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Carlos Jimenez / Mambo Dulcet: Red Tailed Hawk

Mark Weinstein have helped to widen this avenue of instrumental exploration. They've paved the way and opened up a world of possibilities for fine and feisty flautists of the present and future to flourish in danceable domains. Carlos Jimenez is one of the beneficiaries of their trailblazing. 

Jimenez, who was brought up in New York, moved to Puerto Rico at the age of six and returned to the Big Apple to further his musical studies in 1995, has absorbed the work of his instrumental forbearers and peers, but he's no copycat. Red Tailed Hawk presents an artist who stands firmly on his own two feet, which are both likely moving to the tasty grooves that power this music. 

Vamps and a steady percussive flow are part and parcel for these pieces, which tend to value feel and solo work over harmonic movement. While this can cause interest to wane on occasion, the personalities involved usually keep this problem at bay with a steady flow of excitement and energy. Jimenez delivers bright, perky solos that are fun-filled snapshots of his chipper musical persona and he aligns his axe with different front line allies from track to track. Trumpeter Peter Nater proves to be a strong soloist and simpatico partner, though his horn has some occasional intonational rub with the leader's flute ("Goza Nena"). Likewise, 

Lewis Kahn is a highly skilled double threat, capable of creating a stir with trombone or violin. While Guillermo Perez's guitar is only heard on "La Playa," it adds volumes to that track. 

When Jimenez isn't doling out sweet flute treats, he puts his instrument down and sings. His voice, like his flute, cuts straight to the heart of the music and proves to be an equally powerful instrument. The real Red-Tailed Hawk may be a bird of prey, but Jimenez's music harbors no threat. It merely invites hip shaking and rewards open ears. 

Track Listing: Tanto Rogarte; Goza Nena; Tu Boquita Dulce Y Maravillosa; Alma Con Alma; Guaraguao (Red Tailed Hawk); My One & Only Love; La Playa; Mambo Terrifico; Cachita; Tomando Cafe.

Personnel: Carlos Jimenez: flute, vocals, piano (10); Edy Martinez: piano, vocals; Willie Cintron: bass; George Cintron: timbales; Juan Rodriguez: congas; Lewis Kahn: trombone, violin; Guillermo Jimenez: chekere, bongo; Peter Nater: trumpet (3, 4, 6); Richie Viruet: trumpet (10); John Guth: guitar (5, 8); Orlando Marlin: timbales (6); Guillermo Perez: Fender Rhodes (7), guitar (7), vocals (7); David Cruz: piano (8); Sonny Bravo: piano (7); Alfred Valdes, Jr.: Piano (2).

Title: Red Tailed Hawk | Year Released: 2012 | Record Label: CJMartinete Music Co. 

Blog Critics

Flute is a scary instrument; jazz flute doubly so. Too often flute players fall back on either candy sweetness or the tired breath tricks that Ian Anderson has been doing with Jethro Tull for more than thirty years now. The instrument suffers as well by its overuse in Muzak and tepid soft rock, to the point where people reflexively assign flute music to the “eww” file. For my part, all the great jazz flute players who push my buttons (and that’s not many, owing to my own ignorance) are experimenters who use the flute as a tool to explore the outer limits rather than just play some good old straight music. 

All this goes triple for Latin jazz flute, where the light tone of the instrument can get buried underneath an avalanche of percussion. It’s a neat trick, then, that Yonkers, NY native Carlos Jimenez has pulled off. As a young Latin jazz flutist, he has made an album that leaves the flute front and center, counterbalanced by a rhythm section that for all their propulsion and weight still leave plenty of room for the flute on top. Moreover, Jimenez is a straight-ahead player interested in exploring groove and melody rather than orbiting Neptune on a descending-modal whole tone run. And even though the words “tasteful flute” generally make me want to run screaming for my Slayer albums, he has made a very promising debut album, titled Arriving.

Jimenez’ tone is light and airy, about as far from the round caramel sweetness of classical flute as it’s possible to get, and he has developed a voice as a soloist that makes the most of this lightness. He sometimes leaves phrases open ended, building up questioning statements for bars at a time before tying them together again. Although he is young (and plays young), his ideas have enough meat on them to promise a lot of room for him to develop as a player.

