Rubén González

The two CDs recently purchased featuring the Buena Vista Social Club of Cuba are among my favourites. The opening number, Chan Chan, has a hypnotic rhythm which makes me want to play it over and over. The musicians who feature on this CD are outstanding. Ibrahim Ferrer (now deceased) had a voice like dripping honey.

It was just greatly fortuitous that Ry Cooder managed to track these people down in Cuba and record a number of CDs with them before several passed away.

Listen to the sample tracks and decide for yourselves!

if you have ever wondered what it was like to wander the streets of old Havana at dusk, this is the cd for you. Old world charm, bittersweet songs of sadness, romantic love stories and upbeat melancholy musings turn every day into a sunny day. Grab a mojito and enjoy!

Despite listening to this album perhaps a million times, it never fails to put a tear in my eye while making me feel immensely happy at the same time. Heck, it sounds better with every listen. What else can you ask for in a record?

In the liner notes, Ry Cooder writes that listening to music should be approached like taking part in a treasure hunt. This record is a gold mine.

this cd is amazing and would have been a shame if it was never put on a cd. Even if you don't know spanish, pick this cd up because it has an upbeat vibe to it. It's something that you can just put on the stereo and clean the house to, or listen on a road trip. Inside the cd you get a nice little booklet with info about the songs, artist, and the english translations to the songs along with pictures of the band. I highly suggest this cd to any music fan.

This critically acclaimed album is a favorite for many reasons. The Buena Vista Social Club was a popular club in Havana that held dances during the 1940s and 50s. This 14-song album not only features many of the veteran musicians who performed at that club during the height of its popularity, but also includes Cuban musician Juan de Marcos González and American guitarist Ry Cooder (who produced the sessions). The album was recorded in six days, and resulted in a fascinating documentary of the same name by Wim Wenders (best known for one of my favorite films, Wings of Desire)). Musicians include Luis Barzaga on backing vocals, Orlando "Cachaito" López on double bass, Joachim Cooder on drums, Ry Cooder on guitar, Juan de Marcos González on guitar, vocals, and percussion, Manuel Galbán on guitar, Carlos González on bongos, Manuel "Guajiro" Mirabal on trumpet, Eliades Ochoa on vocals and guitar, Julienne Oviedo Sanchez on timbales, Omara Portuondo on vocals, Barbarito Torres on laoud, and Amadito Valdés on percussion. Not surprisingly, this album sparked an international craze for Latino music, and for Cuban music in particular. Complete album tracks include:

1. Chan Chan 4:16
2. De Camino a La Vereda 5:03
3. El Cuarto de Tula 7:24
4. Pueblo Nuevo 6:05
5. Dos Gardenias 3:03
6. Y Tu Que Has Hecho? 3:13
7. Veinte Anos 3:30
8. El Carretero 3:28
9. Candela 5:27
10. Amor de Loca Juventud 3:21
11. Orgullecida 3:18
12. Murmullo 3:50
13. Buena Vista Social Club 4:50
14. La Bayamesa 2:54

G. Merritt

i've really been enjoying this c.d.,especially the rhythm section,but the piano is flawless.thank god ruben cut this album before he passed on. he is considered one of the top 3 pianists to ever come out of cuba.put this c.d. on,lite up a nice cigar,and it really transports you!!

Lots of latin, cuban style piano music.....similar to Bebos piano, if you like piano and good latin music for listening or dancing, this is it.

This is a brilliant album. You're more familiar with it than you think: I'm sitting here at my local Starbuck's and they're playing the CD in full, 11 years after its release. It's not a one-time occurrence: you hardly ever hear the contemporaneously released Buena Vista Social Club these days, but you hear "Introducing..." everywhere and all the time. González passed away in 2003 at age 84, but his legend only grows. As to why González was discovered by worldwide audiences so late in his life, well, there was the little matter of the Revolution and 37 or so lost and buried years (1959 to rediscovery in 1996).

