Javier Nero: From the Diaspora to An Die Musik
Continuing his monthly residency at An Die Musik, trombonist/composer/arranger—and budding griot—Javier Nero enlightened us with his 18-piece jazz orchestra for two sets on September 25, 2025.
Nero and his big band began with the original piece, “Alkebulan”—a moniker that’s born from an effort to reconnect the African Diaspora. “That word comes before the colonial sense,” explained Nero, all dressed in black and nestled in the middle of his trombone section. He also added it’s the title-track to his upcoming project, set to be released Spring ‘26.
Throughout the evening we were treated to sounds reminiscent of Steely Dan (circa Royal Scam), Nigerian musician Fela Kuti, and Latin salsa bandmaster Tito Puente. In addition to his oftentimes humorous stage banter—like joking his drummer Wes Anderson (also the name of a noted filmmaker) was “able to stop making films to play for us [tonight]”—Nero took us to and through many soundscapes.
Following his big band feature was a boppin’ urban outlet found in “Haters Be Learners.” This performance reminded me of a Roy Hargrove number: full of poignant melodies and danceable licks. What I also dug about this was seeing Nero shine as a soloist (being I’m also a ‘bone player myself!). It was quite encouraging!
From there Nero and his collective hopped into the samba, “Make It So,” which he—an admitted Trekkie—said he wrote as an ode to Captain Jean-Luc Picard while finishing his doctorate at the University of Miami. Ironically very grounded, this tune has the late D’Angelo’s “Spanish Joint” written all over it, taking me back to my dorm in Chester Hall (Salisbury University) where I used to stream said track religiously. After this performance Nero the Griot took a break to further explain the inspiration behind this composition—ultimately taking us back to the Motherland.
(A “griot,” it should be noted, is a cultural guardian, a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history in parts of West Africa )
“I think it’s Hispanic Heritage Month, correct?,” he quizzed everyone before continuing. “When you say Hispanic heritage and we think about all the music in the Caribbean and South America—all of the culture actually comes from Africa. Those Puerto Rican and Cuban rhythms come from the Diaspora. [Society has] a very colonialistic view of that African tradition. So that’s just something to think about….”
“That said,” Nero transitioned for levity’s sake, “I happened to be married to a very beautiful Cuban wife who’s gonna come sing this next composition.” Which was the cue for vocalist Jennifer Zambrano, who approached the bandstand to grace our ears with a passionate version of the Alan Brandt-penned, “That’s All.” She—elegant aesthetically and vocally––also sang “Discord” (according to Nero, his most streamed track on Spotify) and the 70’s soul-R&B tinged “Love Dance,” a tune her husband commissioned to the New York Youth Orchestra.
Throughout the concert the mics were as hot as Nero’s takes. If you listened closely you could hear him directing in real-time to his mates as they’re looking for cues to come in-and-out of the groove. The clarity of the sound was minute enough to discern the hornmen pressing their valves, note after note. You could also hear them ribbing their bandleader from time-to-time (Nero playfully referred to them as the “peanut gallery”).
Toward the end of the show Nero hilariously shared his thoughts on recently gaining his 6000th follower on Instagram.
“Kim Kardashian has 355 million followers,” he began, begrudgingly. “I’ve been playing jazz and writing music for like 20 years—practicing every day, putting bands together. So 355 million versus 6000 means that the world thinks she’s 60,000-times more interesting than me.
“I’ll work on my six-pack for the next post,” Nero concluded to a gentle uproar of laughter from the crowd.
–By Therran Dennis
Therran Dennis is a journalist by trade and a jazz guy at heart, a vocalist and guitarist. When he’s not workshopping the next Standard or scribblin’ verses about The Struggle, he’s keepin’ tabs on what’s happenin’ in the most vibrant jazz scene in the Mid-Atlantic.