His band backs him up in style with great comping and tight rhythms that balance the Latin and jazz sides of their sound nicely. Bassist Geoff Brennan in particular skips across the beat with a feel that digs in like Stanley Clarke but bounces like a salsa band. The percussion line of Hilton Ruiz (piano), Guillermo Jimenez (timbales), Aryam Vazquez (congas) and Adam Weber (drum kit) keep Brennan tied to earth with knotty and dense rhythms that smolder and spark. In particular, Ruiz’ solos and tartly dissonant comping fill in harmonic and rhythmic details beautifully, and the occasional backbeat fill from Weber sometimes send things in a welcome bebop direction. 

Arriving is a collection of originals by Jimenez (plus Miles Davis’ “So What”), most of which are open-ended head charts that devote most of their space to soloing (I’m not even sure if a couple of Jimenez’ compositions even have heads or not). While this suggests that Jimenez’ writing has a lot of growing up to do, it doesn’t actually detract from the album as a whole. With a rhythm section as tight and alert as his, Jimenez can carry tunes on solos that, though sometimes limited, are expressive enough to retain interest. 

Standout tracks include the opening “Tomando Cafe,” “Natalie’s Cha Cha Cha” and “Arriving,” which percolate with sparkling rhythms and probing solos from Jimenez, Ruiz, and guest player Bobby Porcelli (alto sax) on “Arriving.” Elsewhere, as on “Tunnel of Flowers” and “My Allison,” Jimenez and crew give over to prettiness that goes on too long to really hold interest.

The greatest compliment I can give is that I have Arriving on an IPod playlist with a number of heavy hitters in Latin and Latin hybrid music – The Spanish Harlem Orchestra, Mandrill, Jimmy Bosch, Poncho Sanchez, Mongo Santamaria, and so on – and the best selections from Arriving always send me rushing back to the “now playing” screen to remind myself who’s making this good noise. 

Although not perfect, Arriving is a strong debut from a young player.

Jazz Review

New York city is home to a thriving Latin jazz scene, including several fine flutists, Andrea Brachfeld, Mark Weinstein, Jessica Valientes and recent Grammy winner Dave Valentin. Carlos Jimenez is a new addition to this fold and this is his debut CD appropriately entitled Arriving.

Jimenez arrives after a number of years paying his dues, some in his birthplace and current home of Yonkers, some in Puerto Rico where he spent several years. Since taking up the flute he has studied with some fine Latin players, Mitch Frohman from Tito Puente's band, Mario Rivera, Bobby Porcelli, who appears on this recording, and, more recently, Dave Valentin who also puts in a guest appearance. Jimenez also attributes much of his inspiration to pianist Mike Longo. These influences can be heard in Jimenez' flute work; he has a good full sound, a secure rhythmic sense and a good flow of invention in his improvisations. He has wisely chosen to center his rhythm section around a seasoned veteran-pianist Hilton Ruiz, with whom Jimenez has also studied. With Ruiz at the controls the rhythm section snaps and crackles. Jimenez takes central stage as soloist but leaves room for Ruiz, plus cameo appearances by Khan, Porcelli and Valentin, the latter on the final track, the only one not an original composition by Jimenez. It says something for Jimenez' prowess as a flutist that it is hard to tell him and Valentin apart! 

This is certainly a fine debut for a new artist. Along with his flute work, he also contributed seven original compositions. On the whole these are strong, with the usual Latin vamps and grooves, bossas and cha chas, with one slower ballad, My Allison. One caveat. If I had been the producer, I would have suggested leavening these with one or two standards. Jimenez' originals are not quite distinctive enough to carry the whole album. Dave Valentin, Jessica Valiente--these are good composers, but their recordings benefit from a program that mixes their originals with traditional Latin forms and/or jazz standards. I think such a formula would serve Jimenez well on his next recording, which I look forward to hearing.


Carlos Jimenez: Arriving

There is no doubt that for a large part of the movie-watching population, jazz flute will instantly call to mind Will Ferrell's heroically unhinged performance on said instrument in a scene from Anchorman: The Legend of Ron Burgundy. That Ferrell is now synonymous with jazz flute in some quarters says something, although I'm not exactly sure what. Regardless, Carlos Jimenez approaches the flute on Arriving in a traditional manner, without a sense of irony.

The great danger of playing flute in a jazz setting is that the light breathiness of the instrument can evaporate into the ether, leaving listeners with nothing to hold on to. Luckily, Jimenez solves this problem by ensuring that the music behind him has a heavy percussive base. For the most part, the rhythm section locks into a solid timbal and conga-spiced groove while Jimenez solos freely on top. The contrast between the high and low makes both ends that much more compelling and vivid.

