If Gonzalo Rubalcaba were a major league pitcher, he would be a seasoned veteran with the knowledge that to be effective he would have to be the master of multiple pitches. Gone are his rookie days when he could throw nothing but fastballs to get outs.

Same for Gonzalo Rubalcaba, jazz pianist. Twenty-five years ago he wowed audiences with his powerful attack and blinding speed. As his sound has matured, he has begun communicating with more subtlety, throwing audiences more off-speed and graceful pitches.

XXI Century is the second release from his own imprint, and like the previous solo outing,Fe…’Faith (5 Passion, 2011), he continues to reveal his expanding repertoire. This double disc plays off Cuban themes, percussive fusion, funk, and introspective improvisation.

Well chosen guests supplement his working trio of bassist Matt Brewer and drummer Marcus Gilmore. Rubalcaba’s opening “Nueva Cubana” traverses a percussive attack to etch itself upon the electricity of Gary Galimidi’s guitar. The sound is not so much a fusion of rock and Cuban jazz as it is a mutual path. Same with the funk laid down on “Fifty.” Lionel Loueke’s Afropop guitar bumps into Gilmore’s groove, and Rubalcaba’s Cuban vibe ties West Africa to North America and the Caribbean.

With the help of percussionist Pedro “Pedrito” Martinez, the groove stays firmly rooted in Cuba. “Son XXI” highlights the pianist’s percussive attack, matching the clavé with the keyboard—a dare to sit still.

While the pyrotechnics are present, the pianist also shows another side, covering Lennie Tristano’s “Lennie Pennies” as Keith Jarrett might eschewing rhythmic emotion for a mathematical precision. His take on Paul Bley’s “Moore” and Bill Evans’ “Time Remembered” expose a very thoughtful side, where the pianist opens compositions up to lighter swing.

Rubalcaba has mastered a backdoor strike here, not to keep the listeners off balance but to display his full array of talents.

Track Listing: CD1: Nueva Cubana; Time Remembered; Fifty; Anthem; Oshun; CD2: Moore; Son XXI; Alafia; Lennie’s Pennies; Oshun (short version).

Personnel: Gonzalo Rubalcaba: piano, Yamaha CFX, keyboards; Matt Brewer: acoustic double bass, arco bass, electric bass; Marcus Gilmore: drums; Ignacio Berroa: drums; Pedro “Pedrito” Martinez: percussion, voice; Lionel Leouke: guitar, voice; Gary Galimidi: electric guitar.

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XXI Century

By Rachel Swan

Track lists alone should tell you something about the omnivorous tastes of pianist Gonzalo Rubalcaba, the Cuban jazz pianist whose style is steeped both in Afro-Latin traditions and in the Blue Note records he consumed while growing up. And the song choices on his latest offering are particularly classy: four originals, a few not-so-obvious standards, and a few culled from his friends’ discographies. Among the ten are “Alafia,” by West African guitarist and frequent collaborator Lionel Loueke (who sings in a high warble over his own guitar solo), and a lean, percussive version of “Lennie’s Pennie’s,” a bebop piece by pianist Lennie Tristano.

Though he’s characterized as a Latin composer, Rubalcaba tends toward modern jazz — meaning he likes pungent harmonies and beats that swing. He’ll sometimes evoke a form without sticking to it exactly, as he does with the hybrid cha-cha beat that serves as scaffolding for Enrique Ubieta’s “Son XXI.” At other times, he’ll reinterpret a tune by sacrificing its sentiment, as he does on the Tristano cover. Rubalcaba’s version of the Bill Evans ballad “Time Remembered,” for instance, is a reverent reflection on (and departure from) its source material. The groove and chord voicings seem a little crisper and lighter than Evans would have liked, but the late master’s ghost hovers everywhere in Rubalcaba’s drawn-out introduction.

