DownBeat by Herb Boyd
3.5 stars
“Shadows Of Tomorrow is a delightful festival of sound, and if you listen carefully, you might be able to sense the words Garcia so elegantly composed in the liner notes.”
As part of the introduction to Shadows of Tomorrow, composer, arranger and conductor Socrates Garcia expresses a hope that his music provides a searchlight through the darkness and despair that has troubled the Dominican Republic, his homeland. The music here unfolds like his hopeful compass, one that reveals the road behind and the looming one on the horizon.
Two things stand out in this furious mixture of Afro-Caribbean palos, merengue and familiar jazz riffs: the relentless percussive tempo established by Pablito Peña, Felix “Abuelo” Garcia and Daniel Berroa, as well as the heated on the drum set delivered by Ivanna Cuesta; and the searing, ever-present trumpet wizardry of Brad Goode. When it isn’t sizzling with fury from the reed section, the music is keenly modulated by Dana Landry’s introspective piano interludes, as succinct as they are nicely tempered.
Shadows Of Tomorrow is a delightful festival of sound, and if you listen carefully, you might be able to sense the words Garcia so elegantly composed in the liner notes.
Jazz Blues EU (European Union)
“In “Shadows Of Tomorrow,” Socrates Garcia reflects the rich blend of musical traditions of the Dominican Republic, but also reflects his personal journey, politics, and memories.“
Socrates Garcia is a composer, arranger, producer, recording engineer, conductor, guitarist, and educator, originally from the Dominican Republic.
He is currently a Professor of Music and Director of Music Technology at the University of Northern Colorado, where he teaches advanced courses in Music Technology and has taught Advanced Jazz Arranging.
As an arranger, producer, and recording engineer, his work can be found on numerous albums and a wide variety of side projects.
He has worked with musicians from diverse musical styles, from heavy metal and hip-hop to classical and Latin music. But it was his studies with the late Dick Grove that ignited his love for big band jazz.
His most recent work is titled “Shadows of Tomorrow” (Summit Records) and is his third album after “Sueños” (2005) and “Back Home” (2016).
It is an orchestral jazz album, full of tropical colors and touches of rock. It consists of six pieces composed and arranged by Garcia himself.
Garcia states in his liner notes: ““Shadows of Tomorrow” is a meeting place, a space where the soul of Dominican and Afro-Caribbean music dances with the expansive language of contemporary jazz.” These compositions are personal landscapes, shaped by memory, tradition, current politics, and the beauty of collaboration.”
The first track on the album is titled “AG’s Resting Face…Scary!!!”. The song is dedicated with all the love in the world to Garcia’s daughter (initials AG) and her playful and penetrating gaze, capable of disrupting the peace.
A piece of merengue, jazz, and rock where percussion plays a leading role. It includes two solos by Wil Swindler on alto saxophone and Clay Jenkins on flugelhorn. An avalanche of rhythm.
Next is “Sultry Villa Mella Twilights,” a song dedicated to Villa Mella, a municipality in the Dominican Republic known for preserving its African roots and cultural heritage. Garcia fuses Dominican “palos,” a folk tradition of the Dominican Republic, with jazz. Highlights include solos by Jonathan Bumpus on trombone, Don Aliquo on tenor saxophone, and Jeff Jarvis on flugelhorn. Another piece full of energy and rhythm.
“Brad’s Dreamy Samaná Night,” another colorful piece written by Garcia for trumpeter Brad Goode. Garcia explains: “After a tour of the Dominican Republic, we found ourselves under the stars in the beautiful coastal town of Samaná.
Brad, our brilliant lead trumpet player, took out his instrument and filled the night with notes that could only be described as pure magic. The next day, he asked me to write a piece for him, and after a while, this piece was born.” Overflowing with energy, “Illusions, Delusions, …A Glimmer Of Hope” is a three-movement suite.
Garcia wrote it between 2018 and 2020, at a time when thousands of people were protesting against corruption. The movements of the suite are: “The Wizard’s Wicked Charm,” with which the album takes a significant turn and moves into a gentler tempo, while still maintaining the Latin feel. A powerful statement about the political situation in the United States. The melody has roots in bachata and salsa.
Notable are the contributions of Moncada on baritone saxophone and Alfredo Balcacer on guitar; the second movement is “Liars and Fools” and features Aliquo (tenor saxophone) and Paul McKee (trombone).
