Steve Kroon's Third Solo Album

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After three decades of lending his remarkable percussive skills to dozens of the most popular pop music, R&B and jazz artists of our time as a key participant on hundreds of recordings and in concert settings around the world, Steve Kroon returns to the sultry Latin jazz style he grew up with. El Mas Alla, released on his own Kroon-A-Tune Records label, is a joyous homecoming for the master percussionist. It's also a refreshing and much-needed reminder of the enduring qualities of the bedrock style of Latin jazz that has captivated fans for over half a century.
And it's a heartfelt tribute to some of the icons of the genre whose music and friendship have been part of Kroon's artistic development since he first began to experiment with Latin percussion as a kid.

Kroon chose the title El Mas Alla for a simple but highly symbolic reason. "It means 'Beyond, '" he explains, "but also refers to when a person transcends to another existence. In recent years, Mongo Santamaria, Patato Valdés, Ray Barretto, Don Alias and so many of the greats of the Latin percussion world had all passed away. So, I thought that the album could be part of giving something back to these great artists, who in many ways are my music ancestors."

As each of the album's 10 tracks unfold, the unmistakable spirit of Kroon's stylistic mentors shines through. The opening performance, "Bobo's Blues, " has the kind of bluesy swing to it that became a trademark of William Correa, a fellow native of New York City's Spanish Harlem who became a Latin jazz legend by the name of Willie Bobo. "He was one of my favorites, " Kroon recalls. "When I was a kid, I thought I was Willie!" George Duke's "Brazilian Sugar" is loaded with sunny samba rhythms and recalls another special person in Kroon's life, the late Brazilian drummer Rom Um Romão, with whom he studied and performed. "Precious One, " with its sexy cha-cha groove, is the perfect way for the leader to step out on congas and pay his respects to Mongo.

El Mas Alla is also notable for its all-star line-up of talent, its eclectic program, and its infectious sound. The top-flight band includes such in-demand talents as pianist Oscar Hernández, known for his work with salsa icon Rubén Blades and his role as leader of the Spanish Harlem Orchestra, and the equally renowned bassist Rubén Rodríguez and drummer Vince Cherico. The talents of woodwind artists Craig Rivers and Roger Byam meld with the golden tones of vibraphonist Bryan Carrott to produce a sound that Kroon describes as hip and easy on the ears. "I really like the combination of vibes, sax and flute. It's very melodic, it makes the music come alive, and it has a natural swing." In addition to several original works, the session includes tunes by an amazingly diverse group of composers, from the late bassist Jaco Pastorius ("Used To Be A Cha-Cha") and Brazilian pianist João Donato ("Minha Saudade") to French composer Charles Trenet ("I Wish You Love") and Stevie Wonder ("Superwoman").

The album also provides numerous clues to the respect the leader commands among the jazz world's elite. Present for guest appearances are violinist Regina Carter, saxophonist Steve Wilson, and vocalist Freddy Cole. To put the cultural significance of El Mas Alla into perspective, Kroon enlisted the literary skills of Felipe Luciano, the highly regarded Latin jazz radio pioneer, writer and keen observer of New York City's Latin scene, to author the date's liner notes.

Steve Kroon was born in Spanish Harlem to parents who had moved to New York City from their native Puerto Rico. His surname comes from his grandfather, who immigrated to La Isla Encantada from the Dutch-speaking Caribbean island of Curaçao. At the age of nine, the family moved to Queens, where the youngster's interest in music was further sparked by the presence of many noted jazz and R&B musicians. "In my neighborhood, " he recalls today, "I had Eddie "Lockjaw" Davis as a neighbor, and Lester Young was four blocks away. James Brown also lived in the area. But I came with all of my Latin roots, thanks to my father. I was fortunate in being able to hear the whole spectrum of music."

He studied Afro-Cuban percussion with Tommy López, Sr. and later Brazilian rhythms with Dom Um Romão. With such a wealth of knowledge under his belt, it's not surprising that Kroon quickly became a first-call percussionist for recording sessions that required a wide range of talents. Over the years, such diverse artists as Diana Krall, Aretha Franklin, Roberta Flack, The Temptations, Bill Cosby, Kenny G, Ron Carter, Spyro Gyra, Bette Midler, Gary Bartz and Paul Butterfield have tapped Kroon's seemingly endless array of skills for their projects. His two decade-long professional association with R&B crooner Luther Vandross underscores Kroon's reputation as one of the world's most versatile and respected percussionists.

"My time with Luther was great, " Kroon says today, "but when it came time to do my own thing, I was always knew that it was going to be Latin jazz, because that's where my heart is." El Mas Alla is loaded with the kind of instantly-likeable, melodically attractive and rhythmically intriguing performances that once made Latin jazz the kind of music a diverse audience could groove to. "A lot of guys today just play too much, " Kroon adds, explaining how he approaches the style reverently, with an emphasis on finesse. "It's great to have that kind of knowledge, but when you make an album, you need to remember everyone - all kinds of listeners and dancers. If you are having people over for a barbeque, for instance, you should be able to put it on and leave it on. It fits what's going on." Don't be surprised if Steve Kroon's El Mas Alla enlivens a lot of barbeques this summer.

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