Apparently the air conditioning broke down during Roberto Fonseca’s set, though no one noticed.
The heat coming off the stage had transported us to tropical Havana: there was the famed Cuban pianist, in hat and three-piece suit, playing furious percussive chords on a baby grand piano; his longtime colleague Yandy Martinez on slow-burning bass guitar; and a new drummer, London-based Michel Castellano, his empathy with the maestro charged, electrifying.
Fonseca has always been astounding. But here, in a show that highlighted his current album, ABUC, he proved why he is the best Cuban pianist working today. Setting the tone with Cubano Chant, a guaracha-soul version of the classic by Ray Bryant, he attacked, arpeggiated, emphasised his African roots, buoyed by guest saxophonist (and early mentor) Javier Zalba, who also played clavé.
Humour was at premium: a “sweet ballad” turned out to be a high-energy get-down. Bouts of brakes-off improvisation ended suddenly, in unison, to grins.
Then there were moments so delicate — brushed cymbals, a slow-bowed double bass, a haunting right-hand melody — you could almost hear the ice cubes melting. An experimental piece featuring synth effects and recorded voice was a paean to resilience and hope; the rousing Afro Mambo was peppered with Fonseca’s now familiar Afro-Cuban phrasing.
Back in 2007 Fonseca told me he wanted to become a reference point. A decade on, that’s what he is.
