(Contemporary Jazz, Post-Bop) Alfredo Rodriguez - Sounds of Space - 2012, WEB, [Mack Avenue: 1064], FLAC (tracks), lossless

Critically acclaimed producer Quincy Jones says this about pianist Alfredo Rodriguez … “One of the most prolific and gifted jazz pianists of the 21st century.” As I see it, no argument out of me Q is right on point about this extraordinary musician.
Whether pianist Alfredo Rodriguez is the best, finest or greatest or not isn’t for me to measure. “SOUNDS OF SPACE” on Mack Avenue should open whatever door he chooses to walk into.
Born in Havana, Cuba, pianist – composer Alfredo Rodriguez is the son of popular singer, TV presenter and entertainer. This explains his thirst to excel musically. While Rodriguez is formally classically trained at Conservatorio Amadeo Roldán and later at the Instituto Superior de Arte he met his greater challenge to perfect his skills on the streets and on stage.
The opening selection is an Afro-Latin inspired “Qbafrica” this jewel is a quantum of harmonically lethal doses of African rhythms and vibrant Brazilian melodies gets this session started. Rodriguez and his cast of comrade’s paint a culturally beautiful montage as a snapshot of what’s to come on this eleven piece celebration.
I’m genially intrigued by artist who infuses their gift and influences to score sounds that are creative, complex and imaginative. Rodriguez’ agility on the piano glides side to side flawlessly with amazing dexterity on “Silent.” His virtuosic approach to the keys glistens with excitement, power and seriously maddening proficiency.
The ensemble expands this plush palette with “Cu-Bop,” to sum it up this is jazz dipped in honey dripping with tasty Cuba sauce and spices gives this gem just the right melodic twist. In the meantime, Alfredo’s classical instruction is apparent on the fertile “April,” his delicate touch is disciplined, tranquil and shaped from the heart of his authentic voice.
“Oxygen,” is the next composition by Rodriquez. Along with his accomplishes they spin the wheel of jazz to unfold on a mid-tempo vibe that’s suited to sway with an unadulterated hippest and soul. “Sounds of Space,” the title follows horizontally with “Crossing The Border” to establish and imprint of the Cuban culture sonically.
The rifts and vision exhibited by Alfredo leaps with splendor, and complexity throughout this wonderful recording. “Y Bailaria La Negra? [A Ernesto Lecuona]” reflects the love he has for his native land at the nine, he mysteriously unearths the virtuosity of his overall concept as a composer and musician.
Alfredo Rodriguez is undeniably a man with hands and a heart of fire as demonstrated on “Transcultration.” His voice rumbles with unparalleled energy to give way to the ensemble to freely interject their consummate interplay into the belly of this thought provoking masterpiece. Rodriguez empties his soul into the final selection entitled “Fog” unveils note for note his poetic signature.
No doubt, as Q boldly stated about pianist Alfredo Rodriquez he is truly prolific and gifted jazz pianists. Rodriguez is definitely one of the hottest new artists to emerge in years, “Sounds of Space” embodies the quality of music, structure, and openness that most artists aspire to achieve and most jazz lovers long to hear. Highly recommended! ~ Rob Young, Urban Flux Media

It’s a tricky business, being taken seriously in the music world without slipping into taking YOURSELF seriously. You need technique, you need vision, but you also need a sense of humour and a willingness to step outside your Zone of Proximal Development. It’s so tough, in fact, that most composers decide to skip the step; too many are content to either crank out the same thing every single time or to keep chasing their own tail into irrelevance. On the evidence, it would appear that someone has had this talk with Alfredo Rodriguez. Maybe it was Quincy Jones, his mentor and co-producer here, or maybe Rodriguez taught himself this valuable lesson. His new disc, Sounds of Space, is full of intricate passages that actually go somewhere emotionally, and lyrical passages that display a shockingly high degree of difficulty. In short, the best of both worlds, career-development-wise.
The album does not start with the title track, but we will. Melodically, it’s a gentle Cuban-influenced piece; rhythmically, it’s got a hard-edged 9/8 meter that undercuts any unconscious urges towards sentimentality. Ernesto Vega doubles up on both clarinet and bass clarinet to help Rodriguez state the theme, and we expect him to break into a solo – that’s what happens next, right? Instead, we get a new theme full of stops and starts and switchbacks, and then another, and a third. Finally Rodriguez drops into a groove, his solo full of drama, ending in one impossibly long piano trill. We go everywhere in the course of 4:44, and immediately we want to go back. Similar shenanigans occur again and again here. “...Y Bailara la Negra? (A Ernesto Lucuona)” keeps shifting its tempo up and down and up again, with very little notice for the listener. Luckily, his rhythm section (Michael Olivera on drums and Gaston Joya on bass) is right there with him, managing to stand out while never wavering or showing off. The uncertainty continues for about half the piece, with Rodriguez driving things along from the piano bench, until the biggest shocker of all: the band develops a sweet listenable fusion-y motif and stays in it long enough for Vega to uncoil a superb soprano sax solo.
Things aren’t always so frantic on the disc. “Sueño de Paseo” is straightforward and adorable, with long solo passages and lots of lovely chords. “Cu-Bop” sounds exactly the way you think it will, with both feet planted firmly in Havana but technique on loan from the masters. (Nice solo from bassist Joya here too.) And “April” is a ruminative and rambling piano solo piece with no fixed meter, scheme, or intention. It sounds like nothing more than early Gonzalo Rubalcaba – high praise indeed, coming from this reviewer. But it will be the crazier moments that will stick with you: the straight-out speed assault of “Transculturation” and “Crossing the Border,” the introduction of the woodwind-only Santa Cecilia Quartet on “Fog,” the rocked-out riffs of “Silence.” Very little rock or electronica can deliver the kind of twisty thrills that Rodriguez seems to be able to pull out of his hat on a regular basis.