Garcia writes: “Every false prophet needs a choir. This movement overflows with chaotic energy, unquestioning devotion, unthinking loyalty. A dance of hollow drums, blind applause, smoke and mirrors, and the truth silenced beneath a smiling mask.”
The Latin rhythm remains the absolute protagonist; the third and final movement is “The Mold Breaker (Bringer of Joy).” Garcia envisions a woman who assumes leadership, stepping forward “and speaking not to deceive, but to awaken.” Swindler on alto saxophone and Dana Landry on piano are the featured soloists.
In “Shadows Of Tomorrow,” Socrates Garcia reflects the rich blend of musical traditions of the Dominican Republic, but also reflects his personal journey, politics, and memories.
Shadows of Tomorrow was born out of reflection on uncertainty and hope, on the belief that even in dark times there is always a path forward. The album features six original works, including “AG’s Resting Face… Scary!!!,” written for my daughter, and the three-part suite Illusions, Delusions… A Glimmer of Hope, my artistic response to the current geopolitical climate. The suite unfolds in three movements: the bachata/salsa-infused “The Wizard’s Wicked Charm,” followed by two merengue-based pieces, “Liars and Fools” and “The Mold Breaker (The Bringer of Joy).” The album also includes “Brad’s Dreamy Samaná Night,” a trumpet feature written for the incredible Brad Goode, and “Sultry Villa Mella Twilights,” which bridges modern jazz with Afro-Dominican palos drumming. Deeply personal yet universal, Shadows of Tomorrow is a journey through darkness toward light, an exploration that weaves together Dominican and Caribbean traditions, heavy-metal energy, and the rich textures and intricacies of contemporary big-band jazz,- an interview with us said Socrates Garcia.
Bebop Spoken Here by Nick Mondello (UK)
“A supreme display of musicianship, energy, swagger and deep respect for genre and tradition. Garcia’s compositions and arrangements thereof on this album are complex, yet highly approachable. There are surprises and thrills around every corner. Cascades, punches, exotic rhythm beds and textural elements are presented brilliantly throughout. The ensemble never lets up on the intensity and energy. This is highly sophisticated music requiring intense energy and a deep feel for the genre.“
With his third album, composer, arranger and educator Socrates Garcia offers an expansive and highly intense panorama of both Dominican-specific and Afro-Caribbean textures. Through six original extended pieces performed by a stellar large ensemble and soloists, explorations of rhythmic and tonal perspectives are delivered. The session is a supreme display of musicianship, energy, swagger and deep respect for genre and tradition.
AG’s Resting Face …Scary!!! is curtains up with Afro-Latin percussion booming. Deep, ominous sounds pound over along with screaming brass before the main motif is stated by the saxophones. The trumpets, trombones and saxes continue to build into a furious contrapuntal and cascading state. That main motif reappears before things settle and altoist Wil Swindler and trumpeter Clay Jenkins each offer fine rides. The brass punches over that deep motific bed and sax lines bring the piece to a furious close. The piece has the feel of a jazz-classical mashup with Garcia’s pen turning elements back on themselves and re-appearing while simultaneously driving things forward. It’s a marvelously intriguing track.
The roots of African-Dominican music are explored in Sultry Villa Mella Twilights. Further, Villa Mella is a principality in the Dominican Republic that has a very strong focus on its musical tradition. Palos is a genre of Dominican music with rhythmic roots back to Africa – specifically, the Congo. From the get-go, we hear intense rhythms followed by a sophisticated developed melody. That punches as different sections of the ensemble – Harmon-muted trumpets, trombones, flutes – all dive in in a furious way. The underlying rhythm bed here drives with fire. Again, Garcia’s arranging features slick instrument doublings. Trombonist, Jonathan Bumpus sends up a fine solo, as do tenor saxophonist, Don Aliquo and trumpeter, Jeff Jarvis. There’s no letup on the white-hot rhythm here. The percussion section simply soars throughout. The original statements return for a killer takeout.
Brad’s Dreamy Samaná Night is a feature for ace trumpeter, Brad Goode. After a short introduction. Goode states the exotic theme over percussion. This is a misterioso melody on which Goode demos a fine flair. Layers upon layers of well-designed lines support behind the soloist. The ensemble builds and Goode swashbuckles his way through extended screaming lines. Melody returns to take things out. This is a highlight track featuring an amalgam of killer improvisation, ensemble shouts, and fierce rhythms. The production values on this track, as well as throughout the session are meticulous.
