Albums
Tiempo Libre – Bach in Havana (Sony Classical 2009)
The title of this record – Bach in Havana – should not come as a surprise, after all there is a yet-to-be-fully-discovered European Baroque and Classical music tradition that bubbles and boils in conservatories just barely under the skin of Cuban life, nestling cheek-by jowl with Santeria worship. This culture is very real and continues to turn out a stunning number of brilliant musicians […]
The title of this record – Bach in Havana – should not come as a surprise, after all there is a yet-to-be-fully-discovered European Baroque and Classical music tradition that bubbles and boils in conservatories just barely under the skin of Cuban life, nestling cheek-by jowl with Santeria worship. This culture is very real and continues to turn out a stunning number of brilliant musicians year after year. Still the title surprises. Before a single note can be heard that is. Put that together with the name of the band, Tiempo Libre, a title that itself suggests a very free, almost avant garde force and you have a delightful, but perplexing conundrum. Perhaps it is this very anomaly that gives superlative credence to the music on this record. But finally there is, of course, the fact that a so-called “Third Stream” – music that fused jazz and music from the Western classical, romantic and baroque traditions that was already established in the early 1950s by the legendary band, the Modern Jazz Quartet.
In the face of the myriad of records documenting the collision between two musical traditions – classical and jazz – would any new attempt to redefine a relationship between – now- Afro-Cuban music and classical baroque music and that too Johann Sebastian Bach create a destructive deconstruction of both musics. Or would it in fact elevate all music to a vastly different level? On the musical evidence from this record, the latter is true. This is a landmark recording in the sense that Miles Davis’ Kind of Blue (Columbia, 1959) was approximately fifty years ago. What that Miles Davis record did for music was to establish beyond doubt that the hallmark of the high art of Afro-American music was its explosive creative spontaneity. This could make its mark even without the confines of written form, because its blues was form itself. Its emotion gave it form and raison d’etre. ‘Nuff said!
Now with Bach in Havana this is a vastly different challenge for the musicians on the session. Granted that by his own admission, Jorge Gomez, the Musical Director of Tiempo Libre, remembers often hearing his father play a Prelude or a Fugue from Bach’s “Well Tempered Clavier,” what Robert Schumann called “this work of works’, the brilliant baroque exegesis. Granted… also that classical music is still de rigueur in the hallowed halls of Cuba’s conservatories… But to turn around and create an explosive meeting of the ancient Afro-Cuban music – that music which pulsates with Yoruban worship – and the secular or sacred music of Bach’s great music, both small and large landscape… This is nothing short of miraculous.
First, Bach: It is now legion that he enriched the prevailing German Style of music with robust contrapuntal technique an unrivalled control of harmonic and motivic organization in composition for diverse instrumentation. He also adapted rhythms and textures from foreign music – notably Italy and France. And, of course, Bach’s works were revered for their intellectual depth, technical depth and artistic beauty. Now what about the Afro-Cuban tradition? Probably born at the dawn of time it is primal, rocks with the vitality of life itself. At its bedrock is a tantalizingly complex polyrhythmic structure that is sometimes so mesmerizing that its musicians swear that there are rhythms even within melodies. Over the years this music evolved into a complex tradition bombarded with influences from the western Caribbean, from Jazz from the North of America, formal dance forms of Spain and France and above everything else – all of this melded in a cauldron boiling over with the batá rhythms that invoked the names of the saints in a battery of invocations… Santeria!
Thus, Bach in Havana is more than just a collision of two ancient-modern traditions. It is a coming together of what appears to be kindred spirits that no one would have known existed. It is a reinvention of musical idioms in a confluence of form. Among the easier and more accessible ones is “Air on a G String,” (Orchestral Suite in D Minor), which becomes a motivically a bolero , but where idiomatic phrases and sonic metaphors are gleefully intertwined and sewn together with superlative percussion under the “Air” itself, and then of course the wild cadenza from the incredible Paquito D’Rivera. There is plenty more of this kind of cultural collision that produces the most exquisite examples of Bach in Clave, so to speak. Not the least is a Gavotte (Bach’s French Suite in C Minor) that reincarnates into a Son with Paquito dazzling on alto saxophone yet again. And also the Minuet in G re-cast as a Guaguancó, this time featuring the amazing Yosvany Terry on alto saxophone.
