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Amid the waving palm trees of Southern Florida, there is a vibrant neighborhood located just west of downtown Miami that is teeming with Latin influences. Known as ''Little Havana'' or ''Pequeña Habana'' this area took on its identity in the 1960s as Cubans fled their native country in search of a better and arguably freer life. Little Havana became the home to counter-revolutionaries, a gathering point for ethnic Cubans who brought their rich traditions of food, music, and otherwise festive practices.

Over the decades, Little Havana has burnished its strong cultural identity. As you travel through this neighborhood, you will notice the street names change into Spanish (Calle Ocho), residents assemble during the last-Friday-of-the month festival known as Viernes Culturales, and the monuments commemorate important historical figures (José Martí). And then there is the music that emanates from the bars, restaurants, and clubs: bright-edged percussion, sky-high horns, and ever-present clave.

''As a twenty-year-old making my first adventure in Little Havana, I found myself fascinated by the sights, smells, and music. Fast forward forty years, and though Miami has evolved into a mega-city with skyscrapers, Little Havana is just as I remembered it, magical!'' says Tim Smith, a maestro who has made this community the thematic centerpiece of his latest album. In 2014, Smith moved to Miami to pursue a master's degree at the Frost School at the University of Miami. Upon graduation, he remained at the school as a full-time bass instructor. After being a studio musician and producer for more than three decades, maestro Smith would become an educator. In a certain sense, Smith had ''returned home.'' He received his undergraduate degree from the University of Miami. During his time in Coral Gables, he played alongside venerable musicians like Jaco Pastorius and practiced in the same rooms that Pat Metheny and Bruce Hornsby once graced.

Kabir Sehgal

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