Four of these eight tracks feature guest musicians who help keep the sound fresh and evolving. Violinist Lewis Khan's appearance on "Flute & Violin is particularly stimulating. Khan and Jimenez play over a Middle Eastern-tinged melody that is both exotic and alluring. On Miles Davis' "So What —incidentally, the only track not composed by Jimenez—Dave Valentin also sits in on flute, with a deeply hypnotic result.

Arriving is a fine display of mellow Latin jazz on which the high points outnumber some of the more generic tunes. And, just in case fans of Anchorman may be wondering, the album does not feature a quote from "Aqualung. 

Track Listing: Tomando Cafe; Flute & Violin; Natalie's Cha Cha Cha; Arriving; Tunnel Of Flowers; My Allison; Que Paso?; So What.

Personnel: Carlos Jimenez: flute; Hilton Ruiz:piano; Guillermo Jimenez: timbales; Geoff Brennan: bass; Aryam Vazquez: congas; Adam Weber: drums; Dave Valentin: flute (8); Bobby Porcelli: alto saxophone (4,6); Lewis Khan: violin (2).

Title: Arriving | Year Released: 2005 | Record Label: CJMartinete Music Co.


Chumancera Latin Jazz

Carlos Jimenez – Arriving

Yonkers, Nueva York natal, Carlos Jiménez es la nueva generación de flautistas extraordinarias. Sigue los pasos de grandes como José Fajardo, Dave Valentin, Néstor Torres.
Pasión por la música de Carlos comenzó a la edad de cuatro años, cuando bajo la dirección de su padre aprendió a tocar la trompeta. La familia regresó a Villalba, Puerto Rico, donde el entonces de seis años de edad, el músico continuó su formación musical al final lo de aterrizar la admisión a la prestigiosa escuela Francisco Zayas Santana alta en Villalba, Puerto Rico, donde estudió con el famoso maestro, el profesor Pablo León .
En 1995, Carlos volvió a Nueva York para estudiar en el Conservatorio de Música de Westchester. Durante la realización de un año de su educación en música clásica, que amplió su repertorio al jazz estudiando con músicos maestros Dave Valentín, Hilton Ruiz, Mario Rivera, Bobby Porcelli, Sonny Bravo y Longo Mike.

Su talento y su pasión por el Jazz, Latin Jazz, Salsa, así como sonidos brasileños y asiáticos se ha traducido en su grabación con muchos grandes de la música, incluyendo: Hilton Ruiz, Ronget Stephane, Sermones Saunders, Willie Cintrón, Sonny Bravo, Martínez Edy, Alfredo Valdez Jr., David Braham, Rubén Rodríguez, Dave Valentin, Jay 
Hoggard, David Schnitter, Jennings Jerónimo, Orlando Vega, Geoff Brennan, Chris Smith, Fidel Cuéllar, BRUN Jeremy Kahn Lewis, Gregg agosto, Weber Adán, Cherico Vince, Guillermo Jiménez, Aryam Vázquez, Wilson Corniel, Juan Rodríguez, Cintrón George y Bobby Porcelli.
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Wilson & Arroy's

 Carlos Jiménez, Arriving (2005)
Small-combo Latin jazz, particularly flute-led, always runs the risk of becoming superficial background music. Jiménez is at higher risk, because he has a low-key, mellow sensibility, but fortunately he beats the odds: the ballads ("My Allison") are sensitive but not sappy, while the high-gear numbers show welcome unpredictability ("Tomando Café"). Similarly, the compositions don't knock you off your chair, but feel like they've always been in your life, like a favorite uncle ("Tunnel Of Flowers"). The elegant closing run through the Miles Davis standard "So What" (featuring Dave Valentín) exemplifies the unhurried, subtle but substantive approach, though the centerpiece is the contemplative, moving title track. The backing band is Hilton Ruiz (piano), Geoff Brennan (bass), Guillermo Jiménez (timbales), Aryam Vázquez (congas) and Adam Weber (drums); Lewis Khan guests on "Flute & Violin." (DBW)

Vicki Sola Salsa








As I listened to flutist/bandleader Carlos Jiménez and his group Mambo Dulcet’s latest production Red Tailed Hawk , Volume II for the first time, I remember uttering aloud the somewhat trite and definitely overused adjective, “Beautiful!”


When my son Frank asked me why I was talking to myself—indeed, shouting—I replied to him and myself, “This is Latin jazz, just the way I love it—authentic, fiery and extremely danceable, with fabulous and seasoned musicians.” Not just a lackluster collection of jazz standards covered too often, hastily thrown over a clave beat.


