New Album: Luis Marín’s “The One”


New album The One (recorded at Playbach Studios in San Juan) is the latest by Puerto Rican jazz pianist Luis Marín. Born and raised in Bayamón, Puerto Rico, he began studying piano at age 7. His works include the two albums Inconsolable—a special tribute to one of my favorite singers, Gilberto Monroig—and Live at the Nuyorican Cafe. Marín is a jazz piano professor in the Jazz and Caribbean Music Department at the Conservatory of Music of Puerto Rico.

Description of The One: Pianist Luis Marín presents an introspective work of Puerto Rican standards, jazz standards, and originals in an eclectic album, accompanied by such fine musicians as Pedro Perez, Pablo Rivera, Efrain Martinez, Kachiro Thomson and Richard Carrasco.

Excerpts from “Luis Marín” (All about Jazz):  In Puerto Rico, Luis Marín is one of the leading popular music and jazz pianists. Since early childhood, he has been performing in public, which eventually led to his involvement with some of the most significant artists in salsa and jazz. He has been a freelancer for a while now, as he is very much involved in the family business, which precludes the way of life required for success as a bandleader. Nevertheless, Marín keeps himself rather busy throughout the island, as a performer under his own banner, as a studio cat, as well as an accompanist of an ever-growing roster of artists from various musical backgrounds.

[. . .] “In the case of Puerto Rico, I think it’s important to reach the public with known material as a means to get their immediate attention, thus getting them to follow me throughout the entire interpretation.” Since I was under the impression that on this occasion Marín was thinking more along the lines of a traditional jazz trio format -sans Latin percussion- I mentioned it to him, at which point he rejoined by stating that “I am of the opinion that there’s already enough ‘Latin jazz’ -or however other way anyone might want to call it- in terms of emphasizing percussion in order for the music to rely on it. I try to use percussion, and Afro-Caribbean rhythms, as an additional resource, instead of being the foundation for the work that we do. It’s true that the sound I seek is the one derived from traditional [jazz] trios, with the conga as a binding element for my Caribbean traditions.”

Information on Marín from a 2004 interview with Javier AQ Ortiz; see full interview at

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