(Contemporary, Modern Jazz, Post-Bop) Aruan Ortiz Quartet (feat. David Gilmore, Rashaan Carter, Eric McPherson) - Orbiting - 2012, WEB, FLAC (tracks), lossless

From my perspective with each musician we’re blessed to encounter they ultimately derive from a different place artistically. With that said, this is obviously a good thing because with each prelude into the abyss of music they will inevitably have a desire to take center-stage, deploy and unleash into the atmosphere creative, unique and enjoyable music similar to but mostly unlike their contemporaries hopefully capture the minds, hearts and souls of music lovers.
Classically trained violist and pianist, Aruán Ortiz born in Santiago de Cuba arrives with his fourth and latest album negotiates his way through and beyond the scope of his previous projects with a transforming palette of sounds land firmly with a translucent and thought-provoking endeavor titled “Orbiting” on Fresh Sounds | New Talent.
The gifted pianist opens with a brilliant solo interpretation of “Ginga Carioca” originally pen by Brazilian composer and multi-instrumentalist Hermeto Pascoal. “Ginga” is smothered with attractive blend of colors, rhythms and passionate nuances decoded from a jazz perspective.
“Orbiting” was inspired at Aruán’s arrival in New York in 2008. In time, he shared the stage with an enumerable array of gifted musicians. Therefore this experience infused new ideas and philosophies he decided to create a body of fresh sounds through his voice on “Orbiting.” The title track was influenced by the incomparable Bill Evans sings increasingly with a chorus of rhythmic voicings falls in at the number two spot of rotation. Gilmore on guitar, his voice resonates amid the cast of incumbents with an irresistible hook and expands his octave range with unhurried riffs of impetuous chops navigates purposefully through this immense canvas of unblemished sequence of textures, tones and shades inscribed by this impeccable ensemble.
Conceived through the lens of a traditional concept of accompanied this project tells a personal story, Ortiz humbly plays somewhat the role of a sidemen in respect of some of the most pliable players in the music industry David Gilmore, Rashaan Carter, and Eric McPherson adapted their songs to score as a unit a montage of noteworthy compositions.
“The Heir” is dedicated to Ortiz’ son Damian, this plate of bendable tones and melodies underscored ascends into perpetual motion. Inevitably this gem marvels but it also captures Aruán’s spiritual side and relationship with his son, this conversation is sonically accentuated through the conduit of abstract improvisation embedded in the middle of the song.
Ortiz puts his unique spin to the flaming interworks of “Koko,” is aligned with the fervent off-tempo exchanges employed on “Wru,” both sizzle with boldness served up by the ensemble invokes contrasting to similar volume in timbre on this breathtaking homage to as he describes “the forefathers of the true art form” Charlie “Bird” Parker and Ornette Coleman respectfully.
“Green City” is another tribute, this time his thoughts linger around his time spent in Boston in the summertime features his winsome artistry on piano is soon joined by complimenting voices of Gilmore and friends. Melodically, this tune surges with a wealth gorgeous and transparent tones, gestures and finesse mingle as I hear them fall into the category of potentially being a masterpiece.
Finally, another beauty firmly holds its own weight “Alone Together” is sprayed with varied colors of simplicity, grace, humility and exceptional musicianship. Altogether, Aruán Ortiz’ “Orbiting” is unquestionably a real diamond in the ruff that arouses the appetite of discriminating enthusiast to savor, cozy up to and relish with each moment you listen. ~ Rob Young

Aruan Ortiz was one of the outstanding contributors to Esperanza Spalding little known first album, Junjo. His playing is calculating and well developed. I freely admit that I don't own much other than his previous quartet record and the Spalding album but I really believe he is a serious rising talent.
Only on the scene for a few years, he is slowly becoming a well known name within the scene. His style at times reminds me of a young Chick Corea.
His second (fourth as leader) album with his quartet, Orbiting is a wonderful and elegantly executed session that takes chances when needed and stays reverent on others. "Orbiting" features a set of stellar performances by Ortiz and Gilmore. Ortiz seems to move freely and applies a great deal of emotion with each chord. Gilmore's patterns add a nice groove that also turns bluesy on the next track "The Heir." This number includes a number sparkling movements by Ortiz and McPherson that ascend into a massive crescendo towards the end.
Ortiz shows adventure and inspiration with his version of Ornette Coleman's "WRU." A good dose of improvisation by Ortiz and Carter. Their movement together is fluid yet pulsating.
Deep, emotional and intensely rewarding. Aruan Ortiz has produced a superb collection that pretty much everyone will find a big surprise. Orbiting is modern yet still rooted in tradition. Highly Recommended. ~ Stephan Moore

The Aruán Ortiz Quartet's Orbiting was released last month on the Fresh Sound New Talent label. The stellar line-up of the quartet is slightly changed from the last recording, Alameda, and now features ace guitarist David Gilmore and bass ace Rashaan Carter, in addition to ivories genius Ortiz himself and wiz drummer Eric McPherson.
What a world-class line-up this proves to be is just mind blowing. The ensemble playing might suggest that these guys have played together all the time for years, it is that tight and empathic, and the soloing all round comes straight out of a dream, as does the interplay especially between Ortiz and Gilmore.
For Orbiting, Ortiz has come up with a selection of material that is as eclectic as it is challenging. Ranging from classics like Charlie Parker's Koko, Brazilian Hermeto Pascoal's Ginga Carioca, Ornette Coleman's WRU, and the Arthur Schwartz / Howard Dietz standard Alone Together to strong, inventive originals (four in total) that effortlessly stand their ground, this covers vast spaces and time spans. Ortiz's compositions are as exquisite as his arrangements of the classics.
Always staying deeply grounded in the tradition, Ortiz takes us on something of a roller coaster ride through past and present and into the future, all the while remaining wonderfully accessible. Orbiting presents and represents some of the very finest modern jazz yet. This music is as awesome as Ortiz's prodigious talent and chops. Awesome and awe inspiring as it is inspired and inspirational. Gilmore's exquisite guitar is the perfect match to Ortiz, and Carter's bass is one of the finest I have yet heard from younger American players. McPherson's trap work is outstanding, always sensitive, often colourful.
Not only totally consistent but also consistently brilliant, Orbiting is utterly mesmerising and captivating. Its elegance and beauty are spellbinding, its excitement is palpable. This is one of those albums one simply cannot stop playing over and over. This is Ortiz's finest album yet.
A refreshing and rare elegant approach to modern jazz, the Aruán Ortiz Quartet's Orbiting is an absolute must have for any jazz aficionado. Beg, steal, borrow but preferable buy a signed copy from Ortiz himself. This is one purchase you will never regret or grow tired of.