Following in the long lineage of great Cuban pianists, from Jorge Bolet to Gonzalo Rubalcaba, the brilliant young pianist Roberto Fonseca has been called "the most promising and important talent in Cuban music." On Zamazu, the former member of the Buena Vista Social Club -- he replaced Rubén Gonzalez after his departure -- distinguishes himself as a spectacular player, composer, arranger and bandleader. With bassist Orlando "Cachaito" Lopez, Brazilian percussionist Carlinhos Brown, vocalist Omara Portuondo and Spain's flamenco guitar sensation Vincente Amigo.
From his thoughtful, Herbie Hancock-inspired harmonies on "Tierra En Mano" to his driving groove on the churning bata-fueled "Clandestino" to his exotic, Oriental flavored "Congo Arabe," Fonseca incorporates a wealth of musical influences on Zamazu. There's a touch of American gospel in the passionate title track, an undercurrent of infectious Brazilian groove along with a tinge of American funk on the spirited "Zamazamazu" and an elegant old school feel on the Cuban guajira "Dime Que No." The darkly alluring and introspective "Llego Cachaito," a showcase for the great Cuban bassist Orlando "Cachaito" Lopez, is a delicate number that reveals Fonseca's sensitive side while the frantically uptempo interlude "Asi Baila Mi Madfre" is a knuckle-buster that showcases his prodigious keyboard technique. Clarinetist and longtime musical partner Javier Zalba helps conjure up feelings of melancholy and longing on the haunting "Suspiro" and "El Niejo" while Fonseca also turns in a dramatic son montuno reading of Abdullah Ibrahim's "Ishmael," which is augmented by eight-piece string section. And in one of the most emotionally charged moments on Zamazu, he teams with Buena Vista Social Club singer Omara Portuondo for a poignant reading of "Mil Congojas," a tune that Fonseca used to play as an intimage duet in concert with the late Ibrahim Ferrer up until the singer's passing in August, 2005.
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