Alfredo Rodriguez first explored percussion at age seven before, at ten, claiming piano as his muse. Early years were spent studying in classical conservatories in his native Cuba, but playing with his father’s band after the age of fourteen, also influenced his career.
His father, who ran a TV show, worked with many famous Cuban musicians. This gave Rodriguez an opportunity to devise arrangements for a myriad of musical styles.
It was not until he heard a Keith Jarrett recording, though, that he would discover improvisation. Speaking about that recording, Rodriguez says: “ 'The Koln Concert' changed my life. I realized that was what I wanted to do: just sit and play. And not only musical ideas; music doesn’t come only from music. It can reflect and speak to what surrounds us.”
In 2006, after he performed at the Montreux Jazz Festival, the founder, Claude Nobs, asked him to play for Quincy Jones, who ended up co-producing Rodriguez's debut, 'Sounds of Space'. The title was inspired by a quote by Cuban writer, Jose Marti, who was a major force in the composer’s work. To support this release, Rodriguez and his trio will perform internationally.
'Sounds of Space' touches on many genres and emotions. The first selection, ‘Qbafrica’, is dedicated to Quincy Jones, a producer known for his devotion to world music. The composition starts out, straight away, with electrifying rhythms. These first-of-eleven tunes soon segue into a heady dream sequence only rivaled by brisk percussion. Liquid runs stomp, float and then briefly resolve only to strongly bust cleanly out once more. A bold note gets torpedoed by a clash of exhilarating chords – for a total cacophony of pentatonic madness.
‘Sueno De Paseo’ is a sweeping melody that could stand alone, but instead, gets engaged to Ernesto Vega’s mournful soprano sax. Rodriguez gracefully detours, yet leaves plenty of room for Vegas to rejoin him.
In ‘Silence’, the frenzied immediacy of Gaston Joya’s jagged bass belies the title. Gorgeous comping foreshadows more intricate voicings. Some uncanny piano runs invite the rest of the ensemble to shine.
‘Cu-Bop’ takes its glorious time setting the funky melody line into motion, and true to the title, it delivers: it is a swaggering hybrid of Charlie Parker (Rodriguez would argue Bud Powell) and Latin swing with a touch of ‘Salt Peanuts.’ Says Rodriguez: “It’s my idea of how bop would have sounded in Cuba if he [Bud Powell] had been born there.”
The slowly evolving ‘April’ becomes an elegant, cinematic soundscape and could double as a classical etude or fugue. It is complex: both a freewheeling and stringent framework. Fortunately, Rodriguez has chops that match his boundless imaginings. It is the first of a few strikingly, gorgeous solo piano pieces.
‘Oxygen’ fills up the room with explosive rubato patterns: some surprising blues licks drop by, and then exit without warning. It is here that Peter Slavov (bass) and Francisco Mela (drums) drum up the heat.
A classic Latin bass line drives ‘Sounds of Space’. Ernesto Vega’s double-threat clarinet and sax pump up the contemporary melody: what evolves is a rich, austere mix.
‘Crossing the Border’ is another solo piano composition loaded with infectious movement and only embellished with sparse clave. Rodriguez commits an act of pure genius: his hands stomp and jazz waltz midsong, but the sonic, story remains strong. It does recast, quite effusively, the anxiety Rodriguez endured when coming to America.
‘…Y Balaria La Negra?’ ruminates with muted woodwinds and heavy dissonance. Vega’s clarinet spars as Rodriguez and his keys glisten. The see saw rhythms remain crystal clear despite the warring layers.
‘Transculturation’ includes a vibrant call and response between Rodriguez and Vega, which escalates as Joya (bass) and Olivera (percussion) launch a strategic, counter attack.
‘Fog’ enjoys the inclusion of the Santa Cecilia Quartet. As two opposing lines develop, Rodriguez sweetens his touch. His restraint and the quartet’s textures allow for a shimmering reverie. 'Sounds of Space' is an astonishing, piano-driven debut which crosses paths with classical, be bop and Latin music. Alfredo Rodriguez and Quincy Jones should be proud of their new-found partnership.