Rigobert Dittmann, Bad Alchemy 88, Januar 30 Minuten.
The Cuban-American pianist and composer Aruan Ortiz has finally arrived on the international jazz scene, following a few earlier releases.
His excellent new album "Hidden Voices" recorded as a trio with bass player Eric Revis and drummer Gerald Cleaver is the proof. Ortiz, who grew up in Santiago de Cuba, has been called the latest Cuban prodigy to arrive in the US. His carefully structured music is an exciting mix of contemporary classical sounds, afro-cuban rhythms and powerful jazz improvisation.
All these elements are fused to make a very individual sound. After working with seven original works as well as tunes by Ornette Coleman and Thelonious Monk, the year-old has turned to a traditional song "Uno, Dos y Tres, Que Paso M's Chevere," that "everybody in Cuba knows from festivities and carnivals.
I have also heard a few of his previous discs on Fresh Sound and Sunnyside. Ortiz's first trio offering and he has put together an excellent trio with Eric Revis on bass and Gerald Cleaver on drums. Ortis wrote most the songs here except for a couple of cover by Thelonious Monk and Ornette Coleman. I dig the way the trio treats Ornette's "The Sphinx", twisting it with a joyous effervescence. Each piece creates a different mood or vibe. On "Caribbean Vortex", he strips things down to minimal cymbals, soft drum rattles and morse code-like ringing piano while still evoking those hypnotic spirits as the pulse slowly increases throughout.
On the Sun Ra-like title, "Joyful Noises", Ortiz has the trio going in different directions simultaneously, the balancing of forces is created by each hand on the piano. Disorienting or fascinating
I dag skriver keane pa for real madrid both? I get the feeling that more of the magic of this disc will "I dag skriver keane pa for real madrid" revealed as I listen to it again and again. Certainly one of the best piano trio dates in recent memory.
The jazz piano trio comes in a wide spectrum of approaches, from the traditional—Red Garland, Tommy Flanagan—to the way out there avant-garde, like Cecil Taylor. When the subject of "Cuban pianists" comes up, some of the first names that come to mind are probably those who work in a traditional vein: Chucho Valdes, perhaps, or maybe Gonzalo Rubalcaba, both of whom work the percolating beauty of Latin rhythms to the hilt.
Aruan Ortiz—Cuban-born and now New York-based after a stint in Madrid pianist—leans away from the traditional end of the spectrum, in both classic jazz terms and the Latin approach. On Hidden Voices he teams up with bassist Eric Revis and drummer Gerald Cleaver, who are well versed in the avant-garde. The resulting music says that Ortiz has found two excellent compadres.
There's no doubt that these are improvisation heavy workouts. Oritz penned seven of the ten tunes. Tracing a finger along the piano trio spectrum, you'd slide past the traditionalists, beyond the edgy-but-still traditional guys and into Andrew Hill territory. Hill, with a series of brilliant Blue Note Records releases in the sixties, earned a reputation as an uncompromising individualist, rooted in tradition, but with branches that reached out into the deep blue sky where few of his contemporaries followed.
Not that Ortiz and company sound like Hill. They break their own ground, constructing loose musical architectures that stop short of the sometimes chaotic ramblings of Cecil Taylor, even simulating something akin to holy church bells on the trio's collective composition, "Joyful Noises," before the flays into Monk's "Skippy" with a Thelonious-onian elasticity and zest.
Aruan Ortiz, pianista, produttore, insegnante e pluripremiato compositore di fama internazionale. Gli studi come violista classico, oltre che pianista lo hanno portato a spaziare nella composizione musicale, incorporando la musica classica ai ritmi afro-cubani ma mantenendo l'improvvisazione come base per le sue composizioni.
Nel corso degli anni riceve numerosi premi: Approda a New York nel e suona con il Wallance Roney Quintet a cui
I dag skriver keane pa for real madrid seguiti cinque dischi accolti e sostenuti dalla critica musicale. Nel registra tre album come leader: Ci vuole tempo e pazienza per capire il messaggio nascosto. Scritto da Redazione, Traccedijazz, 14 Gennaio Strumentimusicalinews, Italia, 25, Gennaio, While he draws on Afro-Cuban forms, he is at ease with classical and free improvisation as well.