But nothing compares with the daring re-interpretation of Bach’s majestic “French Suite in C Minor” and its appearance as the shape-shifting “Mi Orisha” virtually a spiritual communion as Yosvany Terry achieves near spiritual bliss with his shuffling, shuttering invocations on the shekere. Similarly, “Olas de Yemayá” brings the batá gracefully onto the Bach “Prelude in C Major “and there is much more in “Timbach” an exegesis on “Prelude in D Minor”. Finally the crowning moments are in the gloriously edifying “Kyrie,” where Tiempo Libre brings an inspired Bata and its rag-a-tag-a-tag to the most revered of spiritual masterpieces – Bach’s Mass in B Minor.
Does all this extraordinary work on the record work? Does it really work? This is going to be debated for a while. In the end, the real truth will prevail. Bach in Havana is going to be held up as one that made an enormous creative leap just as Miles Davis’ did when he, Coltrane and Cannonball Adderley blew those choruses on Kind of Blue.
Track listing: Tu Conga Bach – Conga (Fugue in C Minor); Fuga – Cha-cha-cha (Sonata in D Minor); Air on a G String – Bolero (Orchestral Suite in D Major); Clave in C Minor – Guaguancó (Prelude in C Minor); Gavotte – Son (French Suite in G Major); Mi Orisha – 6/8 Bata (French Suite in C Minor); Minuet in G – Guaguancó; Olas de Yemayá – Batá (Prelude in C Major); Baqueteo Con Bajo – Danzon (Cello Suite No.1); Timbach – Timba (Prelude in D Major); Kyrie – Batá (Mass in B Minor).
Personnel: Jorge Gomez: keyboards, background vocals, Music Director and arranger; Joaquin “El Kid” Diaz: lead vocals, batá; Leandro Gonzalez: congas, percussion, batá, background vocals; Tebelio “Tony” Fonte: electric bass, chapman stick, background vocals; Cristobal Ferrer Garcia: trumpet, trombone, background vocals; Hilario Bell: percussion, timbales, batá, background voice; Luis “Rosca” Beltran Castillo: tenor saxophone, guiro, background vocals.
Featuring: Paquito D’Rivera: alto saxophone on tracks 3, 5 and clarinet on track 9; Yosvany Terry: shekeré on track 6, alto saxophone on track 7.
Tiempo Libre on the web: www.tiempolibremusic.com
Review written by: Raul da Gama
For Claudia Acuña, home has never been a fixed destination. It is something carried—in the body, in memory, in language, and in sound.
On Ave de Luz, the Chilean vocalist brings those fragments together with unusual clarity. After three decades in New York, Acuña no longer treats her roots as something to weave quietly into jazz. She places them at the center. Her striking declaration—“I’m coming in with my crown, my poncho, my everything”—captures the album’s spirit perfectly.
Raised in Concepción during Chile’s dictatorship years and later transformed by New York’s jazz scene, Acuña has spent much of her career moving between worlds. Ave de Luz feels like the moment when those worlds stop competing with one another.
A Specifically Chilean Jazz
Acuña has resisted the idea that “Latin jazz” can be reduced to a single vocabulary. Afro-Cuban and Brazilian traditions may dominate the popular understanding of the term, but Latin America contains countless rhythmic, folkloric and indigenous languages.
Her own metaphor is simple: noodles and spaghetti may look related, but they are not the same thing.
That idea shapes Ave de Luz. The album is not merely jazz with Chilean colour added to it. It is music whose identity emerges from cueca, Andean traditions, indigenous sonorities, poetry, migration and improvisation.
