Customer Reviews

Chanchullo

5 star:		(19)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Chanchullo, by Ruben Gonzalez, perfectly showcases the array of specific styles that could fall under the blanket terms of Afro-Cuban jazz, Cuban swing or mambo. It also wonderfully showcases Gonzalez' technique and amazing ability to creatively improvise again and again. He uses the whole keyboard to lay out dazzling riffs, scales and patterns with amazing speed. It can be confusing but is always delightful. He alludes to countless other classic Cuban songs, and plays around with classical piano exercises.
The first song, and title track, is one of those descargas by Israel López. The descarga is the Afro-Cuban sound stripped down to the bare essentials. Without an extensive melody or complex form, this is just an all out jam based on a simple bass riff. The first chords Gonzalez plays might make the song seem like it's going in the direction of a Dorian progression like "Oye Como Va." Once the band starts in it's apparent that it's in a different mode and a different mood, even though it's the same syncopated rhythm. After the catchy chorus finishes for the first time Gonzalez immediately starts an incredible solo. He dazzles the ears and mind with his sophisticated yet unrestrained style. He goes up, down, and all around the keyboards with incomprehensible chromatic patterns executed at top speed. After the initial moment of being awestruck, one wonders: "How does anyone, yet alone an eighty year old man who hasn't been playing for the last twenty years because of arthritis, do that?" Before you can catch your breath after his first solo, the horns start in and just blow you away. Mirabal and Ramos are joined Javier Zalba on baritone saxophone. They create such a full sound one can't believe there's only three horns playing. After that, the chorus sings it's lines, and then Gonzalez is at it again for another incredible solo. This is the song were Gonzalez shines the most, because it's basically him soloing all over the place with no other full fledged solos in the whole song. The chorus and horn riffs take a very minimal chunk away from Gonzalez in this five minute song.
The next song, "De Una Manera Espantosa," is by Arsenio Rodriguez, and is a son montuno. This style is similar to a descarga and because it is another type of jam. The sharp trumpet solo by Mirabal, is followed by some improvised vocal lines by Ferrer, then, of course, Gonzalez on piano. The third song is another descarga and was created on the spot at the studio by the band and is a all out free for all jam of the highest level. Valdes and Diaz go crazy and Gonzalez plays like he's a percussionist. The first three songs are awesome, but they are all jams in the same mode. After three in a row it can seem repetitive or monotonous. It may have been better if they were spread throughout the album.
The next song is "Central Constancia" by Enrique Jorrín. It is a danzón, which is a much softer song, demonstrated by the instrumentation including flutes and a violin. This song and the other danzón and similar chachachás on the disc seem completely opposite of the descargas and son montunos. These songs, although soft, have a very pleasant lilt and swing about them. The simple progressions are ideal vehicles for Gonzalez to play a little more relaxed, yet brilliant, piano solos. With his lyrical playing, the phrasing is perfect, and each note is precisely chosen.
For those who are always looking for something familiar, there is "Quizas, Quizas" (in English "Perhaps, Perhaps.") Either you've heard Cake's quirky rock version of it, or heard it sung by the likes of Connie Francis or Doris Day. It's called a bolero cha. Bolero is the name for the great Cuban ballad, and "cha" is added to the end to say it's got a little more rhythm, a little more swing, a little more chachachá. Interestingly there is a guest appearance of the traditional Cuban guitarist Eliades Ochoa. Though he doesn't sing like he often does, he plays some very fine solos over this tune and adds a nice touch.
The most traditional styled song on the album is "Choco's Guajira" dedicated to a Cuban trumpeter of the past. The guajira is the traditional Cuban lament, and this song is in the style of Arsenio Rodriguez, taking a traditional style and arranging it for a more modern big band mambo sound. Traditional elements are preserved by the invited guest Papi Oviedo on tres. The tres is a traditional Cuban instrument, much like a guitar but smaller. His solo along with Mirabal's are played in a beautiful traditional style, and of course another amazing solo by Gonzalez. These are coupled with the improvised vocals by Ferrer and another guest, Senegalese singer Cheikh Lô.
This work presents a cross section of Cuban music, each style is demonstrated by the man who is probably the highest authority on this subject. This private music history lesson is some of greatest improvised music ever preformed by some of the greatest Latin musicians in the world. This is a great album for anyone who are already knows and loves Cuban music. For those who are unfamiliar with this genre, this album is a great place to start. Chanchullo is essential for any true music fan.

Ruben was amongst the key figures in one of the albums that alerted the rest of the world to the brilliance of Cuban, Latin Jazz, Afro-Cuban & Rhumba music, via The phenomenal 'Ry Cooder' produced "The Buena Vista Social Club". And thus signalling to the rest of the world that Afro-Cuban music was very much alive and kicking in Cuba. And although purists may argue that such successes, diluted a little of the spirit of the music, but it also successfully launched the careers of "Compay Segundo", "Ibrahim Ferrer", "Omara Portuondo", and Rubén himself. Rubén was one of the last great Cuba piano players who has a delicate and laid-back approach to piano playing. Undeniably gifted, his album is a rustic and organically free-flowing album that has an almost bittersweet melancholic flair that skillfully blends jazz, mambo & Latin, with a certain amount of confident playfulness. Which is something that aptly reflects the premise behind their music, in that music became a way of life for the players involved in the Buena Vista Club album a long time before they became famous, and the fact that the album made them stars, was never initially part of the plan, but arguably a nice payback for artists that played for many, many years in their home country with very little outside recognition.

