Archive for the ‘Fé’ Category

Gonzalo Rubalcaba: Fé… Faith (CD) 2011. május 11. by Czékus Mihály for eKultura

Itthon talán kevesebb embernek cseng ismerősen a 4 Grammy-díjjal (és számos egyéb elismeréssel) büszkélkedő, kubai származású jazz zongorista,Gonzala Rubalcaba neve, mint amennyit az eddigi munkássága alapján megérdemelne. A negyvenes éveinek végét taposó muzsikus az elmúlt évtizedek során – Charlie Haden-től Joe Lovano-ig, David Sanchez-től Pat Metheny-ig – a műfaj legjelesebb képviselőivel játszhatott együtt. A bőgős Charlie Haden jóvoltából került be Rubalcaba a ’80-as évek közepén a nagyhírű Blue Note Records-hoz, ahol számos remek albumot készített. 

Sok évtizedes tapasztalattal és közel két tucat albummal a tarsolyában a zongorista tavaly úgy döntött, hogy saját lemezcéget alapít, így jött létre a 5 Passion. Az új cég zászlaja alatt gyorsan elkészített egy saját albumot, amelynek a Fé… Faith címet adta. A korongot a lejátszóban pörgetve már szinte néhány másodperc alatt kiderül, hogy igazi latin temperamentum van ebbe a produkcióba sűrítve, vagyis Rubalcaba nem hazudtolja meg kubai származását.

A 15 számos repertoárt szemlélve gyorsan világossá vált számomra, hogy egy igen kísérletező kedvű zongoristával hozott össze a sors, ugyanis a művek jelentős része több változatban is feltűnik a korongon. Például „Derivado” című saját szerzeményéből három „alternatívát” is bemutat nekünk, de nincs ez másként Miles Davis és Bill Evans „Blue In Green”-jével, vagy Dizzy Gillespie „Con Alma”-jával sem, hiszen ezek is több változatban hangzanak el. Számomra a lemez egyik legérdekesebb műve az „Improvisation1”, illetve az „Improvisation2”, amelyben Rubalcaba Coltrane szellemét idézi meg, méghozzá valami elképesztő átéléssel. Azt hiszem erre még a jazzlegenda is elismerően bólintana.

Az előadó szerencsére nem fukarkodik velünk, és közel 80 perces játékidő mellett mutatja meg, mit tud kihozni a zongorájából. Elárulhatom, hogy nagyon sokat…

A lemez többszöri meghallgatása után kijelenthetem, hogy a hivatalosan június elején piacra kerülő kiadványt az idei év egyik legfigyelemreméltóbb latin zenei produkciójának tartom. A latin zene erejére, lüktetésére, mélységére nem nehéz azonnal ráérezni Rubalcaba új albumának hallgatása közben, de megérteni már nem lehet ennyire rövid idő alatt.

Előadó:
Gonzalo Rubalcaba – zongora
A lemezen elhangzó számok listája:
1. Derivado 1
2. Maferefun lya Lodde Me
3. Improvisation 2
4. Derivado 2
5. Con Alma 1
6. Preludio Corto #2
7. Blue In Green 1
8. Oro
9. Joan
10. Joao
11. Yolanda Anas
12. Blue And Green 2
13. Con Alma 3
14. Improvisation 1
15. Derivado 3
Diszkográfia:
Concierto Negro (1987)
Mi Gran Pasion (1987)
Live in Havana (1989)
Giraldilla (1990)
Discovery: Live at Montreux (1990)
The Blessing (1991)
Images: Live at Mt. Fuji (1991)
Suite 4 y 20 (1992)
Rapsodia (1992)
Imagine (1993)
Diz (1993)
Concatenacion (1995)
Flying Colors (1997)
Antiguo (1998)
Inner Voyage (1999)
Supernova (2001)
Inicio (2001)
Nocturne (2001)
Paseo (2004)
Land Of The Sun (2004)
Solo (2006)
Avatar (2008)

Fé… Faith (2011)Czékus Mihály

 

CD Review: Gonzalo Rubalcaba – Faith (Fé) By Wilbert Sostre for JazzTimes

JazzTimes

 


 

Gonzalo Rubalcaba is a well recognized and respected name in the jazz scene. His classically trained background, along with his knowledge of Jazz and the music of his native Cuba, make him an equally impressive musician either playing art or popular music.

Faith is the premiere release on his newly founded 5Passion (cincopasión or sincopation) label. This is a solo piano album, a setting similar to a classical piano recital. Just Rubalcaba and his piano, and of course there is no need for anything else.

Faith starts with “Derivado 1”, a short piece with some dissonances that serves as an introduction to “Maferefun Lya Lodde Me”, a praise in the lucumi language to the orisha Oshun (Lucumi is a Yoruba dialect spoken by practitioners of the Santería religion in Cuba, Puerto Rico, and Dominican Republic).

