Nueva Timba

現代のジャズ界を牽引するBlue Noteからキューバン・ジャズ界の雄Harold Lopez-Nussa の2作目がリリース!
キューバ生まれのピアニストで2023年の来日公演も好評を博したアロルド・ロペス=ヌッサ。
新作『Nueva Timba』は、アロルドの弟であるルイ・アドリアン・ロペス=ヌッサ(ds)、ルケス・カーティス(b)、そしてハーモニカの名手であるグレゴア・マレ(harmonica)という、来日公演と全く同じ編成で、スタジオ録音とライヴ録音をミックスした作品。近年のラテン・ジャズの中でもとりわけ注目を浴びている彼ならではの親しみやすいサウンド、かつラテン・ジャズの未来への明確なビジョンを提示した内容となっている。
先行シングル「Bonito y Sabroso」は、ベニー・モレの名曲を現代風にアレンジしたもので、エレクトロニクスとホセ・アンヘル・ブランコのビート・メイキングによってサイケデリックな色合いが加えられている。
数年前にキューバからフランスに移住したというアロルドだが、今回の作品はそういった「人生の変化」という経験が深く反映されているという。故郷キューバを想う気持ちや母親の死など、個人的な苦境に対しても前向きに立ち向かいながら創作された。

Nueva Timba is the sophomore Blue Note release by pianist and composer Harold Lopez-Nussa. The first, 2023s Timba a la Americana, marked not only his label debut, but his first recording since leaving Cuba for France in 2021. Lopez-Nussa has been at the forefront of recontextualizing and innovating Latin jazz in the 21st century without once sacrificing tradition. He uses most of the same band from the earlier album: harmonicist Gregoire Maret, bassist Luques Curtis, and drummer/percussionist brother Ruy Adrian Lopez-Nussa. Their focus offers an irresistible meld of Cuban timba, post-bop, and Spanish classical music. It was recorded live in performance at studio Le Duc des Lombards in Paris. The tapes were then extensively reworked in post-production. While the previous album offered a look at juxtaposing Afro-Cuban jazz in the U.S., this set is deeply personal. It tells a real story of the man and artist being displaced as a young father emigrating to a new country while aching for his homeland and nursing grief over the passing of his mother. The sets first track "Open" offers sound effects, a rocketship countdown, and crowd applause in 29 seconds before the grooving, joyous "Bonito y Sabroso," where timba and boogaloo meet dramatic jazz harmony, a chant with handclaps, and ensemble interplay that cuts across an electronic backdrop as the quartet striates the harmonies and rhythm from timba to classical motifs and post-bop. Standout "Gitanarias" more directly digs into the Spanish classical piano mode. Lopez-Nussas technique is flawless and passionate; his drummer brother rumbles on muted tom-toms as Curtis oversees the transition first to son, then to funky timba, mirroring the transition from near despair to joy. "A Lyle" is introduced by a classical piano and keyboard motif that uses counterpoint and seamless fluidity among his bandmates before folding it into contemporary jazz. The interplay between Ruy Adrian and Curtis is arresting. "Bonito y Sabroso" is a small group arrangement of legendary bandleader Beny Mores big-band classic. It swings hard. Lopez-Nussa adds modernist psychedelia via electronics and the gorgeous beat-making of guest Jose Angel Blanco (aka El Negro WADPRO) expanding textures and dynamics. "Cerca y Lejos" follows with Cuban beats, brilliant, bluesy post-bop piano work and Marets canny harmonica. "Alma y Fuego" features its composer, guest accordionist Vincent Peirani. Its utterly engaging Latin post-bop with glorious interaction between the pianist and accordionist and features a breathtaking solo by Lopez-Nussa. The single "Niña Con Violín" was composed by Lopez-Nussas pianist uncle Ernan Lopez-Nussa. It slips the form of the original to engage in spirited piano improv and driving interplay from the rhythm section before the band engages a timba groove. Nueva Timba, despite -- or perhaps because of -- its personal nature, translates as a bracing work of 21st century Latin jazz utilizing many forms to expand the tradition. While the musical innovation on display is worth celebrating, the deeply personal nature of the project makes it resonant. ~ Thom Jurek