The trutruka, charango, zampoña, tormento and Chilean pandero become part of the album’s grammar. They interact with Manu Koch’s piano and keyboards, Carlos Henderson’s bass and Yayo Serka’s drums and percussion without sounding ornamental or exoticized.
Poetry, Memory and Resistance
“Chinga La Ka Chinga” captures one of the album’s most expansive ideas. Festive on the surface, the piece also acknowledges Afro-Chilean and northern Chilean currents, suggesting how celebration can carry history, resistance and cultural memory within its pulse.
Elsewhere, the music turns inward. “Piececitos de Niño,” inspired by Gabriela Mistral, brings poetry and childhood into the album’s emotional landscape, while “Rezo” feels almost elemental: voice, charango, atmosphere and silence shaping a meditation on nature, distance and belonging.
Acuña’s reading of Violeta Parra’s “La Jardinera” is equally significant. Its imagery of planting, tending and healing becomes an apt metaphor for tradition itself. Culture survives not by remaining untouched, but by being replanted. Acuña does precisely that.
The Wind From the South
“Viento del Sur” also carries special resonance, recalling the title of Acuña’s 2000 debut, Wind from the South. Then, the image suggested a Chilean artist arriving in the international jazz world. Here, the meaning has changed.
The south is no longer where she came from. It is something she continues to carry.
That idea finds its fullest expression in the title track. The “bird of light” becomes an image of migration without erasure—a figure moving forward while remaining connected to its place of origin. The metaphor fits Acuña herself.
Her longtime musical relationship with Koch, Henderson and Serka gives Ave de Luz much of its freedom. Years of trust let the ensemble move naturally between folk memory, jazz improvisation and contemporary textures without forcing boundaries between them.
Ave de Luz may be Claudia Acuña’s most complete artistic statement because it no longer asks her identities to compromise.
The crown is experience.
The poncho is memory.
Jazz is the road between them.
And Claudia Acuña travels that road carrying Chile fully into the light.
Album Information
- Artist: Claudia Acuña
- Album: Ave de Luz: Chilean Jazz & Soul
- Label: Delfin Records
- Release date: July 10, 2026
- Genre: Jazz / Vocal Jazz / Chilean jazz
- Format: Digital/streaming
- Final digital release: 7 tracks, approximately 36 minutes
Tracklist
- Chinga La Ka Chinga – (Claudia Acuña, Coch, Hernandez & Serka) – 4:43
- Ave de Luz– (Mario Rojas) – 5:48
- Viento del Sur– (Claudia Acuña & Jason Lindner) – 6:01
- Rezo– (Claudia Acuña) – 3:49
- Piececitos de Niño– (Based on a poem of Gabriela Mistral / Music by Claudia Acuña) – 6:10
- Un Gorro de Lana– (Víctor Acosta) – 4:18
- La Jardinera– (Violeta Parra) – 6:01
Personnel
- Claudia Acuña – vocals, percussion/claps, tormento; producer
- Manu Koch – piano and keyboards (tracks 1, 2, 3, 5)
- Carlos Henderson – bass
- Yayo Serka – drums and percussion
- Pablo Vergara – piano (tracks 6, 8)
- Andrés Pollak – piano, organ; producer (track 7) | organ (track 1)
- Pablo Zárate – accordion, Chilean pandero (track 2)
- Fredy Torralba – traditional Chilean/Andean instruments including charango, trutruka and zampoña
- Paulina García – spoken word (track 6)
- Daniel Kelley-Acuña – vocals (track 6)
Production Credits
Produced by Claudia Acuña and Andrés Pollak. Most of the sessions were recorded at East Side Sound in New York in November 2025, with “Ave de Luz” recorded at TOC Música in Santiago in October 2025 and additional recording completed at Banduria Studio in Santiago. Andrés Pollak handled engineering on the principal New York sessions; Rafael Chaparro engineered the Santiago title-track session with Javier Lizana assisting. Marc Urselli mixed and mastered the project.
