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(JazzPlanet) Gonzalo Rubalcaba - Avatar (Eac Flac Cue)(UF)

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Gonzalo Rubalcaba - Avatar



Artist: Gonzalo Rubalcaba

Title Of Album: Avatar

Audio CD (February 5, 2008)

Original Release Date: February 5, 2008

Number of Discs: 1

Label: Blue Note Records

ASIN: B0011WMI1As

Genre: Straightahead/Mainstream/Bop/Hard Bop/Cool 



Extractor: EAC 0.99 prebeta 4 

Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1;  Level 8  

Single File.flac, Eac.log, File.cue

Accuraterip: not present in AccurateRip database

Source: Original CD 

Size Torrent: 399 Mb

Cover Incluse





Tracklist:



01 - Looking in Retrospective (9:43)

02 - This Is It (12:32)

03 - Aspiring to Normalcy (13:07)

04 - Peace (4:09)

05 - Hip Side (8:34)

06 - Infantil (7:07)

07 - Preludio Corto No.2 For Piano (Tu Amor Era Falso) (10:07)







Personnel: 

Gonzalo Rubalcaba: piano, keyboards;

Yosvany Terry: alto, soprano and tenor saxophones, percussion; 

Mike Rodriguez: trumpet, flugelhorn;

Matt Brewer: acoustic bass;

Marcus Gilmore: drums





http://www.amazon.com/gp/recsradio/radio/B0011WMI1A/ref=pd_krex_dp_a/185-2017061-5873334



bio



One of the most important figures to emerge from Afro-Cuban jazz in the '90s, Gonzalo Rubalcaba is an extraordinarily
versatile pianist able to blend disparate strands of Cuban and American jazz tradition into a fresh, modern whole. Born
into a musical family in Havana on May 27, 1963, Rubalcaba began studying classical piano at age eight, honing his
technique in that area for the next 12 years while playing around Havana by night. In 1983, he toured France and Africa
with Cuba's longstanding Orquesta Aragon, and formed his own band, Grupo Proyecto, in 1985, the same year he was
discovered by Dizzy Gillespie. In 1986, Rubalcaba played the Havana Jazz Festival with the American rhythm section of
Charlie Haden and Paul Motian, and with Haden's support soon appeared at major international festivals like Montreal and
Montreux.



Rubalcaba's early dates for Blue Note -- 1990's Discovery: Live at Montreux and the following year's The Blessing --
were instant classics, breaking him among American jazz audiences and showcasing his virtuosic technique and dense
improvisations. Rubalcaba was finally able to play for American audiences beginning in 1993, including a star-making
appearance at Lincoln Center, and soon emigrated from Cuba (though not to the U.S. right away; he eventually settled in
South Florida in 1996). Rubalcaba recorded for several labels, including Blue Note, which was home to much of his best
later work, including 1999's introspective Inner Voyage, 2001's Grammy-winning Supernova, 2004's Paseo, which offered
new interpretations of old songs, and 2005's aptly named Solo. In 2002 Rubalcaba shared the title of Artist in Residence
at the Montreal Jazz Festival with fellow pianist Chucho Valdés, and in 2003, as part of the Bele Bele Jazz Club
series, issued Straight Ahead, re-releases of three separate recording sessions between 1986 and 1987













review



I'll admit it at the outset: The bassist on this recording is my son, 24 year-old, Matt Brewer. So, I'm sure, to a
certain degree, I'm guilty of confirmation bias. However, I also believe that my many years as a jazz musician and music
educator (I hold a doctorate in music composition and jazz pedagogy), act as an effective filter for my biases here.



With that qualification, I can say unequivocally that this music is great. All facets of composition, arranging, and
improvising on the recording are extremely creative and brilliantly performed.



The deep and sometimes curiously convoluted grooves created by these players are compelling, indeed. And the Afro-Cuban
rhythmic and melodic facets combined with contemporary swinging sensibilities are intertwined in what I would
characterize as a "hip confluence". Or, if you will, a seamless unity of form, harmony, rhythm, and line.



Ethnic musical sources deeply suffuse the compositions on this recording. Yosvany Terry's compositions (he has three on
this CD) are particularly diverse and inspiring in this regard. His efforts to hybridize those sources with the lineage
of styles in the jazz "family tree" succeeds brilliantly.



But, unlike the more mannered efforts of lesser composers, Terry's compositions - from the fertile womb of his
imagination - yield musical creations that emerge whole and free of contrivances. And that's not all: His saxophone
playing is extremely engaging, too.