I’ve heard Jiménez’s seven track album many times since—it’s become a semi-permanent fixture in my car’s CD player—and my reaction remains the same each time I listen, as I make fresh discoveries, some subtle, some not so subtle.


Jiménez, responsible for the arrangements, presents a mix of classics along with a couple original compositions, and features pianists Edy Martínez, Sonny Bravo, Alfredo Valdés, Jr. and Enrique Haneine—each one incredible.


On “Descarga TP,” the flutist’s percussion laden tribute to Tito Puente, Jiménez is accompanied by Bravo (piano), John Guth (guitar), Willie Cintrón (bass), Guillermo Jiménez (timbales), George Cintrón (bongo) and Juan Rodríguez (congas).


Carlos Jiménez plays flute and contributes vocals on classics “Cachita (Fast Take)” and “Bilongo,” where we also hear Martínez, Willie Cintrón, George Cintrón, Rodríguez, and drummer Rafael Monteagudo, the latter singing on “Cachita” and providing the beat and more on “Bilongo.”


Sonny Bravo handles piano duties on “Los Tamalitos” and Alfredo Valdés, Jr. does the honors on “La Gloria Eres Tu.”


I’ve saved my two favorites, both Jiménez compositions, for last—“Mi Ritmo” and “Tanto Rogarte.” I remember speaking with Jiménez just after I’d heard the former, and saying, “Carlos, you got me with that one!” Hadn’t even listened to “Tanto Rogarte’’ yet.…


Featured with Jiménez on “Mi Ritmo” are maestro Martínez, Monteagudo, and Lloyd Nilsen (bass).


“Tanto Rogarte,” which Jiménez characterizes as salsa/Latin jazz, is an eleven minute track that I can listen to forever. Here, the flutist features Monteagudo and Nilsen, plus the iconic Jorge Maldonado on vocals, and pianist Enrique Haneine, who blew me away.


The seasoned, much acclaimed Haneine, who hails from Mexico City—he has also been active in pop music, serving as Ricky Martin’s musical director, pianist and arranger—exemplifies everything that a jazz pianist should be—and he sure knows how to play salsa, too.  As I pointed out to my son, the piano is a percussion instrument, and that fact is brought home with Haneine’s percussive style.


I am wowed by the virtuosic interplay between Jiménez and Haneine—both class acts—on this intensely danceable and listenable (if I might coin a newly invented term) track, one that wails, simmers down, then flares up again like a house on fire—a thirteen alarm conflagration!


Carlos Jiménez, a brilliant player who can play percussively himself, and a veteran, is equally at home in the worlds of Latin jazz and salsa.


“Red Tailed Hawk, Volume II,” he states, “is just an amazing continuation of my way of producing traditional music with various wonderful musicians, to create curiosity, enthusiasm and ideas as we learn from each other. Once we have Volumes I and II, then our fans and musicians want the next one. It becomes fun and brings hope and happiness.” Jiménez is about to release yet another CD, possibly by the time you read this.


Red Tailed Hawk , Volume II  is available as an MP3, by digital download. ◊◊◊




   "Tanto Rogarte" by Carlos Jiménez Mambo Dulcet


    click to listen:

Embreve Latin Jazz Magazine

Carlos Jimenez – Thoughts; Pensamientos CD

With his latest release entitled “Thoughts; Pensamientos” Carlos Jimenez and crew have succeeded in arriving at the perfect blend of straight up lite Jazz with a Latin flair.

Our favorite cut is entitled “My Son”. The compilation consists of 11 original cuts  and exemplifies the effects of sofrito, that special blend of flavorings rendering harmonies sure to hit home with jazz aficionados. With the upcoming release of the CD this artist is catapulted to new heights; that beyond the cuchifrito circuit. The CD makes an excellent addition to any collection, and a must have.


Embreve Latin Jazz Magazine

Carlos Jimenez Mambo Dulcet – Red Tailed Hawk CD

Got an email from Carlos Jimenez a month ago informing me of his Latest CD entitled ” Carlos Jimenez Mambo Dulcet Red Tailed Hawk” and of course I had to get my hands on it; Carlos was kind enough to provide a copy.

The work is dedicated to his Grandfather “Cruz Jimenez” and Uncles’ “Luis  and Polo Jimenez” all Korean War Veterans.  Its only fitting, as I received the CD shortly before Veterans Day and being myself a Veteran,  was touched by the sentiment.