With La Malinche, Eva Cortés delivers one of the most ambitious recordings of her career—a project in which history, identity, migration and music converge around one of the most contested figures in the Americas.
Malintzin, also known as Doña Marina or La Malinche, has long been portrayed through conflicting narratives: interpreter, intermediary, mother of mestizaje, victim, survivor and, in later nationalist mythology, traitor. Cortés does not try to settle that debate. Instead, she uses Malintzin as a symbol of cultural transition, displacement and survival.
That choice makes particular sense for an artist whose own life has unfolded across borders. Born in Honduras (Central America), shaped culturally in Seville (Spain) and later immersed in New York’s jazz community, Cortés has always made music from the space between traditions. On La Malinche, that in-between space becomes the heart of the album.
A Music of Crossings
The album brings together flamenco, Latin jazz, contemporary jazz and Indigenous-inspired imagery without turning the result into a forced fusion.
Rather than attempting to recreate pre-Columbian Mexican music literally, Cortés evokes Indigenous memory through percussion, communal voices, repetition and themes of ancestry, earth and maize. Flamenco enters through Spanish guitar, vocal inflection and the expressive grit associated with cante. Jazz supplies the harmonic freedom and improvisational space that allow those elements to interact.
The musicians surrounding Cortés are crucial to that balance. Pianists Pepe Rivero, Jon Cowherd and Zaccai Curtis, bassists Christian McBride, Luques Curtis and Reinier Elizarde “Negrón,” and drummers Antonio Sánchez, Adam Cruz and Georvis Pico give the album both rhythmic strength and harmonic flexibility. Roman Filiú, Paco Heredia, Marvin Sewell, Bandolero and others expand the palette further. The result is music that never feels boxed into one category.
The Voice at the Center
Cortés’ singing remains the album’s most powerful instrument. Her phrasing can be loose and conversational, then suddenly sharpen into something more urgent and flamenco-inflected. She moves between reflection, mourning, protest and defiance without sacrificing musical control.
Most importantly, she refuses to define Malintzin through betrayal. Her interpretation focuses instead on endurance and complexity.
The opening “Abuelita Malinche” immediately makes that clear. By calling her “Abuelita,” Cortés transforms Malinche from a figure of accusation into an ancestral presence. The arrangement blends Latin-jazz movement with flamenco coloration, while her wordless vocal passages move naturally between scat and cante.
“Hij@s del Maíz” extends that idea of cultural mixture. Paco Heredia’s guitar, Pepe Rivero’s piano, Antonio Sánchez’s drums and the accordion create a sound that travels across regions rather than belonging to one. Maize becomes a symbol of Indigenous continuity, while the music reflects the constantly changing character of mestizaje itself.
From History to the Present
The album becomes even more powerful when it connects the past to contemporary realities.
“Letters to Heaven” and “Remember Me” introduce themes of Indigenous loss and the disappearance of women from both historical memory and present-day communities. “Sur Global” shifts toward resistance, combining rhythmic drive with a broader reflection on colonialism, migration and inequality.
Then “Spanish Harlem” brings the journey firmly into the present. Horns, flute, tumbao and call-and-response place Cortés within New York’s Latin-jazz tradition, completing a musical path that stretches from ancestral memory to the modern city.
A Major Statement
La Malinche is more than an album built around a historical figure. It is a meditation on who controls history, who gets remembered and how identity continues to change across generations and borders.
Cortés turns her own musical hybridity into the album’s central idea. Jazz, flamenco and Latin American traditions do not simply coexist here—they help tell the story.
The result is one of her strongest and most focused recordings to date: emotionally direct, musically sophisticated and deeply rooted in the ongoing conversation between memory and transformation. La Malinche is not about recovering a pure past. It is about reclaiming the right to reinterpret it.