Garcia’s compositions and arrangements thereof on this album are complex, yet highly approachable. There are surprises and thrills around every corner. Cascades, punches, exotic rhythm beds and textural elements are presented brilliantly throughout. The ensemble never lets up on the intensity and energy. This is highly sophisticated music requiring intense energy and a deep feel for the genre. Killer kudos to the various percussionists.
Illusions, Delusions… A Glimmer of Hope is an extended suite consisting of three unique segments, each offering political-themed statements. Movement I – The Wizard’s Wicked Charm launches with Eduardo Moncada’s bari sax stating. The track develops into a salsa-like segment with Moncado’s muscular baritone soloing. Behind the soloist, trumpets punctuate, saxes state and rhythm intensifies. Alfredo Balcader’s fuzz-tone guitar rips a killer ride. This track is all intensity from bar one to a false ending after which Moncada’s bari and ensemble take things out. That’s a slick compositional play.
Movement II – Liars and Fools has a layered opening statement over a merengue rhythm base. The various sections again fray and merge and respond before tenor man Don Aliquo states. The powerful segment calms for a fine Paul McKee trombone solo. This track has a fine jazz ensemble wherein the saxes flow with white-hot energy and trumpets thrill. A more sedate phrase ends what is indeed a highlight track.
Movement III – The Mold Breaker (Bringer of Joy) – Piano pops, ensemble blasts and sax lines commence this final merengue-cum-jazz movement. Altoist Will Swindler delivers an invigorating solo. Quieting down, Dana Landry gives a terrific upbeat piano statement. Fireworks explode into a burning sax-driven, classic merengue before all ends. A joyous romp.
Shadows of Tomorrow is a compositional and performance achievement worthy of great note. It stirs soul deeply. Through adventurous and outstanding writing and playing, the sacred traditions, rhythms and sounds of the Afro-Dominican and deep ~Congolese roots are appropriately presented and respectfully honored.
Nick Mondello
AG’s Resting Face …Scary!!!, Sultry Villa Mella Twilights, Brad’s Dreamy Samaná Night, Illusions, Delusions… A Glimmer of Hope: Movement I – The Wizard’s Wicked Charm, Movement II – Liars and Fools, Movement III – The Mold Breaker (Bringer of Joy)
La Habitacion del Jazz (Spain)
“An avalanche of rhythm… In “Shadows of Tomorrow,” Socrates Garcia reflects the rich mix of musical traditions of the Dominican Republic, but also reflects on his personal moment, politics, and memories.“
Socrates Garcia is a composer, arranger, producer, recording engineer, conductor, guitarist, and educator originally from the Dominican Republic. He is currently a Professor of Music and Director of Music Technology at the University of Northern Colorado, where he teaches advanced music technology courses and has taught Advanced Jazz Arranging.
As an arranger, producer, and recording engineer, his work can be found on numerous albums and a variety of side projects.
He has worked with musicians from a variety of musical styles, from heavy metal and hip-hop to classical and Latin. But it was his studies with the late Dick Grove that sparked his love of big band jazz.
His latest work, titled “Shadows of Tomorrow” (Summit Records), is his third album following “Sueños” (2005) and “Back Home” (2016). It’s an orchestral jazz album, full of tropical colors and rock touches. It consists of six pieces composed and arranged by García himself.
Garcia states in his liner notes: “Shadows of Tomorrow is a meeting place, a space where the soul of Dominican and Afro-Caribbean music dances with the expansive language of contemporary jazz. These compositions are personal landscapes, shaped by memory, tradition, current politics, and the beauty of collaboration.”
The album’s first track is titled “AG’s Resting Face…Scary!!!” The song is dedicated with all the love in the world to Garcia’s daughter (AG) and her playful, penetrating gaze, capable of disrupting the peace. A piece of merengue, jazz, and rock where percussion plays a leading role. It includes two solos by Wil Swindler on alto sax and Clay Jenkins on flugelhorn. An avalanche of rhythm.
This is followed by “Sultry Villa Mella Twilights,” a song dedicated to Villa Mella, a municipality in the Dominican Republic known for preserving its African roots and cultural heritage. Garcia fuses Dominican “palos,” a folk tradition from the Dominican Republic, with jazz. Highlights include solos by Jonathan Bumpus on trombone, Don Aliquo on tenor sax, and Jeff Jarvis on flugelhorn. Another energetic and rhythmic piece.
