Elogiado por el sonido de su trompeta, Carlos Sarduy ha grabado 50 álbumes y ha trabajado con maestros músicos del calibre de Chucho y Bebo Valdés, Steve Coleman, David Murray, Esperanza Spalding , Concha Buika, Ainhoa Arteta, Mariza y Ojos de Brujo, despues de varios anos presenta un nuevo CD, Luz, un viaje musical a través de un discurso melódico y sensible en un estilo personal y original. Con Luz, Sarduy muestra su conocimiento de la música afrocubana y su magistral innovación en el lenguaje del jazz y otros géneros. Hay una buena razón para esto: además de ser una figura destacada en la escena del jazz latino, Carlos Sarduy ha trabajado en géneros tan diversos como el flamenco, la música tradicional cubana, la música de cantautores y la música popular en general. Sin duda es una de las mejores trompetas de la isla.


 Eduardo Sandoval, lanzó su segunda producción fotográfica titulada “Más trombón que nunca”.

Este álbum- compuesto por diez temas musicales- incluye homenajes a Juan Formell y Arsenio Rodríguez, además de un clásico de la música internacional e instrumental: “La muerte del cisne” de Piotr Ilich Chaikovski.

El CD contiene los temas “Pa’ qué preguntas”, “De Bahía a bahía”, “Este amor que se muere”, “Dundumbanza”, “Agradecido”, “La bella cubana”, “Nostalgia”, “Trombón a Orula” y “Te dije que se iba”. Cuenta además con la participación de grandes de la escena musical cubana como la baterista Yissy García, el pianista y arreglista Yusef García, los percusionistas Adonis Panter y Adel González y el cantautor Alain Pérez, quien es además el productor musical del sencillo.

En conferencia de prensa previa, Sandoval agradeció a Alain Pérez la oportunidad de compartir con él su música y aprender de su arte, que “sin dudas, más que espectacular es una bendición”.

Este disco constituye una muestra ampliada del talento de Sandoval, que recurre tanto al sonido de África, del jazz, la timba, la música popular cubana o la clásica. Al respecto aseguró: ” No me considero jazzista, pero al final es la música que hago. Trato de hacer mi arte de la mejor manera posible”.


La propuesta musical fue presentada este sábado en el Teatro Martí, de la capital Cubana y contó con la presencia de los artistas que comparten canciones en su disco y con otros invitados como el cantante de rumba Mandy Cantero y el trompetista Thommy Lowry.

La ocasión fue propicia para realizar por primera vez en Cuba una orquestatrombones, que con Sandoval en la batuta interpretaron el tema de Juan Pablo Torres, ” Rumba de cajón”.

“Más trombón que nunca” está disponible en todas las plataformas y constituye una valiosa muestra de buena música cubana.

Eduardo Sandoval es graduado de la Universidad de las Artes en la especialidad de trombón. Antes de iniciar su carrera en solitario integró importantes orquestas cubana como la Banda Nacional de Conciertos, la Big Band de Giraldo Piloto, la orquesta del maestro Bobby Carcassés y la de X Alfonso.

Fue ganador de uno de los Premios Mención JoJazz 2012 y obtuvo la beca “El reino de este mundo” que concede la Asociación Hermanos Saíz a jóvenes talentos cubanos.  Además, ha sido invitado en importantes producciones discográficas como “Cuba le canta a Sabina”, “Reír y cantar”, de Omara Portuondo y “Sueños del pequeño Quim”, del maestro Joaquín Betancourt.

Duologue is a reminder that one of the surest ways to get to the music of West Africa is to stop in Cuba first.

Pianist Alfredo Rodríguez and percussionist/vocalist Pedrito Martinez have each established a foothold in a Cuban music scene that has its roots in West Africa. They combine their impressive musical talents on an album that demonstrates how flexible those traditions can be when matched with visionary musicians and a seemingly boundless innovative spiritT

Setting Martinez’s inspired vocals against a patchwork of beats — including a bit of jazzy funk, as well as Afro-Cuban santería references — Duologue reminds us that the piano is considered a percussion instrument. The mind-melding between the two is sublime, with melodic rhythmic patterns performed on piano as well as a variety of beat-makers big and small.

