Jazz pianist Hilton Ruiz was a musician of uncommon versatility, shuttling seamlessly between the complex improvisations of the avant-garde and the relentless rhythms of Afro-Cuban music. Born in New York City on May 29, 1952, Ruiz was a child prodigy who performed at Carnegie Recital Hall at age eight. In addition to classical studies, he... [+] Read More

Jazz pianist Hilton Ruiz was a musician of uncommon versatility, shuttling seamlessly between the complex improvisations of the avant-garde and the relentless rhythms of Afro-Cuban music. Born in New York City on May 29, 1952, Ruiz was a child prodigy who performed at Carnegie Recital Hall at age eight. In addition to classical studies, he explored jazz under the tutelage of the legendary Mary Lou Williams, and at 14 made his recorded debut with the Latin soul outfit Ray Jay and the East Siders. His remarkable improvisational gifts nevertheless cemented Ruiz's decision to pursue a career in jazz, and while still in his teens he backed everyone from Freddie Hubbard to Joe Henderson. Ruiz vaulted to global renown in 1973 when he joined the famously eclectic saxophonist/flutist Rahsaan Roland Kirk, proving his mettle as a gifted interpreter of a repertoire spanning from the blues to the avant-garde via cult-classic LPs including The Case of the 3 Sided Dream in Audio Color and The Return of the 5000 Lb. Man. After a four-year tenure with Kirk, Ruiz toured Egypt and India with Clark Terry; upon his return to New York, he was a first-call sideman for acts including Betty Carter, Abbey Lincoln, and Chico Freeman, and also founded his own group, continuing a headlining career that began with the 1975 Steeplechase effort Piano Man. Over the span of acclaimed LPs including 1977's Steppin' Into Beauty, 1988's El Camino (The Road) and 1991's A Moment's Notice, Ruiz honed a Latin jazz fusion approach that resulted in collaborations with Tito Puente and Paquito d'Rivera; he also moonlighted in film, contributing to the soundtracks of Woody Allen's Crimes and Misdemeanors and Sam Mendes' Oscar-winning American Beauty, and with Richard Bradley authored 1987's three-volume Jazz and How to Play It. During a visit to New Orleans, where he was scheduled to work on a Hurricane Katrina benefit project, Ruiz suffered a fall in front of a French Quarter bar and slipped into a coma. He never regained consciousness, dying just a week after his 54th birthday on June 6, 2006. ~ Jason Ankeny, All Music Guide [-] Hide

Rubén González was one of the last of Cuba's great Afro-Cuban piano players. Although he had played and recorded with the band led by Enrique Jorrín, the creator of the cha-cha, for a quarter of a century, he had retired from music by the mid-'80s. Things began to change when González recorded with the Afro-Cuban All Stars in 1996. The album, A... [+] Read More

Rubén González was one of the last of Cuba's great Afro-Cuban piano players. Although he had played and recorded with the band led by Enrique Jorrín, the creator of the cha-cha, for a quarter of a century, he had retired from music by the mid-'80s. Things began to change when González recorded with the Afro-Cuban All Stars in 1996. The album, A Toda Cuba Le Gusta, released the following year, helped to inspire an international fascination for Afro-Cuban music and brought González to the attention of a global audience. His performance on the Ry Cooder-produced album Buena Vista Social Club made him an international phenomenon. Signing a contract with Cooder's label, World Circuit, González released his debut solo album, Introducing...Ruben Gonzalez, at the age of 78.

Showing great promise, as a pianist, from an early age, González graduated from the Cienfuegos Conservatoire in 1934. Although he briefly attended medical school, hoping to become a doctor, the lure of music proved unsurmountable. Leaving school, González moved to Havana to become a full-time musician in 1941. After recording with influential multi-instrumentalist Arsenio Rodriguez, González joined Orquestra de los Hermanos, a group featuring Cuban percussionist Mongo Santamaria. Following an extended period in Panama and Argentina, during which he worked with tango musicians, he returned to Havana and played with a series of cabaret bands. In the early '60s, González joined Enrique Jorrín's band, remaining with the group until Jorrín's death. Although he assumed leadership of the band, González was forced, by arthritis, to announce his retirement. He maintained a low-key presence until 1996. During his return, however, González enjoyed the fame that was long overdue; he released two albums in the U.S, including 1997's Introducing... and 2000's Chanchullo. The octogenarian pianist died in December of 2003 in his home of Havana, Cuba. ~ Craig Harris, All Music Guide [-] Hide

A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is... [+] Read More

A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is capable of playing anything, proving it more than once by tackling classical repertoire as well as jazz in the same concert, and he has enough curiosity to search far beyond his Cubop base for repertory. Yet he often lets his desire to please the crowd with high-note displays get in the way of musical values, and he has yet to make a great record that can stand with those trumpet giants that have preceded him.