If anything, Rubalcaba proves that it’s possible to treat jazz as a pastiche art form and still retain all the sensitivity and musical depth that we associate with bebop of the Fifties and Sixties. He came up in a generation that defined itself largely on multiculturalism, and nowhere is that more apparent than on XXI Century. It’s an album that lurches forward, while gathering influences from all sides. (5Passion)

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The Urban Flux – Gonzalo Rubalcaba – XXI CENTURY – 5Passion, 2012 by Rob Young

Unknown by most of us at the time, the unanticipated arrival of soon to be Grammy Award winning pianist Gonzalo Julio Gonzalez Fonseca nativeCuban landed on the shores of US some twenty-five years ago. Since then of course pianist, improviser and songwriter recorded dozens of jazz recordings to his credit. With his latest project, the multi-facet virtuoso embarks on an unequalled journey with enchanting lyricism in the spirit of innovation he unleashes the exhilarating “XXI Century.” On this outing, his compositions swells from the womb of his beloved Afro-Cuban heritage and merges these voicings within the body of ten sumptuous and ambitious songs to pay tribute to two piano icons Bill Evans and Lennie Tristanto gives me reason to believe this is probably his best recording to date.

Gonzalo is accompanied by five extraordinary musicians featuring bassistMatt Brewer, drummer Marcus Gilmore, and percussionist Pedro “Pedtrito”Martinez with special guest and native Cuban Ignacio Berrora on drums also esteemed guitarist Lionel Loueke supply the gifts, talent and precision on Gonzalo’s latest project on 5Passion.

Once I listen, and re-focused my thoughts the opening lines and phrases on “Nueva Cabana” the melodies grew on me with its intoning utterances shaped by its unbridled complexity. With optimism underscored with Gonzalo’s uncanny approach to telling his version of story with unmatched intricacies of modern jazz and improvisation unlike his colleagues. In fact, his melodically exquisite tenor expressed on “Time Remembered” was originally pened by piano master Bill Evans. Gonzalo’s delicate voice echoes the sentiments of Evans immediately. For the moment, like a gust of wind he unveils quite voicings through shaded octaves of lush and transparent tones with brilliance.

The ensemble sets a new standard in modern jazz with the hypnotic “Fifty.” Pen by Rubalcaba this infectious groove features non-other than international guitar sensation Lionel Loueke. The band digs deep to release some seriously tasty beats, riffs and pulsating rhythms that are simply off the rector-scale sonically.

Known for his intuitive playing, vision and acclaimed writing skills the soulful Gonzalo and company irresistible interplay are explore on “Anthem and Oshun.” The stretch their preverbal voices by communicating with flurries of transcending melodies, rhythms and brogue of unpredictable tones are manifested from the center outward on these limpid compositions.

Disc II rolls out with a Paul Bley composition titled “Moor.” With much anticipation, Gonzalo accompanied by the fearless ensemble cease the opportunity to intercede with their collective voices and cry out with a symphony of abstract and improvisation squawks gain ground and allows space for the art of swing to intervene and flush out any unknown obscurities.
“Son XXI” written by bimodal composer Enrique Ubieta enters through the gate of stories without words in samba chant with a parade of percussive and rhythmically challenging tones exceed the boundaries yet the tempo remains atoned to Afro-Cuban rumba musings without missing a beat.

Guitarist Lionel Loueke pens the lyrical “Alagia.” Very few guitarists are expressive as Loueke as soloist and composer, his timbre on this song oozes with alluring harmonics ordained by his imaginative artistry. Like most songs here, the focal point is clearly measured by the sobering temperature of this culture retains the wealth of its expressive tonality that’s fresh, stimulating and intriguing.

The ubiquitous pearls of “Lennie’s Pennies” follows, meanwhile the ensemble gains momentum led by Gonzalo’s virtuosity on piano and complex arrangement. Picture this, his fingers dance with singular, unhurried scales and shifting bop sequences shape this ten-plus minute gem to reveal a stunning piece of artistry.