Cuban music fans will recognize references to the country’s classic songs in Martinez’s improvisations, but the most obvious nod toward musical history isn’t Cuban. Their take on “Thriller” makes the hips move a different way than when Michael Jackson did it, thanks to the deep Afro-Cuban rumba groove they insert in the middle. Their collective forward-thinking is as much a pleasure to experience as their homage to their roots in the Cuban son of “El Punto Cubano.”

Alfredo Rodríguez is a product of Cuba’s legendary music education system, which emphasizes the rigors of classical training and turns its nose up at the music played in nightclubs, street parties and barrios. But he did what so many others have done: leave the practice rooms of the academies, then head straight for dance bands that move bodies and spirits. Jazz became a passion, and it wasn’t long before he was playing festivals around the world; that’s how he caught the ear and attention of the legendary Quincy Jones, who produced this album.

Pedrito Martinez brings to mind Chano Pozo, a legendary percussionist, composer and entertainer who was one of the first Cuban percussionists to come to the U.S. in the mid-’40s. Like Pozo, Martinez isn’t waiting for the world to catch up to his vision of combining mind-blowing drumming skills, an engaging singing voice and the knowledge of what it takes to engage and hold an audience’s attention. His million-watt smile, charisma and penchant for cool sneakers are winning new fans at every appearance in clubs and jazz festivals around the world. Hearing him perform on a duo record — getting a sense of his and Rodríguez’s shared essence — gives Duologue a sense of intimacy and warmth. Each is on his own musical trajectory, but for at least one album, it’s a joy to hear their visions combine.


Here’s another fine Cuban jazz pianist to get into… Harold Lopez-Nussa was featured on Gilles Peterson’s Havana Culturaproject. Here, as one of seven committee members committed to “Cuban groove”, he’s given plenty of room to swing. El Comité are a septet of Cuban young guns, whose product is pitched somewhere between the intricate Latin jazz of Ray Barretto’s New World Spirit and the no-messing straight-ahead swing of Art Blakey’s Jazz Messengers circa Lee Morgan’s tenure on trumpet. Add a pinch of Chucho Valdés and a hint of Roberto Fonseca and you’ll get the picture.

Lopez-Nussa’s fellows are Gaston Joya on double bass, Rodney Barreto on drums, Yaroldy Abreu on percussion, Rolando Luna on piano and keyboards, Carolos Sarduy on trumpet and Irving Acao on tenor. Individually, they’re all experienced and more than adequate soloists, but it’s the way that they meld together with such seeming synchronicity that makes this album so enjoyable. It’s easy listening, Jim, but not in the pejorative way that we know it. The fluency and apparent effortlessness, though, come from much practice. Having got together on stage in Toulouse back in October 2017, they decided that they shouldn’t stop there.

This album was the next logical step. Nine months in gestation, Y Qué!? (So What) was recorded at Studio Elixir, also in Toulouse. Apart from Gabriel Hernandez’s “Son à Emiliano” and, obviously, Miles Davis’ evergreen title track, the seven other numbers are all compositions by individual band members. Lopez-Nussa contributes the first two numbers: “Gran Vía” is a hard-riffing stomper to get you in the mood, while “E’ Cha” sets up a lovely Ray Barretto-like groove, urged on by Yaroldy Abreu’s chattering congas. Carlos Sarduy also contributes a pair: “Carlito’s Swing”, a feature for his burnished trumpet, starts slowly before settling into a lovely summery vibe that builds to an infectious descarga; and the stand-out “Alamar 23”, which highlights the benefits of the unusual two-keyboard line-up, with Rolando Luna’s organ and Lopez-Nussa’s (acoustic and electric) piano swinging in tandem. Bassist Gaston Noya contributes the intricate “La Gitana”, whose shifting time signatures echo Irakere. There are further echoes of that great Cuban band in Rolando Luna’s arrangement of “Son à Emiliano”, and his own “Transiciones” does indeed go through several transitions that make for a classy composite. Saxophonist Irving Acao’s “Nada Más” is a deft, melancholic ballad that modestly leaves his own solo till last. As for “So What”, the band takes it at a slightly faster lick than its composer might, but it works a treat.