To honor those that served in our defense so that we could enjoy our current liberties; BTW… Dad if you are reading this…. Thanks for the two tours in Nam and glad you came home safe.  As for me, while I was in during Vietnam, I was safe and dry  as our involvement was winding down; enough of my ramblings, now back to the CD.

As with fine wine, once the bottle is opened it should be allowed to breath for a spell before one begins the process leading to enjoyment. Similarly with a new CD, once the seal is broken, a random sampling and then a scheduled long drive, phone turned off and CD playing; total immersion.

This CD is a departure from previous works and signifies artistic growth not only as a tremendous flutists but as a vocalist.  Featured on this CD are Edy Martinez (Piano); Alfredo “Alfredito” Valdes Jr. (Piano); Orlando Marin (Timbales); and Sonny Bravo (Piano).

The fist thought that came to mind was “Now this is serious dance music”.   Listening to the words of first cut entitled “Tanto Rogarte” I was reminded of loves lost or thrown away; was it fate? The next cut is “Goza Nena” meaning “Enjoy it Baby” and the trend continues as by the third cut, the title is ” Tu Boquita Duce Y Maravillosa” the literal English translation is “Your Mouth Sweet and Marvelous”.   I am certain you will agree that from theses titles the inspiration behind these as well as other cuts on the CD just might  be a Love or a Lover’s lament; you decide.

I did speak with Carlos briefly about the CD and the inspiration behind it; commenting that the symbolism on the cover art was heavy and that the music seem to be in step.  On the surface, several of the cuts are instantly appealing as the rhythms hit deep, perhaps the essence of this performance; resonating so deep within the listener that it’s just a matter of time before all heck breaks loose and they find themselves gyrating to the Afro-Latin beats.  The longer one listens, the deeper into this mystic journey and that is where you will  find a well laid out series of influences showcased by the exceptionally talented musicians that collaborated on Red Tailed Hawk.

This is a CD that is surely to be well received and coveted.

John Irizarry


A una persona le resultó útil.

5.0 de 5 estrellasNew Star "Arriving"
el 9 de septiembre de 2005 - Publicado en
Carlos Jimenez brings a new voice to the Latin Jazz genre and its a voice to be reckoned with. His flute stylings remind me of Hubert Laws & Dave Valentine (who, incidently, contributes). This CD, entitled Arriving is a must have.

Jazz and Bossa

CD Review: Carlos Jimenez - El Flautista

Featured Artist: Carlos Jimenez

CD Title: El Flautista

Year: 2006

Record Label: CJ Martinete Music Co. - BMI

Style: Latin Jazz

Musicians: Carlos Jimenez (Flute), Gregg August (Bass), Guillermo Jimenez (Timbales), David Braham (Piano), Chembo Corniel (Congas, Percussion), John Walsh (Trumpet), Bobby Porcelli (Alto Sax)

Review: El Flautista was Carlos Jimenez second album, released in 2006. Check out the review for his new album Thoughts at:

If you like Latin Jazz you will love the music on this CD. For those who don't know much about Latin Jazz, Salsa or Caribbean music, there is something Latin Jazz and Salsa musicians call "afinque". Sorry, don't know the translation to english or portuguese for that one. But what basically means, is "the cohesiveness of the musicians, especially in the rhythm section (bass, piano and percussion). It is similar to swing for Jazz musicians. One can feel when a Jazz Band swings and when a Latin Jazz have "afinque". And these guys have it.

Gandulero, the first track, is a perfect example of what Latin Jazz is all about. Nice rhythm, full of energy and Carlos phrasing and tone on flute are amazing as always. Duende is a slower tune with interesting melodies and rhythms. There is some influence of "Bomba" on this one. Bomba is a style of music from Puerto Rico. It comes out of the musical traditions brought by enslaved Africans in the 17th century. You may hear "Bomba rhythms" in the music of Puerto Rican artists like Ismael Rivera, Rafael Cortijo and El Gran Combo.

Back to the Latin Jazz feeling on "Did you feel it?" Beautiful piano played by David Braham. If the question in the title is "did I feel the rhythm?" , the answer is "I sure did".

The piano rhythm at the intro of " El Flautista" is also typical of Latin Jazz and Salsa music, in the style of Puerto Rico great piano players like Eddie Palmieri. The addition of trumpet and sax gives this track, more fullness and richness, listen also to Getty Square.

Excellent version of Count Basie Blue & Sentimental. A nice "Bolero" feeling on this arrangement and a good choice to use a Fender organ instead of a piano. Carlos proves on this one he can slow down and still play with feeling.