Rubalcaba revisits “Oshun (the short version)” to conclude this picturesque collection of music. Even after the first episode of “Oshun,” you can’t help but be liberated by this gem knowing it is snapshot of his multi-culture lineage where percussion, rhythm and extensive drumming are the centerpiece on this “folkloric” canvas sprayed with every aspect of his Cuban heritage is totally unique listening experience.

With “XXI Century,” pianist Gonzalo Rubalcaba consummate voice progresses through the conduit of his expansive vision, maturity and unyielding passion clearly gives him an advantage as pianist, composer and producer. This album documents a healthy balance of modern jazz, Latin and accessible improvisation for jazz enthusiast to quench their ongoing thirst and savor the superior compositions and masterful musicianship showcased here is simply unparalleled.

Highly Recommend by Rob Young | Urban Flux Media | Review

Meet the Band:
Gonzalo Rubalcaba – piano
Pedro “Pedtrito” Martinez – percussion
Matt Brewer –bass
Marcus Gilmore & Ignacio Berrora (special appearance) – drums
Lionel Loueke – guitar [guest performance]

Track Listing: Disc I
1) NUEVA CUBANA
2) TIME REMEMBERED
3) FIFTY
4) ANTHEM
5) OSHUN

Track Listing: Disc II

1) MOOR
2) SON XXI
3) ALATIA
4) LENNIE’S PENNIES
5) OSHUN (SHORT VERSION)

Produced by Gonzalo Rubalcaba – 5 Passion | Visit,  www.g-rubalcaba.com for more information, Bio, and Tour Dates.

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There are so many highlights here, but for the sheer joy of his improvisational genius check out Cuban pianist Gonzalo Rubalcaba’s Fantasia por Miles y Gil.

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Al Di Meola byl průkopníkem spojení world music a jazzu. Posluchači si ho oblíbili zejména pro tangovou hudbu. Od roku 1991 Di Meola interpretuje skladby zesnulého argentinského skladatele Astora Piazzolly, které můžeme slyšet například na albu Seduction for Solo Guitar z roku 2007.

“Piazzolla mě zcela zásadně ovlivnil jako hudebníka i jako člověka,” uvedl Di Meola, který má na kontě více než dvacet vlastních alb. Vystupuje v mnoha formacích, mimo jiné v proslulém triu s virtuózními kytarovými kolegy Johnem McLaughlinem a Paco de Luciou.

Gonzalo Rubalcaba vystupuje po celém světě jako sólový klavírista a hraje s malými jazzovými uskupeními či s komorními i plnohodnotnými symfonickými orchestry. V repertoáru má bop a afrokubánský jazz, tradiční kubánské a mexické balady a bolera, v poslední době vstupuje i na pole kubánské klasiky. Podle The New York Times se stal “jedním z největších jazzových hudebníků”. Je držitelem čtyř cen Grammy, na osm jich byl nominován. Jeho zatím poslední album vyšlo v roce 2010 pod názvem Fé.

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5 PASION GONZALO RUBALCABA/XXI Century: Enough water has flown under the bridge since first hearing Rubalcaba that he’s now a middle aged man with already a full career behind him. Another former major label artist that’s been cut loose, he uses this freedom wisely, not having a mothership hem him into being the tyro he once was, playing more notes per second than anyone and otherwise being told what to do. He knows what to do and stretching out over this two disc set with some high faluting pals and guests, he leaves no doubt that he’s still the jazz force of nature he always was. Moving easy from being one of the most important new jazz figures to come out of the 90s to being an important figure of the 10s, this lite caliente Afro Cuban jazz romp delivers the goods throughout. Needless to say, it’s hot stuff. 10

Volume 35/Number 191
April 30, 2011
MIDWEST RECORD
830 W. Route 22 #144
Lake Zurich, IL., 60047
CHRIS SPECTOR, Editor and Publisher
Copyright 2012 Midwest RecordVolume 35/Number 191
April 30, 2011
MIDWEST RECORD
830 W. Route 22 #144
Lake Zurich, IL., 60047
CHRIS SPECTOR, Editor and Publisher
Copyright 2012 Midwest Record

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