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Vol. 5: Carnival Description
New Orleans shares its musical traditions with the Afro-based rhythms that thrive throughout Latin America. Walking the streets of New Orleans during Mardi Gras is like walking through several Latin American cities during Carnival; they may be different, but they share something indisputably similar. The unique history and traditions that created New Orleans permeate its music. This music also announces the existence of other voices, the voices of brothers and cousins across the Gulf of Mexico, in the Caribbean, or wherever the Diaspora left African slaves. The music on this album is a testament to the experience, a celebration of the rich and unique nuances that created secondline in one land, and compassa in another.
In celebrating Carnival, Los Hombres Calientes take their exploration and experiences of African rhythms to a new level of creativity and universality. Every song on this album, from the Mardi Gras Indians' calls to the funk sounds of George Porter, breathes the air of Carnival. It celebrates while paying homage to the spirit of revelry without ever descending into debauchery. That's right, don't mistake music played at the highest level for degeneration of noise and nonsense, because the music here is technically sophisticated, reaching heights of complexity that ay trained ear can appreciate.
It is also accessible to anyone who enjoys music that breathes into the hips and comes out through the soles of the feet. That is the beauty of what Mayfield and Summers have created: they have captured the rich, multi-textured feeling of New Orleans and its deep connection to African Diaspora rhythms and put it into hip, funky, grooved-out jazz music that can at one moment make you shake your ****, another moment make you feel like getting it on in the bedroom, and another moment make you holler in ritualistic revelry.
As in their previous releases, Mayfield and Summers blend what might otherwise be disparate sounds into perfect explorations of contrasting rhythms, melodies, and harmonies. However, unlike their previous releases, this volume looks to do more than just document. It settles for nothing less than setting new standards for a new generation of jazz musicianship by opening the treasure chest of rich sounds that historically has played a role in the development of jazz and Latin American music, and delivers these sounds at the highest level. The song "Latin Tinge 2" typifies the album's philosophical stance. Mayfield and Summers bring African, European and American musical traditions together in a highly intricate, yet seemingly simple exploration of disparity between rhythm and melody. Reminiscent of Armstrong's "West End Blues", Mayfield's trumpet rolls out over a standard rhythm (in this case a latin dance beat rather than a New Orleans marching beat) and embarks upon an exploration of European classical and American blues heritages. The result is a beautiful blend of a feel-good latin dance rhythm with a highly technical melody that never dips into chaos, doing away with the inherent disparity of the musical structures that are utilized.
Mayfield and Summers establish a reciprocal relationship of influences and counter-influences that spans the entire album. The cross-culturization of Afro-rhythmic percussion and North American blues enable Mayfield and Summers to expand on the concept of jazz while also expanding on the concept of Carnival. In such cuts as Summers' "Cubacajun Carnival" and "Mardi Gras Bayou" we are reminded that there is, after all, a real and palpable interconnectedness among the various cultures that inhabit the Caribbean Islands and the lands of North, Central and South America.
Mayfield, ever searching for the roots of his blues within the down home New Orleans sounds that make up the world he reared from, takes a moment in this album to pay homage to two New Orleans legends of funk: James Booker and George Porter. Forget whatever confusing conclusions you might conjure about funk not being a part of Carnival when you hear it on this album. While funk may not normally be associated with Carnival outside of New Orleans, it is definitely considered part of the curb side Carnival sounds that one might hear on any corner during Mardi Gras. By its very nature, funk is Carnival-esque. The sound of funk is funky; it's bad, and it's full of bodies in motion. Like Carnival, funk is revelry, and in an album that celebrates Carnival, it seems only appropriate that Mayfield reminds us of Booker's amazing music and Porter's immense power, both of whom have inspired many of today's great artists.
What is the key to this album? Imagine being in as many Caribbean places as the music takes you while walking the uptown and downtown back streets of New Orleans. Take the journey with this album and you find yourself hollering with Mardi Gras Indians, only to turn the corner to second line with the Rebirth Brass Band, Kermit Ruffins, and Trombone Shorty in "Mardi Gras Second Line", a cut that ends in a revelry of song and dance that seems to never want to end. Party with Summers' Afro-rhythms, and then relax to a West African sound. Join Mayfield as he whizzes in a whirlwind of keys, horns, and bass that are reminiscent of the New Orleans master himself on the inspired cut titled "James Booker".
When the party is finally over, sit back and groove, or make love to the lush sounds of "Carnival Lullaby", which in its structure strikes the perfect balance of unity. Completed in a single take, this cut expresses completion in song and in life by offering a symmetrical expression of passion fulfilled, or beauty attained, of extreme satisfaction achieved. When you are finished with this song, you feel as if nothing is missing, as if you will never want anything else ever again, and for this very short moment, while the universe is turned upside down, you will be comforted by the knowledge that the world is finally set right.

