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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.
.@KirkWhalum is wrapping up his #DudewithHats series with a yellow suede number & song dedicated to his son, Kyle.… twitter.com/i/web/status/1…
Our unity is our strength, and diversity is our power. #SoulRebels pic.twitter.com/1kL5FXMFF6
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