of bossa nova. "Energizer" injects the session with a dynamic burst of drive and tonal colour. Glenn's vibraphone performance is electric—percussive yet melodically agile—riding atop the ensemble, which crackles with energy. It is a great example of how he fuses sophistication and spontaneity.

The band explores the Afro-New Orleans connection with "Congo Square," a historic meeting place of European brass and African rhythms. Here, Glenn reminds us that jazz is not just an art form but a cultural fusion as his vibes and Obiedo's guitar work together to tell the story. The finale is "Samba De Carnaval," which bursts with colour and rhythm. With Glenn on flute, he and the band offer a fitting coda that pulses with Brazilian exuberance, the kind of rhythmic pageantry that closes the album with a grin and a dance.

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