snobb Cuban-American pianist Aruan Ortiz, on his new album, demonstrates similar qualities as almost any other leading Cuban jazz pianist of his generation - precise techniques and strong feel of classical music education. Leading an acoustic trio, he bravely mixes Caribbean themes with European non-jazz tradition and New York avant-garde jazz experience.

The music on "Serranias..." is complex, but with clear lines, Aruan plays as if he is a surgeon, the piano keys are his scalpel. It is him pushing the supportive capable rhythm section ahead. High energy muscular compositions shout "take no prisoners", this music is obviously not for the faint-hearted. Still...

As many other fans, I really like Cuban pianists for their very special emotional vibe, a combination of passion and soul. "Serranias...", besides of cold-calculated energy and great techniques, offers lot of passion too, but what about soul?

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).