All throughout, Rubalcaba demonstrates his clean and impeccable technique product of his classical piano studies in Cuba. On “Improvisation 1 and 2”, based on the chord changes of John Coltrane’s Giant Steps, Rubalcaba displays his virtuosity with fast piano runs and scalar improvisations reminiscent of Coltrane himself. The short phrases and use of dissonances also have some similarities to pianist Cecil Taylor.

“Derivado 2 and 3” are variations based on the second track “Maferefun Lya Lodde Me”. The sophisticated dissonant chords and the effectve playing in the high notes of the piano evokes the sounds of another jazz master, pianist Thelonious Monk.

“Con Alma 1 and 3” are delicate and elegant interpretations of Dizzy Gillespie’s composition, played with soul as the tittle suggest. Rubalcaba creates a perfect balance of emotion and virtuosity in the classically tinged piece “Preludio Corto # 2 (Tu Amor era Falso” and in the Miles Davis/Bill Evans classic “Blue in Green”.

Rubalcaba attack is more aggresive and percussive in “Oro”, an original composition that brings together classical and cuban music with touches of free jazz. Faith also includes three poetic and refined originals dedicated to Rubalcaba two daughters and son, “Joan”, ” Yolanda Anas” and “Joao”. These compositions were recorded originally on his album Inner Voyage.

Tracks: Derivado 1, Maferefun Lya Lodde Me, Improvisation 2, Derivado 2, Con Alma 1, Preludio Corto #2, Blue in Green 1, Oro, Joan, Joao, Yolanda Anas, Blue in Green 2, Con Alma 3, Improvisation 1, Derivado 3

Musicians: Gonzalo Rubalcaba – piano

 

Gonzalo Rubalcaba: “Fe” (“Faith”) (5Pasion)

by Janine Santana

Gonzalo Rubalcaba considers himself a blessed man. “Fe“, his first recording on his new label, 5Pasion, is a solo piano recording dedicated to the Creator. Like John Coltrane before him, Rubalcaba draws on his passion for composing and performing to create a devotion through music. The result demonstrates a new maturity in his work. It is heightened with a clean recording and Rubalcaba’s masterful knowledge of his instrument.

The chordal beginnings that begin the tunes Derivado 1, 2 and 3, which are placed at strategic points in the album, act like musical amens. The second and eighth tracks are tributes to Cuba’s Santeria faith, and there three tunes for Rubalcaba’s children Joan, Joao and Yolanda Anas. Two versions ofDizzy Gillespie’s Con Alma (With Soul), two versions of Blue in Green by Miles Davis and Bill Evans, and two improvisations based on John Coltrane’s work complete the theme.

In the second track, “Maferefun Iya Lodde Me”, Rubalcaba evokes the musical idea usually spoken by three Bata drummers in the Santeria religious ceremony. His use of space and his judicious use of dissonance create a powerful acknowledgement of God and reveals his sense of awe. In “Improvisation 2”, Rubalcabra invokes Coltrane, using ideas from “Giant Steps” and injecting his own twists, turns and joy into the piece. I found myself staring at my own piano, wondering if any of the 88 keys had not been used in this track! The first interpretation of Gillespie’s “Con Alma” has a strongly European sounding influence, specifically reminding me of Thelonious Monk’s Paris recordings. His attack is sensual, phrased creatively and charming. In “Preludio Corto # 2” (Tu Amor era Falso), Rubalcabra creates a memorial to Cuban composer Alejandro Garcia Caturla. The tune lilts and teases, builds tension and ends without a strong resolution.  The conclusion is symbolic of Caturla’s life, which ended abruptly when he was murdered at the age of 34.

The two interpretations of “Blue in Green” are re-imagined versions of the original recordings. Rubalcaba’s first version makes great use of minimalist expression that fills all the space of the composition completely. The second version begins with a strong sense of space, building in strength and flow with each carefully thought out measure expertly attacked. This is a far more melancholy beginning to the piece, but that yields to introspection by the end of the arrangement. “Con Alma II” is escorted in and out via flourishes in the lowest registers of the piano, framing it with a sense of play, yet the main body of the arrangement moves into a mature and elegant fluidity, carried forward with Rubalcaba’s signature sense of dissonance and broken rhythms. “Improvisation I”, is again successful in invoking the spirit and memory of Coltrane. Rubalcaba’s fingers fly through the scale ideas with ease, finesse and authority, as Coltrane’s did over the saxophone. It ends happily, with a sense of satisfaction. All three tunes dedicated to Rubalcaba’s children are joyful, leaving a different impression of each child’s personality…and may leave the listener breathless! A solo piano album is only as good as its instrument, and piano technician Karl M. Roeder has certainly made Rubalcaba’s Yamaha CFIII sound pristine and pure.

 

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