Album Information
- Artist: Eva Cortés
- Album: La Malinche
- Label: Truth Revolution Records / TRRcollective
- Release: June 2026
- Official press release date: June 5, 2026
- TRRcollective Bandcamp release date: June 19, 2026
- Format: CD / Digital
- Number of tracks: 11
- Total running time: 51:53
- Genre: Jazz / Latin Jazz / Flamenco / Afro-Latin
- Recorded in: Madrid, Spain, and Little Falls, New Jersey, USA
Tracklist
- Abuelita Malinche — 4:35
- A Tribo do Vento — 5:46
- Soy el Aire — 5:31
- Light and Sorrow — 3:59
- Hij@s del Maíz — 4:24
- Letters to Heaven — 5:04
- Remember Me — 3:28
- Sur Global — 5:43
- No Me Limites — 4:33
- Indians of All Tribes — 3:53
- Spanish Harlem — 4:57
Personnel
- Eva Cortés — vocals, composer, lyricist, backing vocals
- Pepe Rivero — piano, keyboards, arrangements
- Jon Cowherd — piano
- Zaccai Curtis — piano, keyboards
- Christian McBride — bass
- Luques Curtis — bass
- Reinier Elizarde “Negrón” — bass
- Paco Heredia — Spanish guitar, guitar, arrangements
- Marvin Sewell — guitar
- Roman Filiú — saxophone, flute, backing vocals
- Bobby Martínez — saxophone
- Manuel Machado — trumpet
- Antonio Serrano — harmonica
- Javier Colina — accordion
- Bandolero — percussion
- Roland Guerrero — percussion
- Antonio Sánchez — drums
- Adam Cruz — drums
- Georvis Pico — drums, vocal solo, backing vocals
Production Credits
- Produced by: Eva Cortés, Roman Filiú and Pepe Rivero
- Label: Truth Revolution Records / TRRcollective
- Session One: Camaleón Music Studio, Madrid, Spain
- Recording Engineer, Madrid: Diego Román
- Session Two: Studio Mozart, Little Falls, New Jersey, USA
- Recording Engineer, New Jersey: Kostadin Kamcev
- Mixing: David Darlington
- Mastering: David Darlington
- Mixing and Mastering Studio: Bass Hit Studios, New York, NY
- Photography: Noah Shaye
The title Abriendo Puertas—“Opening Doors”—captures the spirit of guitarist Roni Ben-Hur’s latest recording with unusual precision. Recorded in Havana with an accomplished group of Cuban musicians, the album is built not around the novelty of a visiting jazz guitarist encountering Cuban music, but around something more meaningful: musicians listening closely enough to find a common language.
Ben-Hur has spent much of his career moving naturally between musical worlds. Born in Israel to a Tunisian family and shaped professionally by New York’s jazz community, his playing draws from bebop, Brazilian music, Mediterranean traditions and Latin rhythms without sounding like a collection of influences. His years with pianist and mentor Barry Harris helped establish the melodic clarity, swing and understated sophistication that remain central to his guitar style. On Abriendo Puertas, those qualities fit remarkably well within a Cuban setting.
The key creative partner is pianist Alejandro Falcón, who contributes four of the seven compositions: the title track, “Gua’ One Blues Pal Bobby,” “Lo que es del César” and “El Teide.” Rather than treating Ben-Hur as a soloist placed in front of a Cuban rhythm section, Falcón helps create an ensemble language in which guitar and piano continuously exchange roles. Their compatibility is evident from the opening title track, where rhythmic momentum and lyrical improvisation develop patiently rather than through display.
“Gua’ One Blues Pal Bobby” pushes the conversation toward the blues while retaining a strong Cuban rhythmic identity. It is one of the album’s most spirited performances, illustrating how readily the vocabulary of jazz can coexist with the rhythmic imagination surrounding Ben-Hur in Havana. By the time the ensemble reaches “Lo que es del César” and “El Teide,” the distinction between guest and host has largely disappeared. What remains is a cohesive band responding to one another in real time.
The album’s romantic center comes through three classic Latin American songs. José Antonio Méndez’s “Mi Mejor Canción” brings the intimacy of the Cuban filin tradition into the program, while Osdalgia Lesmes appears on Isolina Carrillo’s “Dos Gardenias” and Armando Manzanero’s “Esta tarde vi llover.”