Chanchullo, is Rubén's second solo release for the world circuit label and much like the first album, its an album that plays impressively to the strengths of Ruben's sublime piano performances. There is a definite band feel on this album, as various percussionists, keyboardists, rub shoulders with Trombone, flutes, trumpets, which all complement each other and make for some utterly captivating listening from a unbelievably charismatic and talented musician, that is able to create quick tempo and agreeably lush piano arrangements one minute, and then shift into introspective and almost hauntingly beautiful tracks that leave an impression long after the CD has been ejected from the CD Player (for this check out his stunning performance on "Central Constancia"). And the reason why this album is such a resounding success is the fact that Ruben's vitality simply resonates throughtout the album, lifting it up into a remarkably distinctive sounding album, and also bringing it into line with the flamboyant and spirited ethos of Cuban music. And the performances here are exemplary with the ensemble performing perfectly and providing superb support to Rubén's amazingly nimble piano compostions, and showing a surprising talent for melody and a highly developed improvisational style, that simply stuns with it's overally brilliance.

Those that were seduced by the 'Buena Vista Social Club' album, and need a new musical romance to fall in love with, should immediately pick up a copy of this album, as it, like Buena Vista...beautifully encapsulates the passionate growth of Cuba's musical history. And for those of you that (Like Me) loved Rubén's first album (the magnificent "Introducing .....Rubén González"), and were unsure as to whether or not to buy this, rest easy, that you can buy this in the confidence that the extremely high standards on that debut have been thoroughly maintained for this album. Purists will probably argue that, the moment these artist's music was sold to the western world as an ongoing 'franchise', a little part of the ethos behind the music was lost. And they are probably right to some degree....(*But, for the sake of this review, let's just ignore those people shall we??*), and the only reason I can reasonably give for not getting this album, if you're interested in Cuban music, is that you DON'T already have "The Buena Vista Social Club" album (in which case get that first), otherwise consider this, another truly remarkable (and essential) release from the Buena Vista guys.

R.I.P Rubén González (1919 - 2003)

I have owned this wonderful CD for about 3 weeks and I can tell you this recording is even better than the first recording made by Ruben. Here you will have a chance to admire not only the piano of Ruben Gonzales, but also the amazing contributions made by some of the best cuban musicians. The first track, "Chanchullo" reminds me of the descarga (jam) that can be seen on the BVSC movie."Central Constancia" gets a unique touch with the violin and flutte. "Chocos Guajira" gets a great solo on tres by Papi Oviedo. "El Bodeguero" a great piece. I suggest you keep an ear on the great 66 seconds trombone solo by musical director Jesus "Aguaje" Ramos. "Isora Club" a wonderful piece with a solo on bass by Cachaito Lopez. "Rico Vacilon" well I have to admit it Ry Cooder was OK on his tres solo. Manuel "guajiro" MIrabal was amazing playing trumpet throughout the album. and of course The great Ibraim Ferrer. Get this recording, you will not be dissapointed at all.

What else can be said about the amazing Ruben Gonzales and the musicianship that hasn't been said already. But, why does Ry Cooder still keep appearing on these Nonesuch recordings? His musical contributions sound out of place and are distracting. I'm not being critical of Cooder as a musician, he is one of the greats himself; check out his chops playing on Pop's Staples "Peace to the Neighborhood", the "Little Village" recordings and the Ali Farka Toure Talkin' Timbuktu are excellent. But, with the Cuban music it just doesn't click. While you are at it, make sure to check out Frank Emilio's "Reflejos Ancestrales"...another 80+ yr old Cuban pianist who has been overshadowed by Ruben Gonzales recent fame.

I think this is an excellent CD. To my tastes the first one sounded like it was recorded in a bathroom (too much echo) and needed more of the other musicians to liven it up. This one fixes those problems and sounds like more time was spent on it. I really like the songs, the bigger band arrangements, and the sound. Mostly, I am amazed at Ruben's playing. To be that quick and fluid at any age is extremely impressive...at his age it's remarkable.

If you reading reviews on this record, you have probably heard Ruben Gonzalez play with 'Buena Vista Social Club' and/or on his first record 'Introducing'. Here he is again with eleven fantastic songs. I most enjoyed listening to the 'cha cha cha' songs, which are two on this CD. Ruben truly is a master of 'cha cha cha'. Another great thing about this record, is that other musicians also take great solos. Most of the songs include a solo by the trumpet player Manuel Mirabal, who was also with 'Buena Vista Social Club'. Jesus Ramos the trombone player, and also the musical director of this CD, also takes one or two solos. The only thing I keep wondering is why Ry Cooder is on this record playing the tres. It just doesn't feel right with Cuban music. Anyway. Five stars.

