One October afternoon in Havana in 2002, pianist Roberto Fonseca told me: “With my music I strive to have my own style. I don’t just want to play jazz. I want to be a musician that can play any type or style of music, but at the same time have my own style that people know is my music.” Brought up through the ranks of Cuba’s celebrated music education system, Fonseca largely focused on classical music starting in primary school and continuing through the Superior Institute of Art (he enthusiastically responded “Bach” when I asked him to list a few of his most important influences). As he made countless recordings and toured the world with a wide variety of groups, including Polito Ibañez, Augusto Enrique, the orchestras of Buena Vista Social Club stars Ibrahim Ferrer and Omara Portuondo, and his own group Temperamento, his musicianship and sound progressed and developed. His most recent album, Zamazu, grooves seamlessly from start to finish as Fonseca’s more mature sound at once nods to his musical roots and speaks in the original voice he set out to find many years ago.

Making this album even more interesting is that it was recorded in both Havana, Cuba and the northeast Brazilian city of Salvador, and that it features many prominent Brazilian musicians, including Carlinhos Brown. In fusing his Afro-Cuban roots with the Afro-Brazilian roots of Brown’s own music, Fonseca presents a testament to the shared cultural and musical history of both countries, where similar African and Iberian cultures mixed in distant geographical contexts. The result is striking. Clandestino, Ishmael, and especially Zamazamazu sizzle with Brazilian instruments and rhythms infused into Fonseca’s own distinct Cuban feel.

Zamazu comes alive with a number of cameos by Cuban greats. Ibrahim Ferrer makes a posthumous appearance on El Niejo, in which Fonseca pays homage to this mentor and close friend. Their closeness as both musicians and friends seeps out from between the chords of Fonseca’s masterful solo. Orlando “Cachaíto” Lopez, nephew of the legendary bassist Israel “Cachao” López, gives a surprisingly mysterious performance on Llegó Cachaíto. Finally, Omara Portuondo graces the record with her brilliant performance of the classic Cuban ballad Mil Congojas.

Years ago Grammy award-winning Irakere singer and percussionist Oscar Valdés told me to keep an eye (and an ear) on those whom he thought were the top up-and-coming Cuban musicians. The musicians on his list clearly paid tribute to both the masters of traditional jazz and the maestros of Cuban music, but at the same time were defining themselves with something totally new, and very Cuban. Roberto Fonseca was first on that list. Now, six years later, I had the pleasure of catching back up with Fonseca at the 2008 Havana International Jazz Festival and hearing most of the themas of this impressive record performed live. Both live and recorded, Fonseca does not disappoint. His recent release, Zamazu, is the cutting edge of Cuban jazz.

Track List:
1. Misa Popular
2. Tierra en Mano
3. Clandestino
4. Llegó Cachaíto
5. Así Baila Mi Madre
6. Congo Árabe
7. Zamazu
8. Suspiro
9. Ishmael
10. El Niejo
11. Mil Congojas
12. Triste Alegría
13. Zamazamazu
14. Dime Que No

Personnel:
Roberto Fonseca (piano)
Mercedes Cortes Alfaro (vocals)
Javier Zalba (saxophones, clarinet)
Omar González (bass)
Ramsés Rodriguez (drums and percussion)
Emilio Del Monte Mata (percussion)
Emilio Del Monte Valdés (percussion, background vocals)
Orlando “Cachaíto” López (bass)
Toninho Ferragutti (accordion)
Vincente Amigo (flamenco guitar)
Botas Gordas, Alê Siqueira (palmas)
Boghan Costa (percussion)
Carlinhos Brown (percussion)
Arlene Silva, Juan Maria Braceras, Paulo André Mettig, Mario Soares, Margarita Ciclilova, Margarita Ciclilova Jr., Mario Gonçalves De Araújo Jr., Laila Andresa Cavalcante (strings)
Carlos Manuel Calunga, Pepe Maza (background vocals).
Manuel “Guajiro” Mirabal (trumpet)
Omara Portuondo (vocals)