Label: 577 Records, 2023

Personnel - Hery Paz: saxophone, flute, piano, suona; Román Díaz: percussion, voice; Francisco Mela: drums.

With an uncanny ability to mix freedom and substance, the Cuban-born, New York-based multi-instrumentalist and painter Hery Paz surprises and enchants at every step of his new recording, one that evokes his fascinating, rich and complex cultural identity. Jardineros is a powerful statement made in the company of two fellow countrymen with advanced percussive skills - Román Díaz and Francisco Mela.

The two-minute opener, “Calle Libertad”, is based on the Cuban traditional rhythm Danzón. It throws agile folk-soaked flute lines on top of the deep, resonant tones of Diaz’s bonkó enchemiya drum. Paz embraces the duo format on two other ocasions, both with Mela, who makes use of his diverse drum-sound palette: “Arroyo Lajas”, which, adopting a free jazz posture, showcases Paz’s sturdy tenor sound and breathtaking language; and “Miel de la Tierra”, which merges Cuban folklore and unchained expression with a bright sense of vitality. By switching from flute to saxophone, the bandleader fires up the infectious avant-garde jazz foray that concludes the latter piece.

“Jardineros” is set in motion with crisp alignments between sax and flute, lively drum sounds, and cymbal shimmering. On this cut, calls and responses are triggered by a numbered series of symbolic drawings, but it’s the coiling tenor lines that seem to be in command, straddling between motivic chants and avant-jazz diffusion. Totally different timbres come to the fore on “Conga Espirituana”, where Paz plays two suonas simultaneously, a traditional double-reed Chinese instrument that gives the music a strange Eastern spell. It floats right above the percussive haze of Afro-Cuban rhythms in an evocation of spiritual roots and nature.

“Comunión”, an instrumental marked by irresistible interplay, displays syncopated conga cadences, restrained drumming, and focused tenor blows. It contrasts with the two numbers that accommodate lyrics - “El Real de las Palmas” was written by Diaz, who also provides a wonderful narration of the text. Paz’s piano work - sometimes abstract, sometimes mysterious - runs in the background. In turn, “Barrio del Jobo” was penned by Paz, and captures the nostalgia for his land and family.

Upending the jazz world with a multi-cultural vision that goes beyond the conventional, Paz is a musical force to be reckoned with.