Word: rubalcaba
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Dates: during 1990-1999
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Charlie Haden had nothing to prove, Gonzalo Rubalcaba did--that neatly summarizes the outspoken energy Cuban pianist Rubalcaba injected into the jazz trio led by legendary bassist Haden on one of the two recently released Montreal Tapes...
...live recordings, the Rubalcaba performance, which constituted the now-established pianist's North American debut, is more immediately arresting than the other, which features the relatively subtler, more angular style of pianist Geri Allen. Allen's set features more integrated playing and arguably more depth than Rubalcaba's virtuostic display, however. In the end, both recordings prove to be quality examples of contemporary small-group jazz. They are worthwhile, though not essential, acquisitions for serious acoustic jazz fans...
...rather dissimilar playing styles of the two pianists mark the greatest difference in personality between the two concerts. Rubalcaba possesses extraordinary virtuosity, and his technical facility is very evident throughout his performance. With his cascading solo lines and fluid, rapid-fire outbursts of notes, he seems extroverted almost to the point of brashness. His linear, lyrical sensibility and use of stylistic devices like tremolo octaves are very reminiscent of McCoy Tyner. But Rubalcaba's lines are even longer, and his touch more commanding, than that of John Coltrane's former pianist. Rubalcaba's improvisations are heavily patterned and rhythmically defined...
...Afro-Cuban flavor permeates Rubalcaba's playing, placing his virtuoso stylings in an effective and distinctive context. This world music influence is most evident on the Spanish-style waltz "La Pasionaria," but is apparent throughout the album's six tracks. Often there is a dance-like and regular feel to his solo lines, accompanied by percussive comping; other times he will simply transplant wholly Cuban figures into his improvisations...
...Rubalcaba opens his set with a moderately-placed reading of Gary Peacock's "Vignette," and, when the remainder of the trio kicks in, we get to appreciate Haden's tasteful and supportive, but never cliched, accompaniment style. His use of unison double-stops on the opening cut is particularly striking, and his unerrant intonation and rhythmic sense carry throughout the performance. Unlike some of the younger bassists in jazz today, Haden does not rely upon technically impressive devices such as quadruple-timing or playing at the extreme high registers of his instrument to carry his solos. This...