Chanchullo, by Ruben Gonzalez, perfectly showcases the array of specific styles that could fall under the blanket terms of Afro-Cuban jazz, Cuban swing or mambo. It also wonderfully showcases Gonzalez' technique and amazing ability to creatively improvise again and again. He uses the whole keyboard to lay out dazzling riffs, scales and patterns with amazing speed. It can be confusing but is always delightful. He alludes to countless other classic Cuban songs, and plays around with classical piano exercises.
The first song, and title track, is one of those descargas by Israel López. The descarga is the Afro-Cuban sound stripped down to the bare essentials. Without an extensive melody or complex form, this is just an all out jam based on a simple bass riff. The first chords Gonzalez plays might make the song seem like it's going in the direction of a Dorian progression like "Oye Como Va." Once the band starts in it's apparent that it's in a different mode and a different mood, even though it's the same syncopated rhythm. After the catchy chorus finishes for the first time Gonzalez immediately starts an incredible solo. He dazzles the ears and mind with his sophisticated yet unrestrained style. He goes up, down, and all around the keyboards with incomprehensible chromatic patterns executed at top speed. After the initial moment of being awestruck, one wonders: "How does anyone, yet alone an eighty year old man who hasn't been playing for the last twenty years because of arthritis, do that?" Before you can catch your breath after his first solo, the horns start in and just blow you away. Mirabal and Ramos are joined Javier Zalba on baritone saxophone. They create such a full sound one can't believe there's only three horns playing. After that, the chorus sings it's lines, and then Gonzalez is at it again for another incredible solo. This is the song were Gonzalez shines the most, because it's basically him soloing all over the place with no other full fledged solos in the whole song. The chorus and horn riffs take a very minimal chunk away from Gonzalez in this five minute song.
The next song, "De Una Manera Espantosa," is by Arsenio Rodriguez, and is a son montuno. This style is similar to a descarga and because it is another type of jam. The sharp trumpet solo by Mirabal, is followed by some improvised vocal lines by Ferrer, then, of course, Gonzalez on piano. The third song is another descarga and was created on the spot at the studio by the band and is a all out free for all jam of the highest level. Valdes and Diaz go crazy and Gonzalez plays like he's a percussionist. The first three songs are awesome, but they are all jams in the same mode. After three in a row it can seem repetitive or monotonous. It may have been better if they were spread throughout the album.
The next song is "Central Constancia" by Enrique Jorrín. It is a danzón, which is a much softer song, demonstrated by the instrumentation including flutes and a violin. This song and the other danzón and similar chachachás on the disc seem completely opposite of the descargas and son montunos. These songs, although soft, have a very pleasant lilt and swing about them. The simple progressions are ideal vehicles for Gonzalez to play a little more relaxed, yet brilliant, piano solos. With his lyrical playing, the phrasing is perfect, and each note is precisely chosen.
For those who are always looking for something familiar, there is "Quizas, Quizas" (in English "Perhaps, Perhaps.") Either you've heard Cake's quirky rock version of it, or heard it sung by the likes of Connie Francis or Doris Day. It's called a bolero cha. Bolero is the name for the great Cuban ballad, and "cha" is added to the end to say it's got a little more rhythm, a little more swing, a little more chachachá. Interestingly there is a guest appearance of the traditional Cuban guitarist Eliades Ochoa. Though he doesn't sing like he often does, he plays some very fine solos over this tune and adds a nice touch.
The most traditional styled song on the album is "Choco's Guajira" dedicated to a Cuban trumpeter of the past. The guajira is the traditional Cuban lament, and this song is in the style of Arsenio Rodriguez, taking a traditional style and arranging it for a more modern big band mambo sound. Traditional elements are preserved by the invited guest Papi Oviedo on tres. The tres is a traditional Cuban instrument, much like a guitar but smaller. His solo along with Mirabal's are played in a beautiful traditional style, and of course another amazing solo by Gonzalez. These are coupled with the improvised vocals by Ferrer and another guest, Senegalese singer Cheikh Lô.
This work presents a cross section of Cuban music, each style is demonstrated by the man who is probably the highest authority on this subject. This private music history lesson is some of greatest improvised music ever preformed by some of the greatest Latin musicians in the world. This is a great album for anyone who are already knows and loves Cuban music. For those who are unfamiliar with this genre, this album is a great place to start. Chanchullo is essential for any true music fan.

la combinacion de las bellas melodias latinas con el virtuosimo de gonzalez y la fuerza y ritmo que se le imprime a la musica, lo hacen una rara y encantadora mezcla. Un cd fresco, vivo, encantador

This is a great album. It is even beter than his first C.D! He has A great style of playing. I reasently burned a mix of him, monk, and Bud Powell and all thier style work very well together. This is a must buy for any jazz or latino music lover.

This CD is a must in every Cuban music fan collection. Not only is Ruben in top form, again, the other musicians have an opportunity to show their wonderful art too, and they are all as good as Ruben. And for those familiar with Cuban music, especially dancers, this CD brings back eleven of all time favorites. You will not be able to hold your feet in place!!