Jazz

(JazzPlanet) Gonzalo Rubalcaba The Blessing (Eac Flac Cue)(UF)

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Gonzalo Rubalcaba The Blessing



Label: Blue Note Records (USA)
Orig Year: 1991
Street Date: Oct 22, 1991
Genre: Jazz
Styles: Post-Bop / Cuban Jazz / Latin Jazz / Afro-Cuban Jazz
Extractor: EAC 0.99 prebeta 3
Read Mode: Secure with NO C2, accurate stream, disable cache.
Codec: Flac 1.2.1; Level 6
File: Flac single Track, file.cue Eac.log
Size Torrent: 263 Mb
Cover Included





Song Title

1.Circuito
2.Sandino
3.Besame Mucho
4.Giant Steps
5.Sin Remedio, El Mar
6.Silver Hollow
7.Blessing, The
8.Blue In Green
9.Sinpunto Y Contracopa
10.Mima

Recording Time: 56 minutes


Personnel:

Gonzalo Rubalcaba (piano)
Charlie Haden (bass)
Jack DeJohnette (drums)

Listen to samples

http://www.amazon.com/gp/recsradio/radio/B000000W2X/ref=pd_krex_dp_a

http://www.goear.com/listen.php?v=c6bd0a5

Video

http://www.youtube.com/watch?v=kflW-MksMWs&feature=related

http://dailymotion.virgilio.it/video/k9RanWgEfrqxyU7QJq

Amazon.com
This was the first of Cuban pianist Gonzalo Rubalcaba's recordings to appear in the United States, and it's a stunning introduction to his work. He's more than ably supported by Charlie Haden and Jack DeJohnette, with Haden's fundamentalist approach to the bass acting as a secure anchor to Rubalcaba's frequent flights of virtuosity and DeJohnette's polyrhythmic approach. With his deep roots in the rhythmic language of Cuban music, Rubalcaba brings a subtle and complex pulse to even his most reflective moments at the keyboard. He's also rooted in some of the more adventurous paths that jazz took in the 1960s, as that stellar rhythm section would suggest. It shows in the original approaches that he finds to Coltrane's "Giant Steps," Bill Evans's "Blue in Green," and Ornette Coleman's "The Blessing." --Stuart Broomer

Sublime
Driver9 (New York, NY USA)
Surprised is how I felt when I first heard the music. It reminded me of some earlier sounds, strains of Thelonious Monk, Don Pullen and Cecil Taylor, although it diminishes the music to have to compare it to something else, doesn't it. If you don't like it, fine. But if you don't understand something, don't put it down. Any time musicians experiment with melody-rhythm-harmony, the first few hearings can be jarring. Who said you have to be able to snap your fingers for something to be good. Who said you have to be able to understand what the musicians are doing? Try opening your ears to a sound you aren't used to. It won't bite you. You don't have to be afraid, just listen.

Wow!
A music fan
Lots of great technique *and* beautiful music, despite what other reviewers may say. The opening statement in CIRCUITO is pretty jarring and may strike some listeners as being nonmusical, but it's actually pretty similar to the unaccompanied jags Brad Mehldau occassionally takes, a little chaos before the return of order. Includes some really beautiful readings of SANDINO, SILVER HOLLOW, BLUE IN GREEN, among others. I got this two months ago and have been listening to it as much all my other CDs combined. Really outstanding jazz.

Highly overrated
"pessi" (Helsinki Finland)
There has been much fuss during the past years about this cuban pianist. If it is chops that you're after - you've got it. On the other hand, if you're looking for music - turn elsewhere. Chops are what this guy is all about. Techniquely he is truly awesome, but he doesn't really have the faintest clue about the aesthetics of jazz music. The word "groove" cannot even be used in this context, since Gonzalo has no idea of how to swing in a jazz-like manner. His typewriter-like phraziation sounds hysterical as he rushes the time like crazy. Harmonically he makes a huge fool of himself in "Giant Steps", where most of the notes he plays are total garbage and have nothing to do with the chord changes. If you really do want to listen to mr. Rubalcapa, my suggestion is that you try out some of his earlier stuff where he operates in a more latin-american context.

Beautiful trio album with a Latin flavor
Jonathan Mayhew (Lawrence, KS USA)
This album features Jack Dejohnette on drums and Charlie Haden on bass along with Rubalcaba. The music doesn't groove as hard as "Inner Voyage," but the music has lyrical quality. Check out versions of Ornette Coleman's "The Blessing" and Coltrane's "Giant Steps."

Gonzalo, the best young musician to come along in over a de
Donald Bennett (Chicago, IL)
Gonzalo Rubalcaba is the best I've heard in quite some time. I am a jazz pianist with five CD's in the stores and on Amazon. If you haven't heard Gonzalo, you are really missing out on greatness. Gonzalo will be around for a very long time. I had the pleasure of hearing him at syphony hall here in Chicago and he blew me away.

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A child prodigy, the Cuban pianist Gonzalo Rubalcaba was born into a musically notable family in 1963. He only became generally ’visible’ to the rest of the world, from 1990. Anyone paying attention was instantly aware that a prodigious pianist had ’arrived’. Now resident in the USA, and having made many albums, Rubalcaba has at last recorded, alone. Solo is extraordinary in its precision, its beauty and in being - quite simultaneously -SO strong, SO delicate, SO ’African’ and SO ’classical’.

Gonzalo Rubalcaba says the goal of his musical life is’ to find forms, harmonies and rhythms that would embody the sources and nuances of Cuban culture.’

Gonzalo Rubalcaba’s site: www.g-rubalcaba.com

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Biography
One of the most important figures to emerge from Afro-Cuban jazz in the '90s, Gonzalo Rubalcaba is an extraordinarily versatile pianist able to blend disparate strands of Cuban and American jazz tradition into a fresh, modern whole. Born into a musical family in Havana on May 27, 1963, Rubalcaba began studying classical piano at age eight, honing his technique in that area for the next 12 years while playing around Havana by night. In 1983, he toured France and Africa with Cuba's longstanding Orquesta Aragon, and formed his own band, Grupo Proyecto, in 1985, the same year he was discovered by Dizzy Gillespie. In 1986, Rubalcaba played the Havana Jazz Festival with the American rhythm section of Charlie Haden and Paul Motian, and with Haden's support soon appeared at major international festivals like Montreal and Montreux.

Rubalcaba's early dates for Blue Note -- 1990's Discovery: Live at Montreux and the following year's The Blessing -- were instant classics, breaking him among American jazz audiences and showcasing his virtuosic technique and dense improvisations. Rubalcaba was finally able to play for American audiences beginning in 1993, including a star-making appearance at Lincoln Center, and soon emigrated from Cuba (though not to the U.S. right away; he eventually settled in South Florida in 1996). Rubalcaba recorded for several labels, including Blue Note, which was home to much of his best later work, including 1999's introspective Inner Voyage, 2001's Grammy-winning Supernova, 2004's Paseo, which offered new interpretations of old songs, and 2005's aptly named Solo. In 2002 Rubalcaba shared the title of Artist in Residence at the Montreal Jazz Festival with fellow pianist Chucho Valdés, and in 2003, as part of the Bele Bele Jazz Club series, issued Straight Ahead, re-releases of three separate recording sessions between 1986 and 1987. ~ Steve Huey, All Music Guide

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