“Brad’s Dreamy Samaná Night,” another colorful piece written by Garcia for trumpeter Brad Goode. Garcia explains: “After touring the Dominican Republic, we found ourselves under the stars in the beautiful coastal town of Samaná. Brad, our brilliant lead trumpet player, brought out his instrument and filled the night with notes that could only be described as pure magic. The next day, he asked me to write him a piece, and after a while, this piece was born.” Energy galore. “Illusions, Delusions, …A Glimmer Of Hope” is a suite in three movements. Garcia wrote it between 2018 and 2020, at a time when thousands of people were protesting against corruption. The movements in the suite are: “The Wizard’s Wicked Charm,” with which the album takes an important turn and delves into a softer tempo, while maintaining its Latin touch. A statement about the political situation in the United States. The melody has roots in bachata and salsa. Highlights include Moncada’s baritone and Alfredo Balcacer’s guitar; the second movement, “Liars and Fools,” features Aliquo (tenor sax) and Paul McKee (trombone). Garcia writes: “Every false prophet needs a chorus. This movement overflows with chaotic energy, unquestioning devotion, unreflective loyalty. A dance of hollow drums, blind applause, smoke and mirrors, and the truth silenced beneath a smiling mask.” The Latin rhythm remains the star performer; the third and final movement is “The Mold Breaker (Bringer of Joy).” Garcia imagines a woman taking leadership, stepping forward “and speaking not to deceive, but to awaken.” Swindler on alto sax and Dana Landry on piano are the featured soloists.
In “Shadows of Tomorrow,” Socrates Garcia reflects the rich mix of musical traditions of the Dominican Republic, but also reflects on his personal moment, politics, and memories.
Jazz Weekly by George Harris
“…filled with wondrously musical dialogues… Playing the triple role of composer, arranger and conductor, Socrates Garcia captures the essence of Latin Jazz on this richly orchestrated album. The rhythm is rocking like an avalanche throughout…“
Playing the triple role of composer, arranger and conductor, Socrates Garcia is completely Platonic in his worldview of capturing the essence of Latin Jazz on this richly orchestrated album. The big band is as overflowing as the School of Athens, with seven reeds, five trumpets, six trombones, a five man rhythm team and a four membered percussion team for good measure. The rhythm is rocking like an avalanche throughout, in your face under Clay Jenkins’ horn on the exciting “AG’s Resting Face…Scary!!!” and galloping up the backs of soloists Don Aliquo/as and Jonothan Bumpus/tb on “Sultry Villa Mella Twilights” while the sections spar back and forth over Ivanna Cuesta’s tumultuous drums and around Brad Good’s trumpet during “Brad’s Dreamy Samana Night.”
The feature here is a three part “Illusions, Delusions…A Glimmer Of Hope” that has Eduardo Mocada’s baritone sax coming in like an opera star for the sauntering first movement, as the suite closes out with pianist Dana Landry going from mellow tones to a dramatic build up on the finale of “The Mold Breaker (Bringer Of Joy)” and altoist Wil Swindler filling the room with his Aristotelian focus on the individual lines of the melody.
Socrates needs to make no “Apology” for this release, as this release is filled with wondrously musical dialogues.
All About Jazz by Jack Bowers
4.5 stars
“Do not let the word “Latin” in front of the Socrates Garcia Jazz Orchestra’s name sway you. Shadows of Tomorrow is bright and spirited contemporary jazz albeit with a southerly twist. The salute to Latin America is for the most part rhythmic; everything else leans resolutely toward el norte, and the orchestra (which is actually based in Colorado, where Garcia teaches at the University of Northern Colorado) lends its considerable weight and savvy to every one of the leader’s half-dozen fiery compositions and arrangements.”
“Messages aside, it is the music that must carry the day, and neither Garcia nor the orchestra is less than superb in that area.”
Do not let the word “Latin” in front of the Socrates Garcia Jazz Orchestra’s name sway you. Shadows of Tomorrow is bright and spirited contemporary jazz albeit with a southerly twist. The salute to Latin America is for the most part rhythmic; everything else leans resolutely toward el norte, and the orchestra (which is actually based in Colorado, where Garcia teaches at the University of Northern Colorado) lends its considerable weight and savvy to every one of the leader’s half-dozen fiery compositions and arrangements.
