ARUÁN ORTIZ — Aruán Ortiz With Andrew Cyrille And Mauricio Herrera : Inside Rhythmic Falls (review)

ARUÁN ORTIZ — Aruán Ortiz With Andrew Cyrille And Mauricio Herrera : Inside Rhythmic Falls album cover Album · 2020 · Avant-Garde Jazz Buy this album from MMA partners
4/5 ·
snobb
Many creative modern jazz followers most probably noticed young Cuban pianist Aruan Ortiz, who bravely opened the premiere jazz stages' door and partially participated with artists as grand as Wadada Leo Smith, Greg Osby, William Parker, Oliver Lake among many others. His own discography is not as numerous, but he already has released some noticeable works as a leader, predominantly on European labels (Newvelle & Intakt). His every new album is an event of unexpectedness since he freely moves between Latin, avant-garde and more traditional jazz genres.

"Inside Rhythmic Falls" is Ortiz's newest (Aug. 2021) album, released on Swiss Intakt again. The album, recorded by an unorthodox trio, consisting of Ortiz, genius drummer Andrew Cyrille and Cuban percussionist Mauricio Herrera. It starts with the very Caribbean "Lucero Mundo", featuring the spoken word vocals of Emeline Michel & Marlène Ramírez-Cancio. The opener will be very much in place on today's London streets with their dominance of Caribbean jazz, but don't be fooled by it.

It isn't an album's visit card, more like an intro demonstrating this album's relationship with Afro-Cuban roots. The rest of the album contains very refreshing percussive jazz, which mixes avant-garde freedom with Latin sensuality.

As a result, we have a rhythmic trio playing quite melodic and moody music, from a slow-tempo ballad of sorts, "De Cantos Y Ñáñigos", to African dances of "Inside Rhythmic Falls Part I (Sacred Codes)". The participation of drummer Hamid Drake on any musician's album is an evidence of quality, "Inside Rhythmic Falls" is not an exemption. But here we get much more - a trio of equal artists playing modern jazz of highest order together. Quite accessible for the genre it represents, this album depends on this category of releases which the open ear listener will listen to more than once or twice.

The album ends same way as it starts - with short "Para Ti Nengón", a free interpretation of Cuban trad song (all other songs are Ortiz originals).
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