Chucho Valdes

With his remarkable range and phenomenal technique, Arturo Sandoval is one of the world's great trumpeters; he can do virtually anything he wants on his instrument. Some detractors have claimed that he has too much technique (is such a thing possible?) and that his recordings for GRP are a bit erratic. The latter criticism cannot be applied to this 1988 release. Sandoval is heard with a standard quartet comprised of the great pianist Chucho Valdes (the leader of Irakere), bassist Ron Matthewson, and drummer Martin Drew. Recorded in England before Sandoval broke ties with Cuba, Sandoval is in near-miraculous form on some blues, a lyrical "My Funny Valentine," and a few basic originals. Just listen to him tear through "Blue Monk," playing in the low register with the speed of an Al Hirt before jumping into the stratosphere like Maynard Ferguson.

Chucho Valdes is easily the living king of Cuban jazz piano. This anthology, issued by the premier Bele Bele Jazz Club label from Spain, is an overview of the roots of the pianist's development as both an interpreter of classic Cuban material and as an improviser. The first 12 tracks on the set, recorded in 1970, borrow heavily from the "feelings" movement of Cuban dancehall music from the late '40s and early '50s, with numerous compositions by Jose Mendez and Cesar Portillo de la Luz. There are also trademark Valdes originals such as his own "Preludio No. 1," based on Debussy's. Other tracks here, from 1982, borrow from the later dancehall traditions and lineages such as the "Evocations" series written by Jesus Valdez including one for Josh White! The first 12 cuts features Valdes with a stellar rhythm section that included bassist Orlando Lopez (Cachaito) and drummer Enrique Pla, and the last eight are solo.

Babalu Aye closes a circle of sorts for Irakere. Most of the songs on this album are salsa Cubana, some sounding very much like the original New York salsa of years past. But of course, it's salsa with the Irakere flair: electric guitars with the distortion cranked up come in and out; the horn section plays tightly, then loosens considerably in the solos, putting little relaxed ornaments around each phrase, then suddenly tightens up again; the whole band chants phrases in unison.

Chucho Valdes continues to amaze with his profoundly Cuban take on jazz. This latest finds him exploring the African component of Cuban religion with a jazz quartet. The results are stunning. BRIYUMBA PALO CONGO was nominated for the 2000 Grammy Award for Best Latin Jazz Performance.

Although pianist Chucho Valdes starts things off with a precise and danceable interpretation of Ernesto Lecuona's "La Comparsa" on New Conceptions, the classical and operatic themes explored on 2002's Fantasia Cubana: Variations on Classical Themes are largely implied this time around. Valdes is a superb classically trained technician with a lush ear for harmony. This, combined with an expansive knowledge of the jazz "tradition," allows him to craft solos that often touch on both late-era John Coltrane and the elegant athleticism of Art Tatum. He brings all sides to bear here on works by Miles Davis and Duke Ellington as well as some original compositions.

Chucho Valdés's first recorded sessions as a leader took place in late January 1964 in the Areíto Studios of Havana (former Panart studios) owned by the newly formed EGREM. These early sessions included Paquito D'Rivera on alto saxophone and clarinet, Alberto Giral on trombone, Julio Vento on flute, Carlos Emilio Morales on guitar, Kike Hernández on double bass, Emilio del Monte on drums and Óscar Valdés Jr. on congas. Throughout the 1960s and 1970s, these would be the members of his jazz combo, whose lineup would often change, sometimes including bassists Cachaíto and later Carlos del Puerto, and drummers Guillermo Barreto and later Enrique Plá.