Those works include a three-part suite, “Illusions, Delusions…A Glimmer of Hope,” which consumes nearly half of the album’s hour-plus playing time. Preceding the suite are a brace of barn-burners (“AG’s Resting Face…Scary!!!,” written for Garcia’s lively teen-age daughter, and the adventurous “Sultry Villa Mella Twilights”) along with “Brad’s Dreamy Samana Night,” a colorful showpiece for the orchestra’s stellar lead trumpeter, Brad Goode. The suite’s movements are “The Wizard’s Wicked Charm,” “Liars and Fools” and “The Mold Breaker (Bringer of Joy”).
Although Garcia names no names, those who can read between the musical lines should have little doubt about who Movement 1’s “Wizard” is: “A conjurer in a red tie whispers half-truths and weaves illusions. With sleight of tongue and a stage of screens, he builds a world in his image, a theater of ego, a cult of mirrors.” Sound familiar? Hint: this isn’t about Oz. As to “Liars and Fools,” Garcia writes that “every false prophet needs a chorus,” which is what Garcia provides: “a dance of hollow drums, blind applause, smoke and mirrors, and truth silenced beneath a smiling mask.” All to an irresistible Latin beat.
Even so, there is hope, as embodied in Movement 3’s “Bringer of Joy,” a “new figure” who steps forward “and speaks not to deceive, but to awaken.” The rhythm here, Garcia writes, “is hope reborn, not naïve but earned.” Messages aside, it is the music that must carry the day, and neither Garcia nor the orchestra is less than superb in that area. The ensemble sprints from the starting gate on “AG” and keeps its collective foot on the accelerator through the last shout chorus of “The Mold-Breaker.” Soloists? There are plenty of standouts from which to choose. Besides Goode (who is far better than his name suggests), they include alto saxophonist Wil Swindler, tenor Don Aliquo, baritone Eduardo Moncada, trumpeters Clay Jenkins and Jeff Jarvis, trombonists Jonathan Bumpus and Paul McKee, guitarist Alfredo Balcacer and pianist Dana Landry.
As rhythm plays an outsize role on every number, Garcia has placed those duties in the capable hands of Balcacer, pianists Landry and Manuel Tejada (on “The Wizard’s Wicked Charm”), bassist Erik Applegate and drummer Ivanna Cuesta Gonzalez, reinforced by percussionists Pablito Peña, Felix Garcia, Daniel Berroa and timbalist Miguel Montas (on “The Wizard”). Whatever the label, jazz recognizes few musical boundaries, geographic or otherwise, and Shadows of Tomorrow provides a textbook example of that truism. Latin jazz? Call it what you will, but when music swings like this, whatever name it bears is entirely irrelevant and immaterial.
JW Vibe by Jonathan Widran
“Shadows of Tomorrow offers a colorful, high spirited mélange of Latin music styles via expansive, full-bodied, alternately muscular and sensitive arrangements performed by his powerhouse 24-piece jazz orchestra. Garcia offers a master class/full-scale immersion into a full range of vibes from his native country.”
Compositionally inspired by everything and everyone from his daughter’s humorously “scary” resting face and a starry evening in the beautiful beach town of Samaná to the troubling violence and frightening ongoing political zeitgeist of the U.S., veteran Dominican born bandleader Socrates Garcia’s third album Shadows of Tomorrow offers a colorful, high spirited mélange of Latin music styles via expansive, full-bodied, alternately muscular and sensitive arrangements performed by his powerhouse 24-piece jazz orchestra.
From the explosive percussive opening of the aggressive, heavy metal meets Latin jazz jam “AG’s Resting Face…Scary!” through the fascinating, multi-faceted three movement incisive and pointed socio-political suite “Illusions, Delusions…and A Glimmer of Hope,” Garcia, a prominent music technology educator at the University of Northern Colorado, offers a master class/full-scale immersion into a full range of vibes from his native country.
These include the folkloric Dominicana palos weaved into the boisterous jazz energy of “Sultry Villa Mella Twilights,” bachata and salsa on the sultry and sassy first movement of the suite “The Wizard’s Wicked Charm,” the coolly soulful, then chaos-filled meringue/jazz mash of the infectiously hypnotic “Liars and Fools” (the second movement) and the artful swirl of bachata, merengue and jazz on the decidedly hopeful third movement of the suite “The Mold Breaker (Bringer of Joy).” Along the way, listeners should attune their ears to spectacular soloing by saxophonists Wil Swindler (alto) and Don Aquilo (tenor), trumpeters Jeff Jarvis and Clay Jenkins and trombonist Jonathan Bumpus.
