No one plays the piano like Chano Domínguez! His music bridges the fiery soul of flamenco with the boundless spirit of jazz. On John Finbury’s album Quatro, and especially on the instrumental “Independence Day,” Domínguez’s touch transforms typical jazz settings into something glowing with Iberian warmth and rhythmic bravado.
The heart of “Independence Day” is a fiery solo cadenza that introduces Finbury’s take on the Spanish flamenco form of bulería, before Domínguez takes flight in spirited improvisation, soaring above John Patitucci’s electric bass and Antonio Sánchez’s dynamic drumming.
This interplay is not a one-off miracle. Across Quatro—Domínguez’s piano weaves throughout with graceful intention, bringing flamenco inflections to tracks full of Latin American and Spanish influences. His playing is less about clever flourishes and more about heartbeat—each chord and rhythm rooted in heritage but thriving in spontaneity.
Beyond “Independence Day,” Domínguez’s presence is felt in every nuance—from the bolero-inspired sway of “Salón Jardín” to the lyrical conversation in “All The Way To The End.” Reviewers have noted how his pianism, enriched by Arabic modes and flamenco vocabulary, underscores Finbury’s vision of cultural unity through music.
Chano is no stranger to genre-crossing—or to acclaim. Hailing from Cádiz, Spain, Chano Domínguez has earned a reputation for innovating the flamenco-jazz hybrid, releasing more than 20 albums over his career. His work with Finbury’s compositions stands as another testament to how tradition and innovation can meet at the keyboard and create something timeless.