It all adds up to 50 minutes of swinging, big-hearted and eminently accessible Latin jazz that should appeal to anyone with a feel for “Cuban groove”. El Comité get it right on the money from first note to last.


Que Vola? (what’s up?) is a group comprised of three Cuban percussionists and a French jazz septet. It is a marriage between the youthful energy and virtuosity of both nations, underpinned by spiritual and ritualistic afro-cuban rhythms.

When the trombonist Fidel Fourneyron visited the country that inspired his first name in 2012, he wasn’t sure what he would find. After meeting three young percussionists (Adonis Panter Calderon, Barbaro Crespo Richard, Ramon Tamayo Martinez), he returned to France inspired to delve deeper into the spiritual heritage of afro-cuban music. An idea gripped him: what if the power of ancient ritual were to be wrapped in the poetry of John Coltrane?

The official video for “Calle Luz” oscillates between two backdrops: a studio session and the streets of Havana. Watch the video now.


Dayramir Gonzalez‘s latest album The Grand Concourse is defined by the voyage of a young artist from Havana, whose creation of musical works shines a light on the gems of traditional Cuban sentiments, contemporary Afro-Cuban jazz and the vanguard sounds of New York City. In his through-composed song “Situaciones en 12/8”, the compulsive bass motif is the engine that drives the layering melodies, while “Sencillez” is a modern commentary on Cuban musical history of the late 19th century. A Tribute to Buena Vista Social Club, Mozart, and John Coltrane mixed with Dayramir’s spices.

“This is an ambitious project that presents me not only as a pianist or improviser, but also as a composer, arranger, orchestrator, and bandleader. For me, making an album is always about creating a full and complete piece of art, where I have a palette of different colors to choose from and can paint all those sounds that float in my head.”


The Grand Concourse is the main thoroughfare that runs through the Bronx. When I first moved to New York, I made the South Bronx my home, and it’s where I created most of the songs included in this album. It was where I struggled to rise above the challenges that came with starting a new life in a city that could swallow me up in no time. But “The Grand Concourse” also has a meaning that inspires. It is the broad road that leads to new journeys. It is at the concourse where people connect in an open space and encounter the expected and unexpected. And my album is the meeting place for the world to enter that space of diverse musical experiences.


“The Grand Concourse is an album for dreaming, for falling in love and for sharing with your close ones. Cheers.”

Alfredo Rodríguez is a figurehead of the new generation of Cuban jazz musicians who observe and honor their roots while constantly seeking new avenues for expression. The 32-year-old pianist’s new album, The Little Dream, evokes Keith Jarrett, Jaco Pastorius and Pat Metheny in equal parts, but the rhythms of Cuba, those guïro grooves can get anybody reeling and rocking, are etched into the music’s bones.

Rodríguez, bassist/guitarist Munir Hossn and drummer Michael Olivera flesh out ethereal, almost pastoral soundscapes, lending a delicate, child-like wonder to the album’s heaviest compositions. In “Bloom,” the melodies spread and grow as if they were mirroring the growth and blossom of some magnificent, delicate flower. “Tree of Stars” shrinks the vastness of a starry night into a piquant, delicately pointed rendering of each star’s twinkle. “World of Colors,” an almost solo feature for Rodríguez, captures the ecstatic joy and melancholy in the span of 120 seconds.

For every tone poem, Rodríguez reinterprets the sounds of his homeland in spry, whirling dances. The rhythms that animate Santería rituals, the mambos that spring forth new romances on the daily, these are what animate the delicate dance of piano, guitar, and drum kit on the celebratory “Alegria,” the hymnal “Vamos Todos A Cantor,” and industrially inclined “Silver Rain.”

The Little Dream’s title track serves as the album’s manifesto. Vibrant passages of harmonic development, heralded by a Yoruba choir, give way to unified tangos up and down the fret and keyboard. With each melodic pirouette, the music takes on more and more the shape of a ballerina, dancing delicately en pointe.