Projects

Cub(an)ism and the Freedom of Now (Building a living score)

The acclaimed Cuban pianist and composer Aruán Ortiz, considered "an avatar of creative and progressive improvisation" (Ted Panken, Jazztimes Magazine) and a "first-rate" pianist (Nate Chinen, WBGO Jazz Radio), releases his solo piano album titled „Cub(an)ism“. This album was recorded by the engineer Martin Pearson in December 2016 at the Swiss National Radio in Zu¨rich and produced by Intakt Records.

"Cub(an)ism is the result of an in-depth conversation with a range of musical idioms and styles, and various experiences from the phases of Ortiz’ life, in Cuba, Spain, France and the USA, which have formed his eclectic concept of music.

On this album, Ortiz’ pieces arise from specific ideas and moods, developed imperceptibly along systematic constructions spiked with the unexpected. Despite a certain adherence to system, the music on Cub(an)ism remains sensual at all times. Using clear but flexible systems, the music lives from structure and surprise. Crystalline structures are abruptly dissolved, clear forms blurred like a reflection in stormy water, before resurfacing. Ortiz’ music breathes this magic, the allure of dancing structures". (Florian Keller, liner notes)

Quotes:

..."a genius exercise in the exploration of depth and perception that reveals a bright new wrinkle in the relationship between music and mathematics, reimagining Afro-Haitian Gaga rhythms, Afro-Cuban rumba and Yambú into heavily improvised meditations on modernism that recall John Cage and Paul Bley. Stunning." -Ron Hart, The Observer

"Ortiz in the solo setting is exceptionally intriguing and for all the theory and extended technique in play, the music is superbly listenable and refreshingly original". - Karl Ackermann, All about jazz

..."a stupendous display of compositional virtuosity (and diverging styles) from a composer-pianist who certainly deserves your attention. Aruán Ortiz may yet develop into one of the most creative and original composers in the world." -Lynn René Bayley, The Art Music Lounge

"Ortiz convinces as a tough-minded and idiosyncratic conceptualist who knows how to keep you on the edge of the seat." -John Sharpe, The New York City Jazz Records-

Aruán Ortiz Trio Serranías featuring Brad Jones and John Betsch

Aruán Ortiz, acclaimed as a piano cubist, excellent jazz improviser and wayward stylist who strays far from Cuban music while remaining so deeply rooted in Cuba’s musical tradition, presents an impressive trio album with two congenial collaborators Brad Jones and John Betsch. Cuban influences from toques, rumba and Afro-Haitian music blend with European art music and modern jazz. “Serranías is a special album for a double anniversary: the 20th anniversary of the recording debut as a leader in the United States and the 50th birthday milestone of Aruán Ortiz, a pianist-composer from Santiago de Cuba who has become an undisputed protagonist of the New York avant-garde jazz scene thanks to the original processes of abstract Cuban creative crossfertilization that he composes with unusual Afro-Cuban/Haitian accents,” writes Gian Franco Grilli in the liner notes.

Quotes:

“Ortiz's range of expression seems unlimited. It doesn't matter if he's an old Dizzy Gillespie- Performs a number, develops his own hacking motives or moves in free intervals, whether he passionately breaks out of group patterns or then organically fits back into the group. Here a soloist is at work who is alien to schoolmasterly musings, who evokes the freedom of making music and of music”. -Jorg Konrad, KultKomplott.

“Serranías, an impressive trio album with bassist Brad Jones and veteran drummer John Betsch… challenging and rewarding listen”. -Andy Hamilton, The Wire Magazine.

[Serranías: Sketchbook for piano trio] “is a strong disc, which stands out from the usual piano-double bass-drums trios, a music which does not need to solicit in the "pop" repertoire. Aruan Ortiz is a singular and innovative artist. Don't miss it”. -Sergio Liberati, JazzMania.

“With plenty of individual expression, Serranías holds together as a complete work unto itself. Ortiz’s unique voice is present.” -Filippe Fleitas, Jazztrail. ★★★★ 1/2

Aruán's ability to understand compositions as living entities—constantly mutating, permuting, and reshaping—allows him to constantly integrate elements of the jazz tradition, as well as his own Afro-Cuban rhythmic heritage, contemporary classical music, and serial music, and allows his creative voice to fuse styles and influences. Matthew Fiander from PopMatters calls his music “a solid and unique new sound in today’s jazz world" Derek Taylor from Dusted Magazine says Aruán's music "illustrates that alchemy at length in a dizzying display of technique, energy and stylistic legerdemain that regularly leaves ears and brain scrambling to keep up and absorb the abundant details of the extended itinerary as it blazes by." And Lynn René Bayley from The Art Music Lounge remarked that his recordings are "completely hypnotic, drawing the listener deep into the workings of the trio’s musical mind."

Pastor’s Paradox featuring Don Byron, Pheeroan AkLaff, Lester St. Louis and Mtume Gant

“This year marks the 60th anniversary of “The March on Washington for Jobs and Freedom” of which Dr. Martin Luther King, Jr. spoke to more than 260,000 people at the Lincoln Memorial, where he delivered his signature speech, “I Have a Dream.” That quintessential address serves as one of the guiding inspirations for Aruán Ortiz’s engrossing album, Pastor’s Paradox.

For the Cuban-born, Brooklyn-based pianist, composer, and conceptualist, Dr. King’s words not only provided some of the album’s central themes surrounding racial equality, Ortiz examined the intricate structural design of Dr. King’s homily in terms of how the civil rights leader infused Christian Biblical references with other world histories as well as how he built the fervid momentum with regards to pacing and vocal dynamics.” -John Murph (from the liner notes)

Inspired by the Political Life and Visions of MLK, Pastor's Paradox is a suite for bass clarinet, clarinet, cello, piano and vocals, that narrates the evolution and radicalization of his political views, the expanding of his awareness of the devastating negative impact of systemic economic inequality and the lack of support for black and brown communities, which he denounced in several speeches during the latest stage of his prolific civil rights activism.

This work also expand Aruán’s compositional palette, developing new techniques to conceptualize, analyze, and translate MLK’s speech into a musical composition using his messages and views, rhythms, pitches, patterns, and textures. We hope that this music makes a meaningful connection to audiences and contributes to the legacy of social justice.