The son of an auto mechanic, Sandoval took up the classical trumpet at 12 and was enrolled in the Cuban National School of the Arts at 15, studying with a Russian classical trumpeter. Early in the 1970s, he became one of the founding members of the Orquesta Cubana de Musica Moderna, which by 1973 had evolved into the Afro-Cuban, rock-influenced band Irakere. Sandoval met his idol Dizzy Gillespie in 1977, who promptly became a mentor and colleague, playing with Sandoval in concerts in Europe and Cuba and later featuring him in the United Nation Orchestra. After recording an album with David Amram, Havana/New York, and a couple of high-profile Irakere albums on Columbia, Sandoval left the group in 1981 to tour with his own band and record in Cuba. Occasionally, the Castro government would allow Sandoval to appear in various international jazz festivals and with orchestras like the BBC Symphony and Leningrad Philharmonic. Though he chafed under a regime that restricted his touring, Sandoval bided his time until he could get his wife and son out of Cuba, and only then, in July 1990 during a long European tour, did he defect at the American Embassy in Rome, settling in Florida. Signing with GRP, Sandoval's first American album, appropriately titled Flight to Freedom, demonstrated his versatility in several idioms, and he toured with his own high-energy Afro-Cuban group in the 1990s. Hothouse followed in 1998, and a year later he returned with Americana. L.A. Meetings appeared in spring 2001. For 2003's Trumpet Evolution, Sandoval selected material from his favorite horn players. ~ Richard S. Ginell, All Music Guide [-] Hide

The son of the noted musician Bebo Valdes, Chucho began playing piano when he was three and by the time he was 16 he was leading his own group. In 1960 his father defected from Cuba but Chucho stayed behind. In 1967, he formed the Orquesta Cubana de Musica Moderna and, in 1973, he founded Irakere, the top Cuban jazz orchestra; among its original... [+] Read More

The son of the noted musician Bebo Valdes, Chucho began playing piano when he was three and by the time he was 16 he was leading his own group. In 1960 his father defected from Cuba but Chucho stayed behind. In 1967, he formed the Orquesta Cubana de Musica Moderna and, in 1973, he founded Irakere, the top Cuban jazz orchestra; among its original members were Arturo Sandoval and Paquito D'Rivera. Valdes has been Irakere's musical director almost from the start and has recorded with the full band, in small groups, and as an impressive solo pianist. He remains one of the top jazz musicians living in Cuba. ~ Scott Yanow, All Music Guide [-] Hide

Eddie Palmieri is one of the foremost Latin jazz pianists of the last half of the 20th century, blessed with a technique that fuses such ubiquitous jazz influences as the styles of Herbie Hancock, Thelonious Monk, and McCoy Tyner into a Latin context. No purist, he has also shown a welcome willingness to experiment with fusions of Latin and... [+] Read More

Eddie Palmieri is one of the foremost Latin jazz pianists of the last half of the 20th century, blessed with a technique that fuses such ubiquitous jazz influences as the styles of Herbie Hancock, Thelonious Monk, and McCoy Tyner into a Latin context. No purist, he has also shown a welcome willingness to experiment with fusions of Latin and non-Latin music. However, despite a number of stints with major labels and numerous industry awards and nominations, he has yet to break into the American record scene in a big way.

Like his older brother Charlie, Eddie started playing at an early age (eight) and studied classical piano while also playing drums. He made his professional debut with Johnny Sequi's orchestra in 1955 and eventually joined Tito Rodriguez's popular band in 1958-1960. In 1961, Palmieri formed his highly influential band la Perfecta, whose flute and twin- or triple-trombone front line made American jazz musicians like Herbie Mann take notice; he also scored heavily in an excellent 1966 collaboration with Cal Tjader, El Sonido Nuevo (Verve). After la Perfecta split up in 1968 due to financial problems, Palmieri played with the Tico and Fania All-Stars, recorded with Alfredo "Chocolat" Armenteros, Cachao, and Justo Betancourt, and, like his brother, cut some Latin boogaloo sessions. Around the mid-'60s, Palmieri began formal studies of arranging, and the Monk influence became more pronounced in his piano work. While recording for the Latin Coco label in the mid-'70s, Palmieri started to mix salsa with R&B, pop, rock, Spanish vocals, and jazz improvisation. Brief affiliations with Columbia in the late '70s and Capitol (in league with David Sanborn) in the late '80s failed to produce an American breakthrough hit, though the latter attempt was aimed squarely at the burgeoning "jazz-lite" market. While much of his output as a leader remains out of print in American catalogs, several of his older albums are available on CD; Palmieri has also remained active in the 1990s, recording the jazz-oriented Palmas (1993) for the normally classical Nonesuch label, as well as a series of albums for the RMM label. He returned to his La Perfecta days in April 2002 with La Perfecta II on the Concord Jazz label. Two more albums for Concord followed, Rimo Caliente in 2003 and Listen Here in 2005. ~ Richard S. Ginell, All Music Guide [-] Hide

