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Put the force of
McCoy Tyner, the superhuman keyboard agility of
Art Tatum, and the delicacy of
Erroll Garner into a 6-foot-4 Cuban-born frame, and you'll get Jesus "Chucho" Valdes, one of the greatest piano players on the planet. For three decades, Valdes led the Cuban superband
Irakere, with
Paquito D'Rivera and
Arturo Sandoval. But in the last few years, Valdes has been spotlighting his pianistic prowess in small combos such as the quartet he led during a spirited stint at the legendary Village Vanguard in 1999. Backed by a young group of Cuban musicians--drummer Raul Pineda Roque, percussionist Roberto Vizcaino Guillot, and bassist Franciso Rubio Pampin--Valdes turns the piano into a hurricane of melody, harmony, and rhythm. Valdes's masterful manipulations of African American jazz and Afro-Cuban rhythms ring through on the supersonic tempo of "Anabis," the frenetic bebop licks on the tribute "To Bud Powell," and the
Thelonious Monk-like block chords on the midtempo "Son XXI (Para Pia)." As an arranger, Valdes ingeniously reworks old Cuban standards such as "The Peanut Vendor" and "Que Bueno Baila Usted" into his own Caribbean-charged compositions, "Punto Cubano" and "Como Traigo La Yuca." Another island gem, "Drume Negrita," is redone with a funky swing capped by the vibrant vocals of the leader's sister, Mayra Caridad Valdes. The climax of this stirring set is "Ponle La Clave," Valdes's atmospheric African drum celebration that percussively points to the motherland that birthed Cuba's folkloric fusions. Valdes's tender "Encore-- Lorraine's Habanera," named for the Village Vanguard's owner--gently brings the eager and amazed audience back to Earth.
--Eugene Holley Jr.
From Rhythm Magazine
This beautifully mixed sampling from the Cuban pianist's celebrated 1999 New York engagement with his quartet displays both Valdis' keyboard virtuosity and his mastery of Latin jazz. Each song is a universe, spanning the entire range of human emotions. On the jazzy "Ponle La Clave," Valdis and percussionist Robert Vizcaino Guillst vie gracefully for harmonic control. "Como Traigo La Yuca" stays loyal to the Cuban son, with Valdis mamboing over the keyboard as his right hand evanesces into chromatic doodles. "Punto Cubano" is constructed like a symphony, welding two main themes together with bluesy intermezzos. The standard "My Funny Valentine" is reconfigured as a sweetly poignant danzsn, with Francisco Rubio Pampin playing a lyrical bass. The slinky, Arabic-flavored "Son XXI" ripples so richly that it sounds as if Valdis is playing two pianos at once, while the languorous "Drume Negrita" is sung with enormous soul by Chucho's sister, the throaty alto Mayra Caridad Valdis.