I liked this CD a lot because Ruben Gonzalez is one of the best pianist Cuban has produced. The music selection is excellent. I listen to the CD often. It has a combination of easy listening rhythms with exiting Afro-Cuban. I highly recomend this CD.

Having just seen the movie "Buena Vista Social Club", I needed to hear more wonderful music from the principal musicians and singers. Special thanks should go to Ry Cooder and his son for rediscovering this historic music before they all passed.( Of whom most already have.)
All the musicians and singers are very special in their own singular, as well as collective right, but my personal favorite is Ruben Gonzalez on piano. What a Gem! I urge anyone who loves Afro-Cuban Jazz to add this to your collection, you WILL NOT be disappointed!

Ruben Gonzalez looked frail in "Buena Vista Social Club" but, man, when he started playing he turned into a powerhouse! Elegant stylings that rock with the soul of Cuban rhythms are all over these cuts. The best may be the kickoff tune "Chanchullo," a fierce jam that's an instant Latin jazz classic.

Many of these melodies are familiar to those of us who grew up with Cuban music, including "El Bodeguero" and "Quizas, Quizas," but others are new discoveries. It's amazing how this wonderful pianist scored such a huge triumph late in his career after being retired for many years. He plays with the vigor and passion of a young man at the top of his game.

Ruben was amongst the key figures in one of the albums that alerted the rest of the world to the brilliance of Cuban, Latin Jazz, Afro-Cuban & Rhumba music, via The phenomenal 'Ry Cooder' produced "The Buena Vista Social Club". And thus signalling to the rest of the world that Afro-Cuban music was very much alive and kicking in Cuba. And although purists may argue that such successes, diluted a little of the spirit of the music, but it also successfully launched the careers of "Compay Segundo", "Ibrahim Ferrer", "Omara Portuondo", and Rubén himself. Rubén was one of the last great Cuba piano players who has a delicate and laid-back approach to piano playing. Undeniably gifted, his album is a rustic and organically free-flowing album that has an almost bittersweet melancholic flair that skillfully blends jazz, mambo & Latin, with a certain amount of confident playfulness. Which is something that aptly reflects the premise behind their music, in that music became a way of life for the players involved in the Buena Vista Club album a long time before they became famous, and the fact that the album made them stars, was never initially part of the plan, but arguably a nice payback for artists that played for many, many years in their home country with very little outside recognition.

Chanchullo, is Rubén's second solo release for the world circuit label and much like the first album, its an album that plays impressively to the strengths of Ruben's sublime piano performances. There is a definite band feel on this album, as various percussionists, keyboardists, rub shoulders with Trombone, flutes, trumpets, which all complement each other and make for some utterly captivating listening from a unbelievably charismatic and talented musician, that is able to create quick tempo and agreeably lush piano arrangements one minute, and then shift into introspective and almost hauntingly beautiful tracks that leave an impression long after the CD has been ejected from the CD Player (for this check out his stunning performance on "Central Constancia"). And the reason why this album is such a resounding success is the fact that Ruben's vitality simply resonates throughtout the album, lifting it up into a remarkably distinctive sounding album, and also bringing it into line with the flamboyant and spirited ethos of Cuban music. And the performances here are exemplary with the ensemble performing perfectly and providing superb support to Rubén's amazingly nimble piano compostions, and showing a surprising talent for melody and a highly developed improvisational style, that simply stuns with it's overally brilliance.