Alternatively, Matt Brewer's poignant composition (paradoxically titled, "Aspiring To Normalcy") expresses the
inspiration of Wayne Shorter, Herbie Hancock, and one of Matt's most helpful and influential mentors, the brilliant
bassist, Jeff Johnson (active in the Seattle area at this writing). Notice also how Matt has carefully and consciously
blended the influences of Chopin, Stravinsky, and Ravel on this beautiful ballad in 3/4 meter. Finally, Matt's superb
bass lines and solos support and help to drive the music all at once. A great player by any standard, especially for one
so young.



Trumpeter, Mike Rodriguez, plays with a beautiful sound. Gorgeous, really. And he uses that sound to light up the very
hip melodic contours of his superb solos. And his time is great, too. Way deep in the pocket.



And take note: Drummer Marcus Gilmore provides an extremely sophisticated rhythmic palette of multi-layered dimensions
for this music. He drives the time while engaged in a continuously sensitive interplay with all the players. And the
very many ways that he subtly shapes the dynamics in this music is compelling, too. Big plus: He unceasingly hits a
groove with authority and authenticity that, I'm sure, must make his grandfather, Roy Haynes, very proud and happy.



Of course, Gonzalo is brilliant, as usual. He is clearly one of the leading pianists in the world - in any style of
music. His touch and his ability to shape dynamics on the instrument are inimitable - even uncanny at times. And his
time? The best. Just great.



Ganzalo's one composition on this CD (Infantil) is a quirky and extremely clever piece of music that I'm sure Monk would
have loved. I found myself grinning and chuckling as I listened. It's such a delight.



Gonzalo's gifts as an arranger are well-represented here, too, in his exquiste adaptation of Alejandro Garcia Cartula's
Preludio Corto No. 2 for Piano (Tu Amor Era Falso). And the spirit of the original piece remains ever-present as the
players interpret Ganzolo's re-conception of it with loving care and deep affection.



All the players on this CD are a joy to hear. Buy this CD and hear them soon. I believe you'll be listening repeatedly
to these performances because they offer an abundance of musical ideas rich in implication and expressiveness.



_________________________________________________________________________________________________



Although his sound is as blazing and inspiring as ever, Gonzalo Rubalcaba's new album may mark something of a departure.
Recorded at the famed New York studio of the same name, Avatar provides listeners with a unique melting pot of songs and
styles, while also implying new freedom and possibility for the renowned Cuban pianist. Only one of the seven tunes on
this album is a Rubalcaba original, but the majority are written by his bandmates. The virtuosic turn that was a
signature of his younger musical persona has been replaced by an ensemble-mindedness: here, Rubalcaba appears to be
turning outward.



Avatar opens with two compositions for the quintet by saxophonist Yosvany Terry, each one a different take on the same
angular 5/4 bass melody. Following Rubalcaba's cryptic entry on "Looking in Retrospective," the full band bursts in with
a tight, warm sound, hugging every curve in the piece while losing none of their bristling speed. Marcus Gilmore's
drumming is particularly responsible for this brilliant unity: he manages to allude to the Latin rhythms that anchor
Rubalcaba's brand of jazz, while also giving the ensemble space to experiment in an open, nebulous environment. At
certain moments, the quintet sounds like they're making a foray into a very free, boundless kind of jazz. But just as
quickly, Gilmore raps out a quick cue on the snare drum and they're back in an intense, dazzling groove.



Beginning on his early albums and even carrying on into the late 1990s, Rubalcaba placed paramount importance on
texture. As a younger musician, he played the piano with a full, honeyed tone, even on up- tempo pieces. This sound is
still apparent when Avatar slows down for ballads: the trio setting of Horace Silver's "Peace" recalls the hovering
rubato of tunes like "I Remember Clifford" from the 1995 release Diz (Blue Note). But now, the Cuban master's pianism is
principally concerned with a more complicated set of musical possibilities.



Essentially, time is the core concept for this record. From the three fast tunes by Yosvany Terry, which focus on
embracing tight ensemble grooves over an almost-inscrutable downbeat, to the delicacy of "Aspiring to Normalcy" and
"Peace," which hover ethereally outside of time, the Rubalcaba band fashions its aesthetic out of a shimmering,
ever-changing vision of what meter can be. Yet, even when the sound gets propulsive, abstract, or cutting-edge, filled
with the New York City in which they recorded this set, they never lose track of certain essences of the Latin groove: a
deep rhythmic pocket and a lyrical virtuosity, even on the most inventive, burning tunes.

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