Incendiary Afro-Cuban Sounds

* * * * GONZALO RUBALCABA TRIO “Supernova” Blue Note

Although this virtuoso Cuban pianist burst onto the jazz scene several years ago with the splendor of a supernova streaking across the sky, this recording shows that there’s much more to the man’s art than just his brilliant technique and charismatic approach to his instrument. Indeed, in many ways, “Supernova” ranks as the most subtle and profoundly understated of Rubalcaba’s Blue Note discs, the pianist soft-pedaling his innate virtuosity in favor of sly syncopations on “Supernova 1,” beguiling Afro-Cuban dance rhythm on “El Cadete Constitucional” (“The Constitutional Cadet,” penned by his grandfather) and sublime legato playing on “Alma Mia” (“Soul of Mine”). Only a musician of considerable sophistication could conceive the idiosyncratic chord changes of Rubalcaba’s “La Voz Del Centro” (“The Voice in Between”) or create such rhythmically complex figures on “Supernova 2.” Here’s a recording that pushes Afro-Cuban jazz into daring new territory, yet maintains a vital link with traditions that are centuries old.

* * * 1/2 PONCHO SANCHEZ “Latin Spirits” Concord Picante

This joyous recording from the great conguero unfolds much as his concerts do, starting gently but inexorably gathering momentum. Before long, the light and amiable numbers give way to major works exploring the connections between Latin dance rhythm and jazz improvisation. In some ways, then, this recording takes flight with the third track, a surging, minor-key treatment of Chick Corea’s title cut, arranged by David Torres. The protean Sanchez turns in haunting vocals on the ballad “Quieres Volver,” then presides over great bursts of driving rhythm on “Going Back to New Orleans” (which subtly quotes from Duke Ellington’s “Second Line” movement of the “New Orleans Suite”). But the masterpiece of Sanchez’s release is Torres’ brilliant, newly minted arrangement of Wayne Shorter’s “Ju Ju,” as intellectually probing a reinterpretation of this work as any to have been released in years. That the track re-examines the piece in the context of Afro-Cuban rhythm and includes harmonically fearless solos from pianist Corea underscores the importance of this juju.

* * * PETER MARTIN “Something Unexpected” MaxJazz

Listeners often identify New Orleans with historic forms of jazz, but a cohesive scene of young, adventurous players is putting the town on the map again. This beautifully recorded live disc captures much of the spirit of contemporary jazz in New Orleans, with several of the city’s best players collaborating with Martin, who grew up in Florida and St. Louis but for years has been based in the Crescent City. With the sound of Nicholas Payton’s clarion trumpet, Reginald Veal’s buoyant bass lines, Adonis Rose’s street-beat drumming and Brice Winston’s ferociously intense tenor saxophone roaring at full tilt, pianist Martin hardly could miss. But the elegance of his touch, the textural clarity of his improvisations and the careful design of his solos distinguish Martin from many pianists of the 30-and-under generation. Although the band’s post-bebop musical language is hardly groundbreaking, the spontaneity, craft and integrity that Martin and friends bring to every track are undeniable.

* * * ELDAR DJANGIROV TRIO “Eldar” D&D; Records

One hesitates to come to a firm conclusion about an artist based on a single CD, but if prodigy Eldar Djangirov plays as well in concert as he sounds on this recording, the 14-year-old pianist could emerge as an important talent. Yes, he has plenty of technique, as his fleet arpeggios and rapid-fire runs affirm through most of this recording. But it’s the beauty of Djangirov’s touch on tunes such as “Meetings and Partings” (an original) and “I Got It Bad,” the naturalness of his phrasings on jazz standards such as Wayne Shorter’s “Footprints” and Dave Brubeck’s “In Your Own Sweet Way,” and the inventiveness of his up-tempo reworking of Thelonious Monk’s “Well You Needn’t” that distinguish his work. Moreover, he writes lovely melodies, as in his catchy “Recollection” and the unabashedly romantic “In the Haze.” All show the clear influence of established composers but also point to a young artist well worth watching--and hearing.