A different kind of rhythm on "Mongo's Style". I'm guessing the title refers to the great Cuban musician, Mongo Santamaria. And the music on "Mongo's Style" reflects the cuban side of Latin Jazz. I guess it's impossible to be a Puerto Rican flute player and not to be influenced by Dave Valentín. Carlos solos on "El Carnaval para Ray" are a good example of Dave Valentin influence on Latin Jazz musicians.

The album ends with a cool version of "For you Hilton" a composition and homage to Hilton Ruiz, one of the best piano players from Puerto Rico who died in 2006, the same year this CD came out.

Tracks: Gandulero, Duende, Did you feel it?, El Flautista, Blue & Sentimental, Getty Square, Mongo's Style, El Carnaval para Ray, For you Hilton

Just Plain Folks Nomination Awards

Latin Jazz Album Nominees Carlos Jimenez El Flautista

Jazz News

Carlos Jimenez Kicks Off Yonkers Downtown BID’s Free Jazz and Blues 

Carlos Jimenez, the next generation of great Puerto Rican flute players and a native of Yonkers, and The Latin Jazz Band kicked off the Yonkers Downtown Waterfront Business Improvement District's fourth annual free "Jazz and Blues at Dusk" Summer Concert Series last Friday evening. The concert was the first of 10 that will be staged weekly every Friday through September 3 at the Yonkers Waterfront Amphitheatre from 6:30 to 8:00 p.m. If rain, the concerts will be staged at the Yonkers Pier.

Digital Dream Door

NYFS Music Westchester County

Yonkers Arts Weekend



Jazz Times

Latin Jazz Stars Celebrate Legacy of Jose Fajardo & 60 Years of Charanga

On Saturday, October 3, a host of prominent Latin jazz players will salute the legacy of Cuban flutist Jose Fajardo and the music he helped popularize-charanga-in a special concert held at the Hostos Center for the Arts & Culture at CCNY in the Bronx, New York. Among the artists scheduled to perform are Sonny Bravo, Edy Zervigon, Carlos Jimenez and Dave Valentin, as well as Armando Alberto Fajardos, his son.

Fajardo, who died in 2001, was one of Latin music’s important bandleaders. Fajardo popularized charanga, a musical style that, in contrast to some of the more driving Latin music genres, emphasized a lighter touch, with vocals, flute, violins, piano, bass and percussion. Fajardo was born in Cuba in 1919 and after a young career as a sideman, formed his own group in the ’40s and within 10 years became a huge star, not only in Cuba but also in the United States, particularly in New York and Miami. Fajardo emigrated to the United States shortly after the Cuban revolution in 1959 and continued his career as a performer at Latin clubs and a recording artist with labels like Fania and Columbia. When Fajardo stopped performing regularly, his son kept his band and legacy alive.

The event is produced by Mat Productions. The box office number for Hostos is 718-518-4455.

Repeating Island

May 29 marked the birth date of Puerto Rican jazz musician Hilton Ruiz (1952 – 2006) as well as the release of his last album, Hilton’s Last Note (2009). As James Nadal explains, Hilton’s Last Note is the record he started out to make but did not live to complete. Ruiz [also see The Late Hilton Ruiz, Latin Jazz Musician] died tragically on June 6, 2006 while on a visit to New Orleans to work on an album that was meant to be a tribute to the victims of Hurricane Katrina. This final recording, released posthumously by the late pianist’s daughter, Aida Ruiz, captures the images and essence of New Orleans in the wake of the hurricane.

In his review, Nadal buoyantly describes some of the pieces in this last album, including tributes to Ruiz done by other musicians, such as flautist Carlos Jimenez, vibraphonist Jay Hoggard, drummer Dafnis Prieto, cuatro player Yomo Toro, and most poignantly, Ruiz’s own daughter, who has added a short flute homage to her father in “Hilton’s Melody.” The album offers a variety of rhythms attesting to Ruiz’s versatility and virtuosity, moving from charanga and samba to the blues, with touches of calypsobop, and montuno. The album highlights Ruiz’s “masterful display of infinite skills and technique.”

Says Nadal, “Hilton Ruiz left us much too soon. Those who took the time to listen to his music are better for it, and yet are left with a void. Ruiz was a brilliant pianist with a versatility and passion seldom heard. That is what makes Hilton’s Last Note so special.”

