This virtuous pianist, composer and arranger brings to the music market the sequel of his album Jazz Batá after four decades
Musicians: Chucho Valdés (Piano), Yelsy Heredia (Double Bass) – Dreiser Durruthy (Voice and Superaron Batá) & Yaroldy Abreu Robles (Congas & Percussion) – and Guest artist: Regina Carter (Violin).
After 46 years, Chucho Valdés returns to the musical arena with JAZZ BATÁ 2, an album that once again shows the creativity of this imposing Cuban music artist.
JAZZ BATÁ 2 of the Latin Jazz genre contains eight tracks recorded in two and a half days in the John Lee´s studio in New Jersey. This ten-handed CD is the mix of classical music from West Africa impregnated in the piano solos with the Batá (sacred drums, with the hourglass shape of the Yoruba religion in Cuba), Violin, Bass and Percussion that give a sound with personality, rhythmic and lyrical at the same time.
The band in small format for this record production has four supporting musicians: Yaroldy Abreu Robles, Dreiser Durruthy Bombalé, Yelsy Heredia and Regina Carter. The first three belong to the Guantánamo region and they have deep roots in the Cuban musical culture, in addition to having studied at the conservatory.
Likewise and it should also be noted that Valdés, influential star of the contemporary Afro-Cuban Jazz, established this experimental format to three instruments (Piano, Bass and Batá) for the first time in 1972 with his album Jazz Batá.
The Jazz Batá 2‘s first single, “100 Años de Bebo”, is an unpublished melody whose composition was by Bebo and it’s a tribute to his centenary. This Danzón-Mambo is played by Regina Carter with an introduction and a “Tumbao” final, added by Chucho.
The tracks: “Obatalá”, “Oshun” and “El Güije” are themes inspired by the Yoruba religion of Cuba (Santería). Oshun is a Haitian merengue with the incursion of the violin, while El Güije is based on a rhythm created by the percussionist Dreiser Durruthy, and he presents it by speaking the sacred language, derived from the Afro-Cuban religion known as “palo”.
“Son XXI” from this new studio album, is a song by the deceased Cuban composer, Enrique Ubieta, who played with rhythmic clusters of Jazz. The first time that Valdés interpreted this theme was in the Musical Theater of Havana at the beginning of the 60s.
“Luces” is the first Bolero that incorporates Congas and Batá, as well as the harmonies of increased chords. And the single seven: “El humor de Chucho” is a “Descarga”, built on a rhythmic three notes (G, B, and C). According to the Valdés’ Words, “It’s like a twister”.
Finally, the eighth track: “El Payaso” is a piano solo, dedicated to Maurice Ravel. This melody was composed by Valdés when he was a member of the Cuban Orchestra of Modern Music (Founder in 1967). “… I’m a bit avant-garde, I play Batá on the Piano …”, said Chucho.
With this record production, Chucho Valdés marks a new milestone in his career, a beginning with the record label: Mack Avenue Records, and a significant chapter of his past.
|1. Obatalá||5. El humor de chucho|
|2. Son XXI||6. 100 Años de Bebo|
|3. Luces||7. El Güije|
|4. Oshun||8. El payaso|
Release: November 16th 2018 Label Record: Mack Avenue Records
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