The most jazz-oriented of the elderly musicians in the Buena Vista Social Club, pianist Ruben Gonzalez was 77 at the time of this CD, his debut as a leader. Although he did not even own his own piano at the time, he plays brilliantly, performing a variety of traditional melodies plus two originals, often quoting other songs and really stretching... [+] Read More

The most jazz-oriented of the elderly musicians in the Buena Vista Social Club, pianist Ruben Gonzalez was 77 at the time of this CD, his debut as a leader. Although he did not even own his own piano at the time, he plays brilliantly, performing a variety of traditional melodies plus two originals, often quoting other songs and really stretching himself. His chord voicings are distinctive and very inviting, his control of the piano is quite impressive, and the music sings its heart out. The CD was recorded spontaneously over a two-day period with Gonzalez mostly being the lead voice, assisted by trumpeter Manuel Mirabal (who has some fine solos), bassist Orlando "Cachaito" Lopez, several percussionists, and occasionally three background singers. This set is impossible not to love. ~ Scott Yanow, All Music Guide [-] Hide

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during... [+] Read More

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during the Castro reign. Ry Cooder went to Cuba to record a musical documentary of these performers. Many of the musicians on this album have been playing for more than a half century, and they sing and play with an obvious love for the material. Cooder could have recorded these songs without paying the musicians a cent; one can imagine them jumping up and grabbing for their instruments at the slightest opportunity, just to play. Most of the songs are a real treasure, traversing a lot of ground in Cuba's musical history. There's the opening tune, "Chan Chan," a composition by 89-year-old Compay Segundo, who was a bandleader in the '50s; the cover of the early-'50s tune "De Camino a la Verada," sung by the 72-year-old composer Ibrahim Ferrer, who interrupted his daily walk through Havana just long enough to record; or the amazing piano playing on "Pablo Nuevo" by 77-year-old Rubén González, who has a unique style that blends jazz, mambo, and a certain amount of playfulness. All of these songs were recorded live -- some of them in the musicians' small apartments -- and the sound is incredibly deep and rich, something that would have been lost in digital recording and overdubbing. Cooder brought just the right amount of reverence to this material, and it shows in his production, playing, and detailed liner notes. If you get one album of Cuban music, this should be the one. ~ Steve McMullen, All Music Guide [-] Hide

As the title suggests, Cubanismo's third album is a reincarnation of sorts, with several new band members and an even greater variety of musical stylings explored. One thing that hasn't changed is the almost tangible intensity and excitement that Jesus Alemany and company bring to every song, whether a traditional Cuban number originally... [+] Read More

As the title suggests, Cubanismo's third album is a reincarnation of sorts, with several new band members and an even greater variety of musical stylings explored. One thing that hasn't changed is the almost tangible intensity and excitement that Jesus Alemany and company bring to every song, whether a traditional Cuban number originally performed a half century ago or a new composition. This album is slightly more subdued than the previous two, but is excellent nonetheless. While Malembe is recommended as the best starting point for neophytes, one really can't go wrong with any of this group's first three albums. ~ Steve McMullen, All Music Guide [-] Hide

On Rhythm In the House, Hilton Ruiz decided to spice up traditional Latin jazz with contemporary dance, soul and disco music. The result is a kinetic, entertaining record that proves Latin jazz is not a static form. Ruiz has enlisted a stellar supporting group, featuring Tito Puente, Richie Flores and bassist Ruben Rodriguez, among others. He... [+] Read More

On Rhythm In the House, Hilton Ruiz decided to spice up traditional Latin jazz with contemporary dance, soul and disco music. The result is a kinetic, entertaining record that proves Latin jazz is not a static form. Ruiz has enlisted a stellar supporting group, featuring Tito Puente, Richie Flores and bassist Ruben Rodriguez, among others. He wrote or co-wrote and provided arrangements for all eight songs on the album, and while not every song has a memorable melody, it's all infectious Latin dance music that proves Ruiz' versatility. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Percussionist Poncho Sanchez has long led one of the top Latin jazz groups, succeeding his former boss, the late Cal Tjader. On this enjoyable release, Sanchez features plenty of solos from Justo Almario (on alto, tenor, and flute), trumpeter Sal Cracchiolo, and trombonist Art Velasco, and the three percussionists have many opportunities to... [+] Read More

Percussionist Poncho Sanchez has long led one of the top Latin jazz groups, succeeding his former boss, the late Cal Tjader. On this enjoyable release, Sanchez features plenty of solos from Justo Almario (on alto, tenor, and flute), trumpeter Sal Cracchiolo, and trombonist Art Velasco, and the three percussionists have many opportunities to romp. The jazz content is pretty high with such songs as "Jumpin' With Symphony Sid," "Senor Blues," and "Manteca" alternating with group originals. A fine introduction to the accessible Latin jazz of Poncho Sanchez. ~ Scott Yanow, All Music Guide [-] Hide