Hilton’s Last Note is available through www.hiltonruiz

Solar Latin Club

El flautista, compositor y arreglista Carlos Jiménez regresó en 2011 a los estudios de grabación con el objetivo de presentar una nueva entrega discográfica denominada Red tailed hawk, en la cual contó con el concurso de músicos legendarios de la escena de Nueva York como Edy Martínez, Alfredo Valdés Jr, Orlando Marín y Sonny Bravo. Red tailed hawk nos presenta a Jiménez como cantante y pianista en algunos números. El repertorio trabajado en este registro discográfico presenta las interpretaciones de estándares del jazz (My one & only love) el jazz latino (Mambo terrífico) y la música cubana (Alma con alma, La playa –El niche-), así como el mundialmente conocido Cachita, junto a las obras musicales del propio Jiménez. El cha cha chá, modalidad musical cubana, es la base interpretativa de algunos temas presentes en este disco. Participan también destacados músicos como Lewis Kahn, Pete Nater y Richie Viruet, entre otros. Red tailed hawk tiene la virtud de visibilizar la vigencia musical de los maestros. - See more at:

Solar Latin Club

Carlos Jimenez Mambo Dulcet – Red Tailed Hawk, Vol. II

Lo que ya funciono una vez bien no se modifica, el sentido común nos lo indica. Esta premisa esta bien asimilada por el flautista, compositor y arreglista Carlos Jimenez. Ya en su anterior entrega Carlos Jimenez Mambo Dulcet – Red Tailed Hawk (CJ Martinete – 2011), esta receta le funciono a la perfección en un producto de gran factura tanto creativa como interpretativa.

Carlos Jimenez comprende bien la formula, discos bailables, arreglos con cambios sorpresivos y con posibilidad para que cada uno de los solistas se desfoguen y muestren porque están ahí.  En el primer numero del álbum, Descarga T.P,  se muestra generosos en sus respectivos solos: Sonny Bravo, ex-director de la típica 73, en el de piano, John Guth en la guitarra y  cerrando Guillermo Jimenez en los timbales.  Por su parte, la leyenda del piano, Edy Martinez deja su huella en la terrífica descarga Mi Ritmo dejando el camino servido para que el flautista Jimenez nos embruje con su respectivo solo.

También hacen parte del Vol. II los clásicos Cachita, Bilongo y Los Tamalitos de Olga. Mención especial merece la extensa descarga Tanto Rogarte, que igualmente fue incluido en su anterior producción. En esta ocasión recargada en forma de jam y con un alta dosis de improvisación donde se destacan el piano de Enrique Haneine , Lloyd Nilsen en el bajo, Rafael Monteagudo en los timbales y  Jorge Maldonado en los vocales.

Carlos Jimenez demuestra en este disco, su octavo como solista,  porque es reconocido como uno de los mejores flautistas en la escena de la salsa y el latín jazz contemporáneo. Solo un genio podría compaginar tantas estrellas en una grabación que exulta alegría y sabor.


New Gen Salsa

Review: Carlos Jimenez Mambo Dulcet “Tanto Rogarte” Tanto Rogarte (Salsa) 


Carlos Jimenez is back with Mambo Dulcet Red Tailed Hawk Vol.II  his new latin jazz album. I’m featuring “Tanto Rogarte” which is one of my favorites in this new CD. Although the title indicates that this is a salsa track it definitely has the latin jazz elements with the hot Salsa flavor which makes it very danceable. This will make a nice addition to your latin jazz collection.

You can purchase this CD at or you can just click on the Sound Cloud player where it says “Buy this track”

DJ Walter B Nice for

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Jazz Italia

La tradizione flautistica del Latin jazz è probabilmente una delle più solide e corpose della musica contemporanea. Il set degli ottoni è da sempre il momento propulsivo del sound del Caribe, consolidato da una tenace preparazione tecnica che, come nel caso di Carlos Jimenez, ha consentito a molti di divenire solisti capaci tanto di scrivere quanto di arrangiare secondo vari stili, offrendo intensi cromatismi e contaminazioni dense di pathos.


Tipica del fraseggio dello strumentista newyorkese è l'evocazione di paesaggi sonori per certi versi appartenenti ad un repertorio irripetibile, ad un patrimonio culturale classico reso attuale da un groove nitido e ricco di impulsi vitali, fisicamente concentrato in interventi che si pongono al di là delle mode, secondo un flusso ed un timbro del tutto personali, credibili per il sotteso senso di rinnovamento di formule fin troppo ascoltate.