Those that were seduced by the 'Buena Vista Social Club' album, and need a new musical romance to fall in love with, should immediately pick up a copy of this album, as it, like Buena Vista...beautifully encapsulates the passionate growth of Cuba's musical history. And for those of you that (Like Me) loved Rubén's first album (the magnificent "Introducing .....Rubén González"), and were unsure as to whether or not to buy this, rest easy, that you can buy this in the confidence that the extremely high standards on that debut have been thoroughly maintained for this album. Purists will probably argue that, the moment these artist's music was sold to the western world as an ongoing 'franchise', a little part of the ethos behind the music was lost. And they are probably right to some degree....(*But, for the sake of this review, let's just ignore those people shall we??*), and the only reason I can reasonably give for not getting this album, if you're interested in Cuban music, is that you DON'T already have "The Buena Vista Social Club" album (in which case get that first), otherwise consider this, another truly remarkable (and essential) release from the Buena Vista guys.

R.I.P Rubén González (1919 - 2003)

On Monday, December 8, 2003, Ruben Gonzalez died at the unregretful age of 84. Farewell to an unbelievably charismatic and talented musician! His death is the sad realistic reminder that as great musicians like him grow old and die, so does a priceless era of music that will never be emulated.

Ry Cooder once described Ruben Gonzalez as, "A Cuban cross between Thelonius Monk and Felix the Cat." Ruben Gonzalez is no Thelonius Monk...and I cannot really say if he is Felix the Cat...but he is definitely an extremely rare piece of jazz history...an "endangered species" of sorts in comparison to today's lacklustre jazz scene. Thanks to the re-emergence of mostly forgotten Cuban musicians in the late 90's through such vehicles as the Afro-Cuban All-Stars and the Buena Vista Social Club, the world...or at least a portion of it...has had the opportunity to experience a truly unique skill and sound that once flourished. This description of Ruben Gonzalez's music cannot do him justice. When you listen to him either pounding out or softly lifting notes off the piano keys, feelings of excitement, nostalgia, appreciation, comfort, and reflection can all rise to the surface. His skill is difficult to match; his love of music nearly impossible to emulate. Ruben Gonzalez "is" the music he creates and plays...a living example of the musical past re-introducing itself to the ever-emerging present.

If you reading reviews on this record, you have probably heard Ruben Gonzalez play with 'Buena Vista Social Club' and/or on his first record 'Introducing'. Here he is again with eleven fantastic songs. I most enjoyed listening to the 'cha cha cha' songs, which are two on this CD. Ruben truly is a master of 'cha cha cha'. Another great thing about this record, is that other musicians also take great solos. Most of the songs include a solo by the trumpet player Manuel Mirabal, who was also with 'Buena Vista Social Club'. Jesus Ramos the trombone player, and also the musical director of this CD, also takes one or two solos. The only thing I keep wondering is why Ry Cooder is on this record playing the tres. It just doesn't feel right with Cuban music. Anyway. Five stars.

Ruben Gonzalez and Chucho Valdes are both wonderful musicians. I had the pleasure of seeing and hearing Chucho Valdes live, not only is he an outstanding pianist, he has also a great aura.

I'm a big fan of the late Senor Gonzalez. I first heard "Introducing..." and was instantly mad for mambo. Thrilling, swinging, FUN music.
I recently purchased "Mulatas Majicas" which is really good, but over produced, in my estimation.
"The Essential..." is more like it - it sounds "more primitive", wickedly charming... you can almost hear a sly wink as they hit groove after groove.
I defy you to NOT shake your hips!

When I first heard Ms. Nissman's performance of the dances from Estancia over a typical, everyday radio many years ago, I was quite impressed with her aplomb in tossing off Ginastera's acute rhythms --- but it was, after all, an ordinary boombox, not your high-end FM-receiver in a split-hairs, blockbuster sound system. I'd heard many of her other Ginastera pieces over a mundane radio, in fact, and became very interested in finding out more regarding her pianism.

It's with great disappointment that I must revise the earlier imprint of her being quite awesome to being somewhat awful - in this recording, at least. I can't exactly say that I was thrilled when I finally had the chance to hear the whole program and the important First Sonata. No doubt about it, Ms. Nissman has a strong and sure rhythmic sense. Her colors in such fast-moving, hard-edged music could be almost enjoyed, were she not so lead-footed, pedaling so deeply. Her articulation, already so wanting in clarity and precision, is thus even more smeared in the brillante, rapido passages. That she is not better-recorded also serves her poorly.

