You know that if Quincy Jones discovers and promotes an artist, he’s got to have something extra in his soul. Cuban pianist and composer Alfredo Rodriguez justifies the endorsement, as his previous albums, all focusing on different moods and band combinations, successfully mix the jazz tradition with moods and harmonies from his home country.
This time around, he’s formed a trio with drummer/percussionist Michael Olivera and classical guitarist/electric bassist Munir Hossn. Adding to his repertoire, Rodriguez introduces layers of his own vocals to create enchanting choirs to his piano and keyboard concepts on a number of tracks. Thus, along with traditional folk themes on guitar and festive percussion, Rodriguez’s voice provides impassioned drapery to dancing sounds on ”Dawn” as well as vocal breezes to the lyrical piano ripples on “The Little Dream.” Rodriguez’s pen is also might, forming a childlike melody as Olivera’s brushes skate by on “Bloom” while sounding like childlike joy with village drums on “Vamos Todos a Cantar.” Hossn’s electric bass adds to the nocturnal drama of “Moonbeam” and prances with ebullience with the leader on “Bloom.” A take of “Besame Mucho” is suave and sensuous while a wondrous dance on “Alegria” leads to a warm festival on “De Rua Pra Rua.” The mix of folklore with modern jazz sensibilities makes this a strong direction not only for Rodriguez, but for jazz in general.