Lesmes brings warmth and emotional directness to both performances, and Ben-Hur proves once again what a sensitive accompanist he can be. His guitar surrounds the voice rather than competing with it, reflecting an approach he has developed through years of working with singers, including the late Brazilian vocalist Leny Andrade. Ben-Hur has spoken of the importance of leaving space for vocalists and allowing melody and lyric to remain at the center of an arrangement.
That same sense of space benefits the entire recording. Pedro Pablo Gutiérrez on acoustic bass, Ruy López-Nussa on drums and Octavio Rodríguez Rivera on percussion provide a foundation that is rhythmically rich without becoming overcrowded. Tenor saxophonist Emir Santa Cruz, featured on four tracks, adds another expressive voice and gives several performances a broader jazz-ensemble character.
Recorded at DBega Studios in Havana in November 2025, Abriendo Puertas is part of the Cuban Notes recording series co-produced by Ben-Hur and Dot Time Records founder Johanan “Jo” Bickhardt. Yet the album succeeds beyond the concept behind the series.
Its strength is ultimately found in the musicians themselves. Nobody appears interested in proving how effortlessly jazz and Cuban music can be combined. They simply play together until those distinctions become secondary.
For listeners who appreciate expressive jazz guitar, Cuban music and recordings where collaboration matters more than spectacle, Abriendo Puertas is easy to recommend. Warm, sophisticated and deeply conversational, it finds Roni Ben-Hur opening another musical door—and discovering an ensemble waiting on the other side.
Album Information
Artist: Roni Ben-Hur
Album: Abriendo Puertas
Label: Dot Time Records
Catalog: DT9192
Genre: Jazz / Latin Jazz
Release Date: June 26, 2026
Recorded: November 2025
Studio: DBega Studios, Havana, Cuba
Format: CD / Digital
Program: 7 tracks, approximately 49 minutes.
The project is part of Cuban Notes, co-produced by Johanan “Jo” Bickhardt and Roni Ben-Hur. It follows Alejandro Falcón’s Falcón in Blue as the second album in the series.
Tracklist
1. Abriendo Puertas – Alejandro Falcón – 8:12
2. Mi Mejor Canción – José Antonio Méndez – 6:32
3. Dos Gardenias – Isolina Carrillo – 5:23
4. Gua’ One Blues Pal Bobby – Alejandro Falcón – 9:23
5. Esta tarde vi llover – Armando Manzanero – 5:56
6. Lo que es del César – Alejandro Falcón – 6:17
7. El Teide – Alejandro Falcón – 7:49
Personnel Credits
Roni Ben-Hur — guitar
Alejandro Falcón — piano
Pedro Pablo Gutiérrez — acoustic bass
Ruy López-Nussa — drums
Octavio Rodríguez Rivera — percussion
Emir Santa Cruz — tenor saxophone, tracks 1, 4, 5 and 7
Osdalgia Lesmes — vocals, tracks 3 and 5
Production Credits
Executive Producer: Johanan “Jo” Bickhardt
Co-Producer: Roni Ben-Hur
Recorded at: DBega Studios, Havana
Recording date: November 2025
Sound Engineer: Carlos D’Bega
Label: Dot Time Records
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Zuy
Jun 25, 2009 at 8:05 am
It’s amazing how one man can still inspire such hot debate and interpretation. I found an interesting discussion on Pandalous about how using the pedal can alone change so much to a Bach piece. It’s here: http://www.pandalous.com/nodes/bach_and_the_pedal
Rai
Aug 10, 2009 at 8:05 pm
This music is funny but not innovative att all. There are just typical Cuban arrangements wiih some inserts of melodies by Bach. The melodies could have been children songs or march music and the result would have been similar.
Comparing Bach in Havana with Modern Jazz Quartett, Miles Davis or Play Bach is totaly wrong. (I love both Cuban music and Bach.)