Il suo incedere sfumato da molte coloriture vibranti non sembra destinato a restare nell'ombra, dal momento che si lega saldamente ad un'immaginazione poetica ben distinta e di ampio respiro: è una scelta accurata e opportunamente sostenuta da una ritmica di ottima scuola, operante nell'area della ricerca sonora indicata dalle sue stesse variegate composizioni.

I morbidi intrecci melodici prodotti dal flauto di Jimenez sottendono una capacità interpretativa fortemente avvolgente, immersa in atmosfere seducenti di tradizione blue venate di smooth e funky ("Yours For Sure", "Bluedo", "No te apures"), come nella miglior tradizione del Latin jazz

L'album offre del flautista un'immagine di musicista sensibile, raffinato, mai eccessivo nella tecnica, amante di arrangiamenti lineari e ben equilibrati, tessuti fra ritmicità poliedriche ed un estro improvvisativo tipicamente jazzistico, in cui l'elemento sensibile non di rado diviene passionale, caldo, energico e, allo stesso tempo, piacevolmente sensuale, lasciando talvolta intuire angolature notturne e sentimentali ("Thoughts", Pensieri, il titolo…) che in modo tanto garbato quanto evidente conducono Jimenez a mai dimenticare le proprie collaborazioni con Dave Valentin e Hilton Ruiz.

Smussata ogni asprezza del dialogo, l'incedere sinuoso dell' impeto emotivo riconduce alle suggestive sfumature di un linguaggio artistico vivo di forza interiore e passioni suadenti, pacato e inquieto come il cielo del Caribe.

Urban by Design

[Mount Vernon, NY] Mount Vernon residents were treated to the tropical sounds of Latin Jazz flautist Carlos Jimenez.  The extraordinary entertainment was part of the Westchester Arts Council's Free Arts Day.  Jimenez, a Yonkers-based musician, led a talented ensemble of musicians on piano, bass, congas, timbales, sax, and percussion.  The set included several well-known compositions by the legendary Dizzy Gillespie: Night in Tunisia, Manteca, and Con Alma.  The electrifying afternoon concluded with Getty Square, an amazing original piece written and arranged by Carlos Jimenez.

Staff from the Mount Vernon Public Library indicated that they want to have even more community programming in 2008! I had a wonderful time. 

108 Lounge

Lucid Culture- Jazz, Classical Music and the Arts of NYC

The New CD by Carlos Jimenez Is a Hit

A smooth jazz album called Thoughts. 


But wait. Don’t click off the page. This one has some muscle. It may fall into the smooth jazz category, but its melodies and rhythms are pure boricua. With its pristine, oldschool production, jazz flutist Carlos Jimenez’ third album is far superior to any of the elevator stuff you’ll hear on CD 101 or similar stations (although it could find a home there). The Puerto Rican-educated Jimenez, a frequent collaborator with the A-list latin jazz crowd, isn’t afraid to cut loose with a squall or two from time to time. The intelligence of his compositions and arrangements ranks with the best stuff Grover Washington Jr. or the Crusaders did back in the 70s before they got all synthy and slick. Stylistically, Dave Valentin – with whom Jimenez has played, and obviously admires – is the obvious influence, as well as perhaps Hubert Laws in his more energetic moments. The backing unit, which includes bassist Ruben Rodriguez, drummer Vince Cherico and keyboardist Fidel Cuellar is clearly having a lot of fun here, although they don’t get carried away. 


The cd opens with the breezy Carlitos My Son, followed by Bluedo, essentially a two-chord vamp with funk bass, giving Jimenez a chance to pick up the pace. No Te Apures (Don’t Worry) features a tasteful bass solo intro over stately acoustic piano chords and imaginative drums. I See Your Smile sets pensive flute and acoustic piano to an insistent guanguanco beat. 


The album’s fifth cut, Swift maintains the pace on a similar note. Storm Of Love opens with a sample of waves hitting the beach and then moves into a slow groove driven by triplets while Rodriguez takes another minimalist bass solo. For You & Me is especially choice,  flute and bass sailing over a darkly repetitive tropicalia riff on the piano as Jiminez builds methodically to a tasty crescendo. The cd’s title track is its best, a terrifically lyrical flute melody anchored by plaintive, minimalist piano chords. On the second verse, the bass takes over for the piano as Cuellar gets the chance to step out. The bracing Look At The Sky and Life Is Great revert to the cd’s earlier, ebullient, funky feel. Turn this one up loud in a roomful of jazz purists and you will have a lot of people asking, “Who is this guy?”


Jazz Flutist Carlos Jimenez

Living The Beautiful Life by Carlos Jimenez

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