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Valdes’ Jazz Batá was considered a departure into the avant garde when he made it in 1972. That trio recording was a preview of advances to come from the great Cuban pianist and composer. Nearly half a century later, the followup finds him as adventurous as ever, heading a quartet that concentrates on mastery of the batá tradition of West Africa, long a major component of Cuban music. In their rhythmic power and harmonic acuity, Valdes’ piano solos throughout are riveting, none moreso than his work on “Ochún,” a Haitian merengue that recalls Chucho’s father Bebo because of the elder Valdéz’s close association with Haiti.
"@CamOnPiano creates a formidable nuclear detonation of what’s been dubbed “thrash-jazz.” — @RelixMag Listen now… twitter.com/i/web/status/1…
Check out @EmmetCohen's exclusive interview in celebration of #JazzAppreciationMonth for the @GRAMMYMuseum’s offici… twitter.com/i/web/status/1…
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