Weinstein has come up with a very interesting concept. Using the talents of six international musicians, he formed three trio to represent compositions depicting the African influence on the USA, the Caribbean, and Brazil. This mix results in an intriguing display of rhythmic music that has infused in to it all of the concepts of Jazz along with the territorial elements of the respective geographic areas. As a flutist Weinstein typically soars over the rhythms of the trio members. Two of his trios use guitar and percussion, while the third uses bass and percussion to propel the infectious selections with highly spirited music. The opening “Eleggua” features Bourelly on twelve-string guitar, while Cardona plays Cuban percussion. This selection concentrates on the Cuban sub region of the Caribbean and the influence African music had on it. The other selection by this trio, “Babula Aye,” reflects the Haitian side of the equation. Africa not only influenced the music of these islands, it had an indelible impact on the religion of the people that not coincidentally show up in the music. Two distinct areas of Brazil are presented featuring Lubambo on classical guitar and Baptista on Brazilian percussion. They present the Northeast area’s music on “Baiao Granfino” and the sounds of Rio on “Nos e o Mar.” Given the enormous size of Brazil, it is no surprise to find musical and well as cultural differences. The beat of the Northeast is quite different from the Cariocan samba, and Weinstein’s has captured the distinction quite well. Rio’s music has more love built into the songs, while you can hear in the music of the outer regions more of an attempt to cast off the day to day problems that weigh on the people. The USA influenced part of the set features bassist Debriano and drummer Blackman. Their program reflects both the rural side of the the equation, represented here by the blues, and the urban side, with its recognizable big city associations. Weinstein, adaptability on these varying styles is impressive. He jumps right in the blues with assuredness that is driven by the excellent rhythms put down by the other two. The urban tune “Pero Como El Amor” displays great bass/drum interplay with Weinstein’ melodic yet penetrating flute tunes.

Conceptually and musically this is a very successful project. Weinstein has taken a point and proven it conclusively in a way that is most enjoyable to hear. I was very impressed with this recording’s execution, originality and spirit.