Listeners can certainly enjoy Shadows of Tomorrow without thinking much about the political aesthetic, but it should be mentioned that Garcia composed the Suite during 45’s first regime, never anticipating they’d be even more relevant in 2025 – and sadly poignant, since he wrote “The Mold Breaker (Bringer of Joy)” imagining a woman stepping up to lead with compassion.
Musical Memoirs by Dee Dee McNeil
“A musical meeting place. Socrates Garcia offers it to the public where the soul of Dominican culture and Afro-Caribbean music meet. It’s a mixture of cultures, creativity and some contemporary jazz, arranged for a Latin orchestra. Garcia arranges the horns with tight harmonics and punchy, memorable brass lines. Every tune is well-written, danceable, and stuffed with Latin culture.”
SOCRATES GARCIA LATIN JAZZ ORCHESTRA – “SHADOWS OF TOMORROW” – Summit Records
Socrates Garcia, composer/arranger/conductor; RHYTHM SECTION: Dana Landry & Manuel Tejada, piano; Erik Applegate, bass; Alfredo Balcacer, guitar; Wanna Cuesta, trap drums. PERCUSSION: Pablito ‘drums’ Peña, Felix ‘Abuelo’ Garcia, Daniel Berroa, & Miguel Montas (timbales). WOODWINDS: Wil Swindler, alto & soprano saxophones; Andrew Janak, alto saxophone; Don Aliquo & David Bernot, tenor saxophone; Eduardo Moncada, baritone saxophone/clarinet; Drew Zaremba, flutes; Javier Vinasco Guzman, clarinets. TRUMPETS/FLUGELHORNS: Brad Goode, Miles Roth, Shawn Williams, Jeff Jarvis & Clay Jenkins; TROMBONES: Jonathan Bumpus, Zach Rich, Tom Call, & Gary Mayne on bass trombone. GUEST TROMBONE SOLOIST: Paul McKee.
This album is a musical meeting place. Socrates Garcia offers it to the public as a space where the soul of Dominican culture and Afro-Caribbean music meet. It’s a mixture of cultures, creativity and some contemporary jazz, arranged for a Latin orchestra. Garcia has composed and arranged every song. These compositions reflect his personal landscape, including tradition, current-day politics and life memories.
They open with “AG’s Resting Face …Scary!” that is a medium-tempo, percussive driven arrangement. The song is dedicated lovingly to Garcia’s daughter and her playful, sharp-edged stare that can look at you in such a way that it interrupts your peace. The solo of Wil Swindler on alto saxophone is outstanding. When Clay Jenkins enters on trumpet, he plays tenderly at first, before the percussion kicks in and then his trumpet dances along with energy.
On a tune called “Sultry Villa Mella Twilights” Socrates Garcia celebrates the spirit and joy found in the Dominican. This is more jazz than contemporary, soaked in percussion rhythms that breathe ritual and culture. This is a twilight prayer for the ancestral voices that echo in the trees and the drums that play a big part in this arrangement. They speak to me.
An original composition called “Brad’s Dreamy Samana Night” was written when Garcia found himself under the stars in the Dominican Republic town of Samaná. For some reason it reminds me of horseback riding down the beach. Garcia was inspired by the trumpet of Brad Goode, who pulled out his horn and filled the quiet night with a flurry of notes.
A song titled “Illusions, Delusions … A Glimmer of Hope” begins in a very bluesy way. This is actually a suite. The first part of the suite is called: “Mov I: The Wizard’s Wicked Charm” and features the rich sound of Eduardo Moncado’s baritone saxophone. The moods change in this arrangement, like the tempos.
On “Mov II. Liars and Fools” the trombone solo of Paul McKee is dynamic and beautiful.
Throughout this album, the percussionists and drummer, Wanna Cuesta, keep the tempos and rhythms locked tightly. Garcia arranges the horns with tight harmonics and punchy, memorable brass lines. Every tune is well-written, danceable, and stuffed with Latin culture.
Socrates Garcia is an arranger, producer, recording engineer, guitarist, keyboardist, and educator. He has a bachelor’s degree in Theory and Composition from Luther College, a Master of Arts degree in Jazz Studies (composition) from Middle Tennessee State University, and a Doctor of Arts degree in Jazz Studies (Composition) from the University of Northern Colorado. He has been their Director of Music Technology for the last fifteen years.