Album Review

*** GONZALO RUBALCABA,”Rapsodia” Blue Note Pianist Rubalcaba plugs in for this, his fifth U.S. release (the second with his quartet), and the results range from brilliant to only mildly engaging. A major departure from his earlier trio recordings and the wonderful, preceding release, “Suite 4 Y 20,” “Rapsodia” finds the Cuban national employing electric and acoustic keyboards as well as the computer programming of added member Mario Garcia in a collection that delivers a big, almost orchestral sound while emphasizing its leader’s compositional might.

At best, the tunes here follow circular paths, advancing through rhythmic and emotional variations with all the congruity of a good short story. “Circuito II” is a winding road that opens with the pianist’s involved solo figures, then progresses through a splashy synthesizer-trumpet theme decorated with Rubalcaba’s racy lines and some Philip Glass-like repetition before Reynaldo Melian’s trumpet fanfare signals its close. “Tributo” also takes on journey-like airs, moving through Weather Report-inspired electronics, a riff that recalls “Milestones” and a Middle Eastern dance passage.

At worst, the synthesizer wash gives such tunes as “Rapsodia Cubana” the ill-tasting flavor of later, Spanish-influenced editions of Chick Corea’s Return to Forever band, as the keyboardist’s playing takes on some of Corea’s aimless spirit. “Chancletera,” with its bright, electric exclamations, suffers the same problems.

But for the most part, Rubalcaba’s acoustic work, less dense than on the previous recordings, retains its gymnastic qualities, full of flips and impressive stunts broken by moments of grace. He demonstrates an inviting spareness on “Santo Canto,” its simple, nursery-rhyme lines pinned by Felipe Cabrera’s electric bass. On the disc’s only non-Rubalcaba piece, Charlie Parker’s “Moose the Mooche,” the pianist and trumpeter Melian take advantage of the blistering pace to weave long, wonderfully involved lines above drummer Julio Barreto’s insistent ride.

Even at the fastest of tempos, the quartet is tight and finely tuned. Though “Rapsodia” is an uneven effort, it showcases a sterling quartet, and its leader’s demanding, though developing, sense of composition.

New albums are rated on a scale of one star (poor), two stars (fair), three stars (good, recommended) and four stars (excellent).