{"id":22606,"date":"2024-07-24T08:32:18","date_gmt":"2024-07-24T12:32:18","guid":{"rendered":"https:\/\/magazineampm.com\/?p=22606"},"modified":"2024-07-23T19:26:55","modified_gmt":"2024-07-23T23:26:55","slug":"collab-hamilton-de-holanda-y-gonzalo-rubalcaba","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/collab-hamilton-de-holanda-y-gonzalo-rubalcaba\/","title":{"rendered":"Collab \/ Hamilton De Holanda and Gonzalo Rubalcaba"},"content":{"rendered":"

The first impression left by an album as unusual as <\/span>Collab<\/span><\/i> is a bit dichotomous: you feel either admiration or genuine bewilderment. And maybe both, because it contains something that every good artist should, at any risk, offer: versatility. Hamilton de Holanda and Gonzalo Rubalcaba worked together in <\/span>Irm\u00e3 de Leon<\/span><\/i>from the album <\/span>Samurai,<\/span><\/i> released by the Brazilian in 2023, and this time they bring a repertoire of incredible elasticity that pays homage to both classic and contemporary themes.\u00a0<\/span><\/p>\n

The instrumental version of <\/span>Incompatibility of G\u00eanios<\/span><\/i> as <\/span>operture<\/span><\/i> is completely intentional and a preview of what we will hear next. In the almost eight minutes, Rubalcaba evokes his remote nights at Jazz Plaza in 1986 -when he recorded with the legend of the genre Dizzy Gillespie-, while De Holanda shines as a <\/span>modern day<\/span><\/i> chor\u00f5e<\/span><\/i>. The song is an original by Jo\u00e3o Bosco and shows the talent of both for cover versions, which is the backbone of this album.<\/span><\/p>\n

About <\/span>Blues Lundvall <\/span><\/i>(a tribute to the former president of Blue Note Records and Rubalcaba's \"discoverer\") and <\/span>Mandalagh<\/span><\/i> can be said to be sisters in sound. While the first one is the result of a duo that equals the <\/span>big band <\/span><\/i>in dexterity; the second is reflected more in the temperamental smoothness of the <\/span>cool jazz<\/span><\/i>. They have their differences, but both are the storm before the calm; they foretell the dialectic of <\/span>Yolanda Anas<\/span><\/i>the iconic <\/span>concert<\/span><\/i> Rubalcaba. Rubalcaba has been causing sighs in the national repertoires for years, and the addition of the Brazilian to the equation is both a surprise and a complete success.<\/span><\/p>\n

Back to the living room, <\/span>Flying Chicken<\/span><\/i> is heir to the distant <\/span>bebop<\/span><\/i> It takes off like a chase anthem, in the style of Chaplin's frenetic comedies. The most remarkable thing is that, although it drops a few tones, it doesn't slump. Not even to take a breath. We witness the epic of two masters who know how to maintain the tension and the movement based on punctual syncopations, creating the <\/span>groove<\/span><\/i> that we like so much. This is one of the most generous pieces in volume on the LP.<\/span><\/p>\n