Track Listing
1. Carnival (Havana)
2. Comparsa De Carnival
3. Latin Tinge II
4. Ewesi Para Hevioso
5. Estan Tocando Part 1
6. Estan Tocando Part 2
7. Indians
8. James Booker
9. Rojo's Revenge
10. The Mardi Gras Second Line (feat. Kermit Ruffins, Rebirth Brass Band, Trombone Shorty)
11. Cubacajun Carnival
12. George Porter
13. Carnival Lullaby (nite nite little irvin)
14. Alakati Owo
15. Melena
16. Carnival De Phunk
17. Mardi Gras Bayou
18. Carnival Kongo
19. Kendavshubi

Personnel
Bill Summers - Percussion, Vocals
Irvin Mayfield - Trumpet, Vocals
Bernard Floyd - Trumpet on 1, 3
Carlos Henriquez - Bass on 1, 3, 8
Ronald Markham - Piano on 1, 3, 8; B3 on 12; Wurlitzer on 13
John Boutte - Vocals on 1, 10
Bryce Winston - Tenor Saxophone on 1, 10
Reynaldo Gonzales - Percussion and Vocals on 2, 4, 14
Edwin Livingston - Bass on 5, 6, 9, 11, 15, 16, 17, 18
Ricky Sebastian - Drums on 5, 6, 8, 9, 11, 12, 15, 16, 17, 18
Steve Walker - Trombone on 5, 6, 9, 10, 11, 15, 16, 17, 18
Devin Philips - Tenor Sax on 5, 6, 9, 11, 15, 16, 17, 18
Leon Brown - Trumpet on 5, 6, 9, 10, 11, 15, 16, 17, 18
Victor Atkins - Piano on 6, 9, 11, 15, 16, 17, 18
Walter Harris & The Mardi Gras Indians - Vocals on 7, 10
Ché Reed - Baritone on 10
Trombone Shorty - Tuba and Trombone on 10
Phillip Frazier - Tuba on 10
Keith Frazier - Bass Drum on 10
Big Sexy - Snare Drum on 10
Shannon Powell - Tambourine on 10
Kermit Ruffins - Vocals on 10
Phillip Manuel - Vocals on 12, 13
George Porter, Jr. - Bass on 12, 13
Rashidi Johnson - Percussion on 14
Kito Johnson - Percussion on 14
Michaela Harrison - Percussion on 14
Derrick Moss - Bass Drum on 17
David Braswell - Percussion on 17, 18, 19
Tyrone Henry - Percussion on 17, 18, 19
Kenyetta Simon - Percussion on 17, 18, 19
Diblo Dibala - Guitar and Vocals on 18

Credits
Produced by Bill Summers and Irvin Mayfield
Executive Producer: Mark Samuels
Associate Executive Producer: Will Samuels

Recorded all over the world.
Engineered and mixed by Steve Reynolds, Ultrasonic Studios, New Orleans, LA
Mastered by Vlado Meller, Sony Music
Photography by Jeff Strout, Strout Photography
CD design and manufacturing by Diana Thornton, Crescent Music Services


Tour Dates


Los Hombres Calientes Bio
Like a rich, flavorful New Orleans gumbo, Los Hombres Calientes packs a little bit of everything into a tasty, powerful recipe that warms the body and feeds the soul. Led by Irvin Mayfield, the renowned Crescent City trumpeter, and Bill Summers, a percussionist who quite simply embodies world-wide rhythm, Los Hombres Calientes is not only changing the way music sounds, but also how music is made.

Taking a hands-on, organic approach in putting together their five albums, Volumes 1-5, Mayfield and Summers take their band on location and join forces with locals in order to create authentic sounds from the places where music began: locations such as Africa, Cuba, Trinidad, Jamaica, Haiti and, of course, their native New Orleans.

Mayfield, has positioned himself as a force and advocate for the continuation of Jazz in the city that birthed it, as artistic director of the non-profit The New Orleans Jazz Orchestra, he ensures that the sounds of New Orleans are spread around the country. With his club Irvin Mayfield’s Jazz Playhouse he ensures that Jazz will remain on Bourbon Street in the heart of the French Quarter. His most recent project with NOJO, The People’s Health New Orleans Jazz Market stands as the only club in the city of New Orleans specifically designed for Jazz Market.

Summers, who has worked with musical pioneers ranging from Quincy Jones to Herbie Hancock in his long, illustrious career, shares in Mayfield’s thirst to uncover the musical roots of New Orleans’ cultural tree of life. With a countless number of rhythms in his vast repertoire, Summers makes the heart of Los Hombres Calientes beat. And it is a beat that has seen and heard the sounds of the world.

Late-night sessions at the Summers residence resulted in the 1998 formation of Los Hombres Calientes. And though decades apart in age, the younger Mayfield and elder Summers are no musical odd couple. Together with band mates, they form an irrefutable force in the field of Latin Jazz—one that has been recognized by critics and fans across the globe.

Los Hombres Calientes Volume 5: Carnival (2005) was nominated for Billboard’s 2006 Latin Jazz Album of the Year. Los Hombres Calientes’ previous album, Volume 4: Vodou Dance (2003) was nominated for a Billboard Latin Music Award as well. Volume 3: New Congo Square, the group’s 2001 release, was a Billboard finalist and was nominated for a Grammy. In 1998 and 1999, Los Hombres Calientes’ eponymous debut album, and in 2000, Los Hombres Calientes: Volume 2, were the top selling albums at the New Orleans Jazz and Heritage Festival. Volumes 3 and 4 were also top sellers at the Festival. In 2000, Los Hombres Calientes’ debut CD was awarded Billboard’s Latin Music Award for Contemporary Latin Jazz Album of the Year.