Customer Reviews

Solo Piano

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4 star:		(1)
3 star:		(0)
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1 star:		(1)

 

 

For those of us who think of the jazz piano as one of our truly divine art forms, this work by Chucho Valdes serves well to confirm that conviction. Chucho's technique is powerful, dazzling, yet he can move you with exquisite subtlety and tenderness. Many have come to think of Chucho as an essentially Latin stylist; he is much more than that. His versatility is vast, reflecting his classical training. His dextrous excursions remind us of Tynor, and may sometimes seem a trifle capricious, less integrated than Tatum's. But the overall impression from this work is a rare jazz experience. Chucho's artistry, like the man himself, is huge, but oh so very congenial.

This was Chucho Valdes' first outing for Blue Note, a solo date that features two trio/quartet numbers (in the final two tracks) with sidemen Dave Green (bass), Enrique Pla (drums), and Miguel "Angar" Diaz (percussion). The cover art needlessly advertises "Blue Note presents the music of Cuba" -- needlessly, because unlike Valdes' work with his larger group Irakere, there is not a lot that is obviously "Latin" about this music, other than the titles of the original tunes and Valdes' heritage.

I was turned on to this disc after hearing the track "Noliu" on the radio, a tune in which Valdes plays some extremely fast runs even down at the lowest register, hinting at Don Pullen or even Cecil Taylor (two of my favorites). In the tradition of Pullen or McCoy Tyner (an obvious influence), Valdes typically sticks to a melody, but then deconstructs it with broad and often rapid explorations using the whole keyboard. The opening number "Isanusi" sets the tone in this way, with "Nandy," "Noliu," and trio number "When I Fall in Love" played in a similar vein. "Blue Yes" and "Blues (untitled)", as you might expect from the titles, state a central blues theme -- the latter suggesting Monk in the chord choices. "Togo," "My Foolish Heart," and "Bill (Evans)" are slower paced ballads.

This is spirited solo jazz piano -- similar to some of McCoy Tyner's solo work, more adventurous and busy than Bill Evans (another obvious influence given the eponymous final solo number), and not quite as "out" as Pullen (who himself mellowed and formed the "Afro-Brazilian Connection" in his final years). As far as this being "the music of Cuba," well, I wouldn't buy this if you're looking for "Latin jazz," and certainly wouldn't avoid it if you're not a fan of that genre. Sure, the melodies occasionally have a Caribbean-inflected feel, but this is solid, mostly straight-ahead jazz with a lot of flourish and abandon, displaying Valdes' abundant energy and technique throughout.

For those of you with a latin background like me, this should be one of the albums to keep forever. Chucho Valdes is one of cubans most celebrated pianists, his music is both moving and refreshing. This album features some of the most exciting songs such as Togo, one of my own personal favorites. Don't miss the chance to enjoy a sample of cuban jazz at its best.

I have heard extraordinary performances from Sr. Valdes. This was not one of them. His technical skills are unparalleled, but feeling and melody are important too, and very little of the latter were evident. If you like to hear someone playing very loudly with lots of tricky arpeggios, then this is the album for you.