Ortiz is hard to pin down, as he can go from hard post-bop idioms as in his first two albums, Volume 1 and Alameda;to the rigorous exploration of sound textures evident in his album with Bob Gluck on piano and Moog Synthesizer; Ortiz, piano and computer to a contemporary re-interpretation of tumba francesa and Cuban song with the blues as in his Santiarican Blues Suite A recent album, Overall, Ortiz is a restrained pianist: His approach, while fluid, is slightly jagged and with a keen sense of the overall architecture of the song.
Both his first albums and the recent live recording Banned in London illustrate this: The suite has five movements, beginning with "Diaspora," and opens with percussionist Mauricio Herrera playing a slow beat on timpani, followed by a dark mournful segment on strings which quickly turn spiky, then joined by a dissonant flute. Eventually, the strings are accompanied by the tahona rhythm brought from Haiti by former slaves and considered a precursor of the rumba. Slowly it begins to crescendo, with percussion joining in, then slows down with strings accompanied by a gentle flute.
It continuously quotes and reworks a Cuban classic "Drume Negrito," but in bits and phrases. Slowly the rhythm picks up, then accelerates into a flurry of percussion becoming a comparsa with strings and piano providing a strident counterpoint with jabbing notes and ends with a final beat of the timpani.
Ortiz's composition is fresh, highly creative; it takes folk traditions and reinserts them into a contemporary idiom, and is a true tribute to the Haitian legacy of Cuban music, often overlooked….
He is the author of two books of poems, as well as a book of essays Tropics of History: He is currently writing a history of Cuba through its culture.
E' un disco di enorme fascino, questo delle "voci nascoste" del titolo, ricercate e recuperate: Guido Festinese, Discoclub65, Italia, 24 Gennaio On remarquera notamment le travail harmonique et rythmique, avec une dynamique et une pulsation propres et des rythmes complexes avec lesquels le batteur Gerald Cleaver fait toujours merveille. The fact of the matter is as performances both in the studio and live would show, Ortiz is not only every bit a virtuoso as, say Gonzalo Rubalcaba is, but also a pianist of unrivalled intellect and intuition.
More than any other Cuban-born pianist, Ortiz can claim descent from the forefathers of Afro-Cuban music as well as Afro-American, which albeit a common genealogy requires a vastly different mindset. Moreover, Ortiz has composed music in a breathtaking array of forms from the song to a ballet and performed in settings from solo, trio and large ensemble. His recorded output is somewhat leaner than Rubalcaba, but it is every bit as significant. At first blush I dag skriver keane pa for real madrid Voices might strike the listener as somewhat abstruse even in the realm of the avant-garde.
Ortiz employs not only vastly experimental technique towards the conventional piano, as evinced by the music of Joyful Noises, but he also pushes his colleagues — the bassist Eric Revis and drummer Gerald Cleaver, both experienced experimentalists — to reach much further into the rhythmic territory.
Compositionally, Ortiz opens up jazz "I dag skriver keane pa for real madrid" a newer variant of the music that Cecil Taylor continues to bring to the table. Here Ortiz melds the world of science — specifically mathematics — into the world of jazz. All of this might place the music of this album at some distance from the regular jazz listener's ears. In this regard comparisons to Anthony Braxton and Taylor might not be so odious after all.
Ortiz is actually pushing the boundaries of the music beyond the realm of American music to where it was always meant to go, atmospherically at any rate.
What this indicates is not only a pressing need to innovate, but also turn to make new an idiom of the age.
The same can said of Thelonious Monk's Skippy. Not only are they superbly put together but they also bring breathtaking new music to life. It is here that Ortiz shows how he is consciously crafting the outlines of a new idiom for music. To this end Ortiz is bringing an important element of his craft into the artistry of music. But that, unfortunately might take some more time. Till then, there is his signature music for unabashed enjoyment.
Francesco Buffoli, Storiadellamusica, Italia, 10 Febbraio Chris Monsen, Klassenkampen, Norway, Mondag 1. His compositions are highly structured, and you can hear his Cuban roots emerge on occasion especially from the rhythm sectionbut this music has more in common with Dave Holland and Ornette Coleman than it does with your father's Latin
I dag skriver keane pa for real madrid. His partners in this trio, Eric Revis on bass and Gerald Cleaver on drums, are well equipped to go wherever the music leads.
