Given the breadth and depth of his experience, which includes studies at the National School of Arts in Havana, it was inevitable that Doug Little would bring yet another new project to the stage, in the form of a septet devoted to Cuban themes and rhythms. The still-nameless band (the original name, El Septeto, was dropped, said Little, following some ribbing from fellow musicians) debuted at the Dakota on September 9^th, featuring a last-minute substitution on bass and a small Thursday night audience. Not an auspicious beginning, it seemed, until the band took the stage. What happened next was nuclear fission.

Of the seven musicians, only two are natives of Cuba--pianist/vocalist Viviana Pintado and conguero Leo Walters. Pintado may be familiar to patrons of Babalu in the Minneapolis warehouse district, but I never had the pleasure--and what a pleasure! Her vocals are rich and powerful, and her keyboard comping and soloing revealed a dynamic and emotional range often missing in the heavy percussive style of modern Cuban piano. Walters, who provided both a rhythmic foundation and blistering directives, has regular gigs at the Minneapolis Café and around town with Sensacion Latina.

Essential additional percussion was provided by one of the area's premier timekeepers, Detroit native Kevin Washington, a mainstay of Little's current quartet as well as leader of his own group gigs at the Blue Nile. Washington's support is always empathetic (if not also telepathic!), and he can weave a sonic safety net or push the ensemble to explore new territory with equal finesse. Several solos throughout the evening were master classes in thermaldynamics.

Rounding out the rhythm section, electric bass wizard Jim Anton came aboard this project as a last minute replacement, but he is hardly a back-up plan. Originally from Boston, this bassist/producer/composer won a 2003 Minnesota Music Award and has an eclectic resumé (including performances with Jonny Lang, Greazy Meal, Peter Ostrushko, Greg Brown, Steve Tibbetts, and Dean Magraw).

With cross cultural roots (Danish and Chinese), Wisconsin native Steven Kung is another eclectic musician straddling jazz, classical, and world genres, including recent work with the West African group, Yawo. And he may have the best trumpet chops in town--a crystal, clean edge and sparkling runs that infused a buoyant energy to the evening's set list.

Trombonist Jeff Rinear has done it all--performing with the Artie Shaw Orchestra; locally with the Pete Whitman's Xtet and Departure Point; as lead trombone for the JazzMN Big Band; and teaching at MusicTech and directing jazz ensembles for the University of St. Thomas. His slides and glides enlivened the brass passages and his solos roared, squealed, and popped. Was there really just one trombone in this band?

And it is Doug Little's band, although he is a very generous leader who caters to the talents of his colleagues. On tenor much of the evening, he played the full range of the horn, from lyrical to playful to aggressive, seamlessly sliding from comp to solo and back. His flute was less persuasive, while his turn on the bass clarinet--opening the set with "Charade" backed only by the two percussionists--was elegantly mournful and haunting.

The individual credentials and talents notwithstanding, it was the ensemble as a whole that ignited the long set, as these musicians fused their efforts to create a highly energetic, creative and joyful big band sound with only seven voices. From mambo to cha-cha, Doug Little's new septet takes our ears from Minneapolis to Havana, and seven proves to be a very lucky number.

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