Pianist Daniel García’s playing dominates this album of meaty jazz, though double-bassist Reinier Elizarde and drummer Michael Olivera do not go unnoticed.
The release notes talk about flamenco and jazz being brothers; you’d not automatically think of flamenco listening to this (though there are some exotic sounds down there in the rhythm section); he’s more talking about the level of engagement in making the music, plus “the deep experience of the moment”. He does have a point. You’ll get engrossed in this, and wonder why you’d want to listen to anything other than jazz.
The opener is a lively tune, Porto De Rabia Y Miel, the only one not written by Garcia. It allows all three players to show off; García’s piano is mesmerising, very fast but always clear.
Oniria follows, a slower and more reflective song that might be the world’s first scary jazz tune; a recording of a child pops up half way through what is otherwise a chilled, late night jazz tune. Makes us jump every time. (We think the child is Garcia).
Dream Of Mompou 1 follows, one of four expressive little piano sections inspired by Catalan composer Frederic Mompou, the others being 2-4.
The title track is lively from the off, an expressive tune with added flute (Jorge Pardo); it reminded us of the likes of Barbara Thompson, easy to listen to, melodic and accomplished, then slowing down towards the end.
Standout — though it’s hard to say on an album so accomplished — is perhaps Vengo De Moler, everyone in control but playing fast, with some lovely delicate piano moments before it goes a bit Latin, seemingly only just under control.
The cover art is by Mimmo Paladino.
This is out on ACT 9880-2.
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