Jazz Articles about Gonzalo Rubalcaba

Gonzalo Rubalcaba: Paseo

by Jim Santella
September 27, 2004

With his new Cuban quartet, pianist Gonzalo Rubalcaba has re-emerged in a creative session marked by the melding of tradition with growing forces. The fiery pianist's desire to wake up modern jazz has always proven fruitful and innovative. This time out, he shows that a healthy creative spirit will provide new directions when given the opportunity.

Rubalcaba has said, “I used to do an album or two a year, but that pace doesn't give you the opportunity to ...

Gonzalo Rubalcaba Trio in Seattle

by Christopher Jones
March 12, 2004

Gonzalo Rubalcaba Trio in SeattleDimitriou’s Jazz Alley August 8th, 2000

I don’t have many pet peeves, but this is one of them: Why is it that so many jazz musicians, when performing live, neglect to say much of anything to the audience? Is this a phenomenon passed down from the bebop era, a time when many jazz musicians played the role of cryptic, illusive outsider? Is it the influence of Miles Davis, who often exhibited a detached, ...

Pat Martino: Think Tank

by Joel Roberts
January 21, 2004

It's been nearly twenty years since Pat Martino's comeback from a near-fatal brain aneurysm. In that time he's re-established himself as one of the jazz world's premier guitarists, a technically advanced post bop player who combines forward-thinking musical ideas with native Philly grit; think Pat Metheny with more soul. Think Tank , as the name suggests, finds Martino at his most cerebral, which has its pros and cons. The title track, for example, is a blues of ...

Think Tank

by Victor L. Schermer
October 30, 2003

It could be said that Pat Martino most fully represents the evolution of jazz guitar artistry from the 1960's to the present day. His playing displays a striking continuity over time, even though disrupted in mid-stream by his well-known bout with a brain aneurysm that led to nearly total amnesia, and from which he more than regained his full abilities and gifts by a heroic recovery process. Yet within that continuity are all the developments in “straight ahead" jazz from ...

Ithamara Koorax: Love Dance: The Ballad Album

by Chris M. Slawecki
October 7, 2003

Ithamara Koorax has released several albums in Brazil and Japan, but Love Dance is only the second US album for this star from Rio, the follow-up to her debut Serenade in Blue.

With her unmistakable voice, Koorax sings English, Portuguese, and Spanish love songs composed by such masters as Antonio Carlos Jobim, Luiz Bonfá, Marcos Valle and Ivan Lins, plus songs by Claus Ogerman and Jurgen Friedrich (in German). Her voice manifests this diversity to its advantage: ...

Pat Martino: Think Tank

by Clifford Allen
October 5, 2003

It is difficult to make mainstream jazz (hard bop, etc.) relevant in light of the subversion or destruction of its form that occurred over thirty years ago. But, as many improvisers proved, it was possible to make consistently engaging and advanced music in the hard bop idiom well after the innovations of Ornette and Cecil took hold, and though the case for it is a little tougher today, there are a number of musicians who have found something new to ...

Charlie Haden: Nocturne

by Jim Santella
February 1, 2002

What do you hear in darkness? The little things? Sounds that go unnoticed during the day. Crickets, creaking hinges, softly purring machinery, the hum of automobile traffic, and perhaps a distant television or radio. Night creatures are everywhere; but you don't see them. You hear the same things they hear, though; and it helps you to concentrate on your work.

Charlie Haden's ballad album, Nocturne , follows from his love of film noir. Like his Quartet West, this ...