But then, if Ginastera was well-pleased with Nissman's performance and the recording, then apparently the rhythmic demands take highest priority over other considerations. After all, with his sylistic hallmark, that would have to be a given - and indeed, in this set, that is Ms. Nissman's strong suit (perhaps the only one...). So, who am I to complain?? We can have the moon, maybe, but it's probably unreasonable to ask for the galaxies... .

However, when I weighed the aspects of the price of boxed sets, and especially, of having to listen to these CDs over and over again (because I like Ginastera), I realized that I wouldn't be able to stand such uneven, sloppy pianism on repeat for very long, which even her fine musicianship cannot over-ride. It's too bad that this is the case, as there are still so few, if any, recordings of complete Ginastera piano and piano-chamber works in the catalogue. That said, the Nissman set is at least serviceable, in view of this gap. (See comments on the cello performance in other reviews here.)

It was after repeat listening to a different recording, a quite stupendous Brazilian pianist doing the Ginastera First Sonata, that I came to this assessment on Nissman's performance of the Sonata No. 1 and of her entire program. This new pianist's razor-sharp articulation, transparent pedaling, wide dynamic range, rhythmic integrity, and arching lines are absolutely rewarding to listen to, over and over and over. To render sensitively nuanced phrasing as the music blazes headlong and forte is not least in this other recording's high marks. Following along with the score, I was most impressed indeed.

Her tempos, though fast, are just a tad slower, but her pianism is even more ferocious than Nissman's - who takes yet higher speeds - and this is because of her dazzlingly clean technique, crisp, judicious pedal, and incisive articulation. In the hands of this Brazilian pianist, this glittering, fast-paced music throws out its flashing shafts and sparks with the clarity of diamond brilliance (and this is so in the CD's Brouwer set as well). If Nissman had taken her tempos down a couple of notches, her technical command could have been impeccable, and her overall performance could then have not suffered so.

This Hungarian guitar-piano duo - he's American, and they both have the surname Halasz (Debora and Franz; maybe they're married to each other...?) - are remarkable musicians to keep an eye on, based on the merits of their probably first CD (Ginastera- Brouwer-Ponce, BIS-CD-671, ASIN-B0000016L6; the guitar performance is equally superlative, musically and technically.) With the many-hued palette of her sensitive touch, especially showcased in the Ginastera slow movement and the Ponce, she's just splendid throughout. I'll hold out for Ms. Halasz. Maybe if we're lucky, one day she'll put out a big Ginastera recording. I'd be among the first to buy.

In other reviews there are many glorious comments of Barbara Nissman's playing, and they are well deserved. However, this is not a good CD to buy if you are looking for good recordings of the two cello pieces on this CD. Slow tempos, sloppy articulation, missed notes, incorrect rhythms unfortunately abound in the playing of Aura Natola-Ginastera in both the recordings of the Pampeana No. 2 and Cello Sonata. Being the wife of Alberto Ginastera herself I'm sure she has great insight into his music, but it seems as though her technical playing ability is not on a level to play these pieces well.

Ginastera who was present during the original recordings, must have been overjoyed having Barbara Nissman. She is the ideal pianist to capture the elemental power of his ferocious gaucho-inspired folk rhythms. Her rhythmic exuberance and bravura have to be heard to be believed. It reveals Ginastera as the Bartok of Argentina as their respective treatment of gaucho and Magyar folklore is perfectly analogous. She clearly understands this point too as her stylistic insight is just as incisive in the chamber works on volume 2 as in the solo piano pieces comprising volume 1. Originally recorded on Newport records in 1992, they are now safely achived on Pierian label and protected from the deletions axe. Justly so. Nissman's spontaneity, exhilaration and stylistic insight make these performances classics that will never date.