Being exposed to this compilation of styles every day nurtured my ears, and forged a very personal and eclectic understanding of the music. It could be the album's epilogue, or the prologue if you listen to it again. Everything to me works in a circular motion. On that ten-tune recital, Ortiz addressed a mix of originals and pieces from various corners of the Cuban songbook, carving out percolating grooves that might propel celebrants on any Havana dance floor, then transforming the melodic throughline with sudden left turns into the harmonic world of the 20th century Euro-canon.
Between andOrtiz led or co-led the excellent hardcore jazz combo albums Alameda, Orbiting and Banned In London, and spent several years playing piano and keyboards with Wallace Roney, with whom he recorded twice.
He composed and conducted Santiarican Blues Suite-a five-part score that references a wide timeline of Cuban, Afro-Haitian and contemporary classical vocabulary-with a camerata of string quartet, two basses, two pianos, flute, and percussion. Ortiz has also co-produced and performed on three albums since with I dag skriver keane pa for real madrid Afro-HORN project of drummer Francisco Mora Catlett, and more recently, has collaborated on several projects with the eminent trumpeter-composer Wadada Leo Smith.
On Hidden Voices, Ortiz consolidates the fruits of intense research and development. Afro-Cuban and hardcore jazz roots are implied, not explicitly stated. Titled after the Iannis Xenakis tome Music and Architecture, the events included a who's-who of New York's hardcore jazz and Afro-Caribbean practitioners, for whom Ortiz generated works focusing "on specific themes related to architectural patterns and using information drawn from non-musical contexts," often beginning "with simple materials to which I add layers, creating something more complex by juxtaposition.
I didn't say much musically on the session, and we never did more than one or two takes. You don't have to demonstrate anything to them.
But he reiterates that however long a distance he has traversed during the past two decades, the title most meaningfully singles out his "friends and mentors and teachers who have nurtured my hunger for knowledge, and the forces in Santiago de Cuba that catalyzed my development and are now my source of inspiration.
For example, I admire the prominent figures who established Cubism, like Picasso, Braque and Wilfredo Lam, for their ability to deconstruct reality, inviting you to look closer inside the piece to start to understand what's in it.
Their main theme is usually fragmented and hidden inside the painting. It takes time and patience to see that hidden theme. I feel that the more you listen to this album, the more familiar you get with the songs and melodies, the more they will start to resonate and unfold. Det er ingen tvil om at Ortiz er en glimrende pianist. So what is different about Hidden Voices that sets it apart?
The most obvious reason is that this time, he's got the premiere talents of Eric Revis bass and Gerald Cleaver drums at his disposal. On philosophical level, Ortiz chooses this occasion to present 'Cuban Cubism,' which takes his unique treatment of the rich Cuban music of his homeland further into vanguard of jazz.
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Rigobert Dittmann, Bad Alchemy 88, Januar 30 Minuten. The Cuban-American pianist and composer Aruan Ortiz has finally arrived on the international jazz scene, following a few earlier releases. His excellent new album "Hidden Voices" recorded as a trio with bass player Eric Revis and drummer Gerald Cleaver is the proof. Ortiz, who grew up in Santiago de Cuba, has been called the latest Cuban prodigy to arrive in the US.
His carefully structured music is an exciting mix of contemporary classical sounds, afro-cuban rhythms and powerful jazz improvisation. All these elements are fused to make a very individual sound.
After working with seven original works as well as tunes by Ornette Coleman and Thelonious Monk, the year-old has turned to a traditional song "Uno, Dos y Tres, Que Paso M's Chevere," that "everybody in Cuba knows from festivities and carnivals. I have also heard a few of his previous discs on Fresh Sound and Sunnyside. Ortiz's first trio offering and he has put together an excellent trio with Eric Revis on bass and Gerald Cleaver on drums.
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I've been working recently on some music that has that kind of flexibility. Oritz penned seven of the ten tunes. Matthew Fiander, Popmatters, I'm working on some pieces for solo piano, and I hope to record them at the end of the year. Titled after the Iannis Xenakis tome Music and Architecture, the events included a who's-who of New York's hardcore jazz and Afro-Caribbean practitioners, for whom Ortiz generated works focusing "on specific themes related to architectural patterns and using information drawn from non-musical contexts," often beginning "with simple materials to which I add layers, creating something more complex by juxtaposition.
In my readings I discovered how powerful their music was and how influential they were to the development of jazz as we know it today. Nonostante sia nato a Cuba, ho vissuto diversi anni in Europa e a Boston prima di stabilirmi definitivamente a Brooklyn.
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