Although Harold López-Nussa's 2009 CD Herencia served notice of a young Cuban pianist capable of upholding the heritage of Gonzalez, Valdés, Rubalcaba et al, this release is a step up in terms of original thinking in a small group context. His deployment of Fender Rhodes works particularly well, but of equal interest is drummer/percussionist Ruy Adrian's (Harold's brother), fresh, vigorous rhythmic and tonal palette, which is wrought from a kit with a very wide dynamic range. His snare has the crispness of a timbale or darbuka while some of the kick drum phrases have a velvety thickness that suggests a cajon, which he does use in the surging piano-percussion duet of ‘Cimarron’. Here the drummer's speed of execution and pinpoint articulation enable him to create a series of fleet, bulbous bass lines rather than straight beats. Prominent as Afro-Cuban rhythms are in López-Nussa's sound world, he makes explicit his affinity to ‘Country’ era Keith Jarrett on the title track and pushes the folkrock character of that timeless lullaby with joyous abandon. The appearance of trumpeter Mayquel Gonzalez provides López-Nussa with another responsive duet partner towards the end of the set, but first and foremost New Day is a strong statement on the leader's desire to broaden the scope of Cuban jazz all the while staying true to its worthwhile core principles.