Review: Altin Sencalar’s ‘Natural Rhythm’

Natural Rhythm (Posi-Tone, 2025) is the seventh album by composer and trombonist Altin Sencalar. The album features unorthodox takes on jazz standards through Latin interpretations. Originals combine unusual instrumentation with different styles, ranging from Mexican Corrido and Mariachi to Puerto Rican influence, clave in 7/4, Afro-Cuban 6/8, and more, all with an emphasis on dance.  

Natural Rhythm includes Posi-Tone label standbys pianist Art Hirahara, bassist Boris Kozlov, and trombonist and baritone saxophonist Michael Dease. It also features woodwindist Sharel Cassity and trumpeter Alex Norris, both of whom come from the Dizzy Gillespie All-Star Alumni Big Band of which Sencalar is also a member. Natural Rhythm also features trumpeter Alex Norris, Weather Report vet percussionist Alex Acuña, and emerging Greek drummer, Gary Kerkezou.

Opener “One by One” was written by Wayne Shorter for Art Blakey and the Jazz Messengers. On Natural Rhythm, it is played in the style of Cuban Guajira, a cousin of Cha-Cha. As Sencalar describes his version, “It’s like Art Blakey going clave.” “Reflection,” a tribute to the leader’s son who endured two surgeries in his first year, has a joyous, singable melody with the horns opening in unison with a bossa nova feel. The nimble Hirahara takes the first solo, paving the way for Norris to unleash a blistering turn. A lyrical statement by Sencalar follows while displaying an acute sense of rhythm. The arrangements, they recall a big big band, though the unit is smaller; in most cases, it is a sextet, augmented to an octet on three selections. 

“In Walked Horace” nods to trombone great JJ Johnson, rendered through the style of Trinidadian Calypso. Sencalar begins with an inspired solo, soon joined by Dease on baritone sax. A call-and-response section features Kerkezou and displays the ensemble’s focused listening. John Coltrane’s “Resolution” is a daring move, rendered in 7/4 clave. Most of the piece revolves around the highly improvisational dialogue between Sencalar and Hirahara. Again, Kerkezou is the glue that binds the duo and ensemble sections deftly. Kozlov’s electric bass is showcased in “Baila de Plena,” a rousing tune that begins in plena, imbued by Acuña’s array of percussion, and switches midway to samba. Cassity and Sencalar navigate a complex rhythm structure through their riveting turns.  

The ensemble jams on “Descarga De Dia,” with flute, trumpet, and trombone leading the charge, underpinned again by Acuña’s percolating lines and interplay with Kerkezou.  It’s not until seven tracks in that the tempo subsides, as the leader delivers a gorgeous bolero nod to his daughter in “New Life.” Sencalar and Kozlov are both highly lyrical in this stirring piece. JJ Johnson is again invoked on “Lament,” in a way that belies the title. It begins in the Cuban style of Guajira and quickly morphs to double-time Son Montuno Salsa with Sencalar and Dease both sparring on trombone, before Dease switches to baritone sax. Hirahara weighs in with an exhilarating turn as well.  

Sencalar’s Mexican heritage is arguably best presented on “Run Away,” where the Mexican Corrido style meets hints of Mariachi, mostly via Norris’ trumpet. The ensemble renders the closer, “Settling,” as a blues in Afro-Cuban rhythm with fiery spots from Norris and Cassity in a purposely arranged three different grooves. When Sencalar enters, he suggests a swing style, cementing his reverence for Black American jazz.  

With Natural Rhythm, Sencalar continues to prove he is one of the most inventive, underrecognized trombonists today. His compositonal and arranging skills keep growing with each release. This potpourri of Latin jazz sparkles on every track.  

‘Natural Rhythm’ is out now on Posi-Tone Records. It can be purchased on Bandcamp.