Following in the footsteps and tradition of Chucho Valdes, Gonzalo Rubalcaba and Roberto Fonseca, Harold López-Nussa is at the forefront of a new generation of Cuban jazz pianists, one that includes Rolando Luna and Marialy Pacheco—fellow winners of the Montreux Jazz Festival Solo Piano Competition. López-Nussa's win in 2005 launched an international career that has since seen him play the world's great jazz festivals and collaborate with such notables as vibraphonist Stefon Harris, saxophonist David Sanchez and trumpeter Christian Scott aTunde Adjuah on the album Ninety Miles (Concorde Picante, 2011). After recording two albums in France, López-Nussa returns to Cuba and his roots on New Day and the results are never less than absorbing.
Though López-Nussa's joyous motifs, flowing runs and grooving Afro-Cuban ostinatos form the core of these original compositions brother Ruy Adrian López-Nussa's drums and percussion inform the music at every step. Whether on traditional kit, cajon, djembe or bongos Ruy's infectious rhythms drive the music in exhilarating fashion. Essentially a trio outing—with double bassist Gastón Joya the third corner of the triangle— trumpeter Mayquel González brings a splash of alternative color on the mellifluous ballad "Eso Fue Hace 20" and some real fire on the episodic "Buenos Modales"—an infectious slice of Cubana-bop complete with vocal call and response.
The leader's classical piano roots filter through on the airy piano intro to "A Degüello." An upbeat riff takes shape—a launching pad for a melody that evokes the lilting Brazilian tropicana of Antonio Carlos Jobim's "Stone Flower." On "Cimarrón" H. López-Nussa's left hand maintains an ostinato while his right roams freely, all the time shadowed and encouraged by R. López-Nussa on cajon. The Brazilian, flamenco and African influences that inhabit the melodies and rhythms throughout New Day are never dominant, enfolded instead into the mix to produce a seamless hybrid idiom.
The wonderful "Paseo" flits between carnivalesque rhythms and a reflective melodic passage featuring Joya in lyrical form. The leader mixes up stabbing percussive chords and flowing runs in an energized performance. The appropriately titled "Fantasmas En Caravana" stems from a brooding beginning before shifting towards more rhythmically dynamic terrain, the centerpiece of which is an expansive free improvisation on Fender Rhodes. H. López-Nussa cites the influence of pianist/keyboardists Emiliano Salvador and Chucho Valdés on Fender Rhodes, but his style has perhaps as much in common with Bojan Z's funky blues distortions.
There's a touch of gospel-blues on the cooking title track and a celebratory air on the rootsy, Cuban-flavored "Corriendo Por Los Portales." There's also a more delicate side to H. López-Nussa's playing, evidenced on the lovely "Otro Viaje," where the tension hovers tantalizingly between ballad and descarga, with neither quite asserting its dominance. "Enero" eschews rhythm for wintery impressionism, and closes the album in reflective mode.
Harold López-Nussa's trio's pulsating grooves and emotive interplay are consistently engaging and often exhilarating. The real success, however, of New Day lies in the seamless fusion of idioms; this is jazz at its inclusive best. It bears a Made in Cuba seal, for sure, but in embracing music from far and wide it becomes something much greater than the sum of its parts. - Ian Patterson
La doble ascendencia de las raíces de Harold López-Nussa (La Habana, 1983), cubanas y europeas, son los elementos geográficos y académicos que forman parte del código genético musical de este joven, enérgico y talentoso pianista. Por el lado caribeño le llegan las enseñazas de la gran escuela pianística cubana de la que tantos maestros hemos conocido en las últimas décadas y que tiene al gran Chucho Valdés como el gran patriarca, una isla que ha dado una legión de grandes interpretes desde Omar Sosa a Roberto Fonseca, Gonzalo Rubalcaba o Pepe Rivero, cada uno con su personalidad, sus características propias, siguiendo en mayor o menor medida la tradición afrocubana. Este “nuevo día” supone para el joven músico alzarse en cada jornada con la ilusión de encontrarse con nuevos retos, superar los conseguidos y disfrutar más a cada momento con la música. Este álbum (en una discografía que arranca en 2003 con obras de Villalobos) supone regreso a su isla natal, lo ha grabado en La Habana, y trabajar con los músicos que habitualmente allí le acompañan, después de sacar su dos anteriores discos en Francia (y para el mismo sello donde termina de publicar). Está acompañado de Mayquel González en la trompeta, Gastón Joya en el contrabajo y Ruy Adrián López-Hussa (su hermano), donde se produce una perfecta complementación, diálogo y desarrollo de los temas. Como novedad ha introducido un piano electrónico para interpretar sus composiciones. López-Nussa, que acompañó durante tres años en las giras internacionales de Omara Portuondo, pone de manifiesto no solo una impecable, ágil y vertiginosa técnica interpretativa, además, una especial dotación para la composición -también ha creado bandas sonoras- y los arreglos. Piezas de elevado voltaje eléctrico que se combinan pasajes líricos, cadenciosos y de una natural belleza. - lossonidosdelplanetaazul.com
Tracks
01. A Degüello
02. Cimarrón
03. Paseo
04. Fantasmas En Caravana
05. Otro Viaje
06. New Day
07. Corriendo Por Los Portales
08. Eso Fue Hace 20
09. Buenos Modales
10. Enero
HAROLD LÓPEZ-NUSSA piano, keyboards
GASTÓN JOYA double bass
RUY ADRIÁN LÓPEZ-NUSSA drums, percussion
MAYQUEL GONZÁLEZ trumpet
Music composed by Harold López-Nussa, except (6) by Harold López-Nussa & Mayquel González
Recorded 2013 at FF Sonido, La Havana
JazzVillage/Harmonia Mundi JV 570021 France