Mark Weinstein is a flutist, composer, and arranger. He began studying music at six years old with piano lessons from his neighborhood teacher, Fort Green Projects, Brooklyn. He tried drums and clarinet between then and his first trombone playing at Erasmus Hall High School at age 14. At 15 he played his first professional gig as a trombone player. He later added string bass to his repertoire, which was a popular double in NYC at the time. Larry Harlow, a Salsa bandleader, taught Mark Latin bass. Harlow taught Mark how to play trombone. Three years later, he and Barry Rogers formed Eddie Palmieri’s trombone section. This revolutionized salsa’s sound. Weinstein, who was passionate about jazz, was an important contributor to the development and implementation of salsa trombone playing. His playing with salsa bands reflected jazz ideas and techniques. His arrangements enriched the musical base of salsa and added folkloric elements to give it depth and authenticity. Larry Harlow’s Latin jazz quintet had only one horn. He was the sole horn at the Schenks Paramount Hotel jam session band. Charlie Palmieri was the trumpet and trombone player in the first salsa band in NYC. Mark was also the arranger and featured soloist with Alfredo Chocolate Armenteros, the great Cuban trumpet player, Victer Paz, the Alegre All Stars, and the La Playa Sextet. Mark’s playing and arrangement were a significant influence on brass writing and Salsa trombone and trombone. Mark recorded with Eddie Palmieri with Cal Tjader, and Tito Puente. He played for many years with Herbie Mann, as well as with Clark Terry, Jones, Lewis, Clark Terry, Jones, Lewis, Lionel Hampton and Duke Pearson. He recorded and wrote the 1967 Afro-Cuban jazz album Cuban Roots, for Al Santiago, the legendary salsa producer. It revolutionized Latin Jazz by combining traditional folkloric drum groups with extended jazz solos, arrangements and harmonically complex jazz solos. Chick Corea played piano, and the rhythm section featured the best and most experienced Latin drummers: Tommy Lopez Sr., Julito Collazo and Papaito (timbalero and La Sonora Matancera). Mark took a break from music in the 1970’s to pursue a Ph.D. in Philosophy, with a specialization on mathematical logic. He was a college professor until today. He returned to the music scene in 1978, playing the flute. In the Orisha Suites, he produced and recorded with Olympia Alfara, the great Colombian pianist Eddie Martinez. Also, percussionists Julito Collazo, Steve Berrios, and a bata-clad Afro-Cuban chorus were present. Roger Dawson’s Sunday Salsa Show featured music from the Orisha Suites, which was not released until recently. Mark returned to jazz with a vengeance. He worked gigs and recorded over a dozen albums since 1997. Seasoning was his first flute CD. He experimented with various settings for the flute including a quartet featuring Bryan Carrott on vibist and Cecil Brooks III (drums) and a trio with Vic Juris on flute and two guitarists. Mark recorded Jazz World Trios in 1998 with Cyro Baptista, a Brazilian guitarist and percussionist. They explored Brazilian themes using classical guitar and percussion, juxtaposed by a freebop trio consisting of Cindy Blackman on drums, Santi Debriano (bass), Mark on flute and Cindy Blackman (drums). The set was completed by Jean Paul Bourelly, Milton Cardone and music that is based on Santeria theme. Three Deuces was released in 2000 and featured Mark alongside Ed Cherry, Vic Juris, and Paul Meyers as guitarists. Due to limited distribution and greater demand for albums, Mark recorded the material from Cuban Roots again with new arrangements. He also enlisted the assistance of Omar Sosa, pianist and percussionist, Francisco Aquabella and Lazaro Galarraga, John Santos and Jose De Leon. He co-produced it with Dan Weinstein, his nephew and trombonist, and violinist, for CuBop Records and Michael McFadin. Mark had the amazing opportunity to travel to Kiev, Ukraine to record the music by Alexey Kharchenko, his Ukrainian father. Milling Time, which was the result of their collaboration, allowed Mark to expand his musical horizons, from classical music to smooth jazz and Ukrainian folk music. Mark hopes this will be the beginning of many international projects that reflect his growing love for music from different cultures and places. Since 2001, Mark’s recording speed has increased. An album of Jewish music was recorded by Mike Richmond, Brad Shepik and Jamey Haddad. A recording with Richard Boukas, guitarist and vocalist, of music from Calendario de Som of Hermeto Pascoal. It featured Nilson Matta, Paulo Braga, Vaderlei Pereira, and Paulo Braga drumming. Another version of Cuban Roots is available on Jazzheads Records called Algo Mas. Jean Paul Bourelly plays the electric guitar, which is what he enjoys most. Santi Debriano was joined by Pedrito Martinez (master percussionist), who sang the vocals. Also, Nani Santiago, Gene Golden, and Skip Burney played congas and bata drums. Next, a recording was made in Berlin with Omar Soso playing vibes and marimbas, Ali Keita on the ballaphone, Mathais Ogbukoa, Aho Luc Nicaise and Aho Luc Nicaise playing African percussion, and Marque Gilmore and Stanislou Michalou on drums. O Nosso Amor, and Con Alma, his most recent albums, are also available on Jazzheads. He is joined by Brazilian jazz masters Romero Lubambo and Nilson Matta, as well as percussionists Guilherme Franco, and Jorge Silva. Con Alma is a Latin Jazz album that features Mark Levine as a pianist, Santi Debriano as a bass player, and Mauricio Hererra as percussionist. There will be two more releases, plus more surprises. from http://jazzfluteweinstein.com/
