Hilario Duran and Jane Bunnett’s 'Cuban Rhapsody'

Hilario Duran and Jane Bunnett’s album titled Cuban Rhapsody, was released June 7 on Alma Records, It was recorded and mixed by John “Beetle” Bailey at the Drive Shed in Toronto and produced by Peter Cardinali.

Duran plays the piano while Bunnett shows off her aptitude on both the soprano saxophone and flute. Duran and Bunnett are both composers and bandleaders in their own right with Grammy nominations and Juno awards to their credit. The tracks on Cuban Rhapsody vary from the mid-19th century through the 1940s, 50s and 60s. Duran and Bunnett pay homage to the original romantic compositions, but aren’t afraid to enhance them as well.

The opening track titled “Lágrimas Negras,” which translates to “Black Tears,” and originally composed by Miguel Matamoros, begins with somewhat somber piano play from Duran, then he pauses to allow Bunnett to enter with her harmonious flute as accompaniment. Together, Bunnett’s flute and Duran’s piano flow seamlessly with a bittersweet rhythm that could make listeners weep.

“Quirino Con Su Tres,” the album’s fourth track, originally composed by Emilio Grenet, starts off with carefree piano work from Duran as Bunnett gently complements his sprightly tone with her cheery soprano sax play. There are pauses throughout as Duran’s tickling of the ivories becomes more serious just for a moment, then it's back to all out happiness. Bunnett’s soprano sax takes over with its own joyful manner. As the track continues, listeners can almost envision the artists smiling at each other as they play.

The fifth track titled “Contradanzas” is the cornerstone of the album. The five tunes were penned in contradanza form by Manuel Saumell, the 19th century composer called the “father of the contradanza, habanera, danzan, guajira and clave forms.” The track begins with forceful piano work from Duran then Bunnett arrives with some light flute play, which could be described as the musical equivalent of floating. Pauses are prevalent in this track as they have been on the previous ones. But, Bunnett’s flute and Duran’s piano collectively sound like magic. At different periods in the track, Duran’s piano takes center stage then Bunnett’s flute becomes dominant.

“Sherezada,” the ninth track on the album, originally composed by Frank Emilio Flynn, initiates with Duran’s lingering piano, then his tempo changes to much quicker as Bunnett’s flute joins in. Listeners could picture hearing this track behind the legendary Persian queen. At times, just Duran’s piano can be heard, other times just Bunnett’s flute, and still other points in conjunction.

“Danza Lucumi,” the 10th and final track on Cuban Rhapsody, originally composed by Ernesto Lecuona, leads off with low piano from Duran then soulful soprano sax from Bunnett. There is a subdued feel to this track, yet Duran and Bunnett infuse it with a delicate grace that might deter listeners from the quiet tone.

All in all, Cuban Rhapsody from Hilario Duran and Jane Bunnett mix European Classical music with Cuban styles that make for an enjoyable album to listen to when you’re in the mood for love, or just want to have fun.