Venezuelan-born, UK-based guitarist Aleph Aguiar returns with Sugar On My Blackbeans, his third studio release, following Pataruco (2015) and Maku (2017). In the years between albums, Aguiar has quietly built an impressively diverse résumé, working alongside artists such as Tony Kofi, Elton John, and Georgia Cecile, while also contributing behind the scenes as a guitar and vocal coach for Simon Bird during The Inbetweeners 2. His work with contemporary dance artists further broadened his musical perspective, shaping the multifaceted approach heard on this latest project.
That breadth of experience comes alive across nine original compositions, where Aguiar channels the spirit of 1960s Latin jazz while subtly reshaping its conventions. Instead of leaning on the traditional saxophone-piano frontline typical of the era, he opts for trumpet and Hammond organ, creating a sound that feels both rooted and refreshingly distinct. The trumpet, central to many Latin American traditions, blends naturally with Aguiar’s guitar phrasing, while the Hammond organ adds depth and warmth, enriching the ensemble’s tonal palette.
The album opens with “Panspermia,” immediately establishing a confident rhythmic foundation. The interplay between percussionist Will Fry and drummer Shane Forbes is tight and intuitive, laying down grooves that feel both intricate and effortless. Aguiar’s guitar work nods to the influence of Wes Montgomery, yet he avoids imitation, veering into unexpected melodic turns that give the music its sense of spontaneity and identity.
Tracks like “Mudwalk” highlight the dynamic range of the quintet, with trumpeter Quentin Collins delivering bold, expressive lines while Hammond organist Liam Dunachie contributes fluid, textural support. The title track stands out with its infectious sway and memorable motifs, capturing a vintage charm without sounding dated.
Aguiar’s compositional sensitivity becomes especially clear on the more reflective pieces, including “Little Daisy” and “One For Sorrow, Two For Joy.” Here, he embraces space and restraint, allowing his guitar to breathe while maintaining a subtle undercurrent of Latin rhythm. Elsewhere, “Monk Lakes” features an expansive solo that showcases his technical command and expressive depth, while “Reflected Three” and “Mondongo” provide moments for the rhythm section to shine. “Blue Tourpials,” with its lively 3/4 feel, draws inspiration from Venezuelan folk traditions, adding another layer of cultural richness to the album.
Recorded over just two days, Sugar On My Blackbeans captures a raw, first-take energy that enhances its charm. The performances feel alive and immediate, with each musician contributing to a cohesive yet vibrant sound. The result is an album that balances nostalgia with innovation—rooted in the grooves of 1960s Latin jazz but energized by a contemporary sensibility. It’s a feel-good record with depth, offering both warmth and musical intrigue in equal measure.
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