1 Ñengueleru (Duharte) 5:04
2 E'cha (Torres) 4:17
3 City Sunrise (Sanchez) 6:47
4 The Forgotten Ones (Sanchez) 3:53
5 Black Action Figure (Harris)6:21
6 Congo (Duharte) 6:30
7 And This Too Shall Pass (Harris) 9:28
8 Brown Belle Blues (Harris) 5:00
9 La Fiesta Va (Torres) 5:46
Vibraphone – Stefon Harris
Tenor Saxophone – David Sánchez
Trumpet – Christian Scott
Tracks 1,6,8:
Piano, Vocals (6) – Rember Duharte (1,6,8)
Electric Bass – Osmar Salazar
Drums – Eduardo Barroetabeña
Bata, Congas, Percussion – Jean Roberto San Miguel
Tracks 2,3,5,7,9
Piano - Harold López-Nussa
Bass - Yandy Martinez González
Drums – Ruy Adráin Lópea-Nussa
Congas, Djembe, Percussion, Bata (4) – Edgar Martinez Ochoa
Recorded Studio 18, EGREM, Havana, Cuba, May 2010
2011 Concord Picante CPI-32904-00 CD, Album, DVD
This album is a collaboration between vibraphonist Stefon Harris, trumpeter Christian Scott, and tenor saxophonist David Sánchez, recorded in Havana with Cuban musicians, including pianists Rember Duharte and Harold López-Nussa. It's not a Latin jazz album, though; these guys are primarily interested in moving classic hard bop into the future with infusions of hip-hop sensibility and groove, and that aesthetic permeates Ninety Miles, though there are occasional keyboard montunos and plenty of conga-driven rhythms to be heard, particularly on the album's peak, the hard Afro-Cuban/New Orleans funk workout "Congo." In a way, Ninety Miles is a puzzling album, because it doesn't seem to be making any explicit political statement; it's about the artistry, and nothing more. Christian Scott is a blazing young trumpeter in the Clifford Brown mold; Stefon Harris, who came up under Greg Osby, is keenly aware of the vibes' traditional position within jazz, and makes the most of that; David Sánchez is a powerful saxophonist with a flair for melody over muscle-flexing displays of lung power. And that's all they really want you to take away from this album. It's a blowing session that just happens to have been recorded in Cuba, with Cuban musicians backing them. Which, in its way, is a political statement, if an oblique one. But the album is well worth hearing on purely musical grounds. by Phil Freeman
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