Italuba Big Band... a jam without artifices

It would be logical to think that in a country like ours, with such good music and musicians, it would be difficult to discern when one is in the presence of a really valuable product. But when something is really good, it does not need many resources or paraphernalia to be noticed. This is the case with Italuba Big Band the most recent musical production of Horacio “El Negro” Hernándeza product of those that make your ear happy and hope your heart. 

Under the Bis Music Horacio "El Negro" label, Hernández gives us a CD / DVD of ample artistic value, in which spontaneity and common sense when interpreting music result a leitmotiv in each of the themes here collect. Clothed by excellent performers, and with latin Latin jazz as the main avenue to travel, El Negro invites you to travel sound paths full of color, warmth, and contrast. In a confluence of youth and experience, recognized figures of the Cuban music scene such as Tato Vizcaíno Guillot , César López, Carlos Miyares , Robertón Los Van Van , Haila María Mompié ,Mandy Cantero and maestro Joaquín Betancourt shake hands with young promises like Héctor Quintana, Eduardo Sandoval, Tato Vizcaíno Jr. and the members of the Young Jazz Band.

Made up of a total of 10 tracks Italuba Big Band is an ocean of virtuosity for anyone who dedicates a few minutes of their time to their listening. As an overture of the phonogram, Last Minute receives us Last minutetheme in which the members of Italuba —Daniel Martínez Izquierdo (bass), Iván Bridón Nápoles (piano), Amik Guerra (trumpet) and obviously Horacio "El Negro" Hernández ( drums )—, Accompanied by the Young Jazz Band, they give us a taste of what is to come, as a real download.

Referring the listener to the sounds of the great jazz bands of previous decades, the theme 90 millas envelops us in a sea of contrasts and nuances. With a delicacy not very seen in this type of creation, the arrangement takes us from one side of the composition to the other, without bothering the listener with the appearance of new sound universes at the end of the interventions of each of the solo instruments. The balance achieved by the perfect triad established between the strength of César López's alto saxophone, the elegance of Héctor Quintana's electric guitar and the groove and the groove of the trumpet (this time with a mute) by Amik Guerra, offer us a kind of hand to hand where good taste dresses up. 

Evoking Caribbean sounds mixed with the 6/8 afro key, which appears subtly between bats, Mr., the fifth theme of the phonogram, opens the doors to a place where simplicity becomes a characteristic feature. Again the excellent contrast treatment allows the listener to immerse themselves in a world full of diverse colors. From an arrangement in which, in my opinion, the greatest merit is the perfect balance achieved when it comes to contrasting the different instrumental formats that are noticed in the work, the accurate use of these sound masses allows the clear differentiation of each one of the parts. The masterful game with the main themes —making them move through the different areas of the band, changing timbres, intention and instrumental training, in the manner of a theme with variations— - and then giving way to the download moments on account of the instruments of The harmonic base (piano, bass and guitar) allow seven minutes of music to become seven minutes of magic. 

But if it is abaut taste Puerto Rico is the subject forced on the album. In addition to the remarkable intervention of Carlos Miyares in the tenor saxophone, the presence of voices is a characteristic element of the single. Applause for the Cuban spring that flows with each of the blows on the drum patches by the trio of the Vizcaínos and "El Negro". Father and son, timbale and tumbadora (Tato Vizcaíno and Tato Vizcaíno Jr ); drumsticks in the hands, the pedal of the hype in the feet (Horacio Hernández), these greats of the percussion give us a display of virtuosity, flavor, and cadence. 

Equally outstanding are pieces like Divertimentowith the presence of Eduardo Sandoval in the trombone Desirewhere the majesty and sensuality of the bolero refresh us from time to time Pati Metal; T Prima and Tropical Madrid, all deserving of praise. 

Between keyboard timbres, the cadence of the bass and the polyrhythmic resulting from the encounter drums, the timbale, and the tumblers come free-jazz to Free Jazz to end such an enjoyed sound experience. Wrapped in mambos and perfect harmonies of winds comes another masterful only of timbale. With the Cuban tomb in charge of the piano, this last download begins, this time, accompanied by a flute —César López makes his appearance again—minutes later Carlos Miyares joins the tenor saxophone. 

And again, that majestic, powerful, coupled metal string, typical of the great jazz band, leads us to a false coda making us believe that everything is over. That's when he arrives, Horacio "El Negro" Hernández, the true protagonist of this musical event. Key in hand, owner of undeniable Cubanness and mastery of the instrument, reaffirms why he is one of the most prominent drummers of the last four decades. With extreme fluidity, cadence and flavor it puts an end to what was a true jam.