![](\"https:\/\/www.haru-agency.com\/wp-content\/uploads\/2026\/05\/Photo-IrvingAcao-14-scaled.jpg\" "\\"Photo-IrvingAcao-14\\"")
<\/span><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h3><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h3><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h5><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>\u201cAzabache\u201d, the debut album by Irving Acao, was released in 2013 as a true musical talisman. Its title refers to a black gemstone traditionally carved as a good\u2011luck charm: here, the music becomes that azabache, patiently shaped by four craftsmen to create a singular object, charged with energy and meaning. Surrounding the Cuban tenor saxophonist are Felipe Cabrera on double bass, Leonardo Montana on piano, and Lukmil P\u00e9rez on drums: four strong Latin\u2011rooted personalities, all seasoned on major international stages.\n\nThe album offers a jazz that is at once sensitive, sophisticated, and resolutely forward\u2011looking, in which the Afro\u2011Cuban tradition flows through every bar. Latin rhythms are mastered, deconstructed, and refined in the service of varied melodies that move between intensity and gentleness. Irving Acao\u2019s writing, enriched by his experiences alongside Irakere, Chucho Vald\u00e9s, Roy Hargrove, Michel Camilo, Giovanni Hidalgo, Danilo Perez, and McCoy Tyner, shapes a personal language, deeply rooted in jazz yet open to all kinds of rhythmic cross\u2011currents.<\/p>\nComprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n
ALBUM<\/h4>\n\u00ab AZABACHE<\/strong> \u00bb (2013)<\/div>\n\nMUSICIANS<\/h4>\nIrving ACAO<\/b> | Saxophone<\/div>\nLeonardo Montana<\/b> | Piano<\/div>\nFelipe CABRERA<\/b> | Double bass<\/div>\nLukmil PEREZ<\/b> | Drums<\/div>\n<\/div>\n\nVIDEO<\/h4>\n
Azabache<\/h3><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h3><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h5><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>\u201cAzabache\u201d, the debut album by Irving Acao, was released in 2013 as a true musical talisman. Its title refers to a black gemstone traditionally carved as a good\u2011luck charm: here, the music becomes that azabache, patiently shaped by four craftsmen to create a singular object, charged with energy and meaning. Surrounding the Cuban tenor saxophonist are Felipe Cabrera on double bass, Leonardo Montana on piano, and Lukmil P\u00e9rez on drums: four strong Latin\u2011rooted personalities, all seasoned on major international stages.\n\nThe album offers a jazz that is at once sensitive, sophisticated, and resolutely forward\u2011looking, in which the Afro\u2011Cuban tradition flows through every bar. Latin rhythms are mastered, deconstructed, and refined in the service of varied melodies that move between intensity and gentleness. Irving Acao\u2019s writing, enriched by his experiences alongside Irakere, Chucho Vald\u00e9s, Roy Hargrove, Michel Camilo, Giovanni Hidalgo, Danilo Perez, and McCoy Tyner, shapes a personal language, deeply rooted in jazz yet open to all kinds of rhythmic cross\u2011currents.<\/p>\nComprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n
ALBUM<\/h4>\n\u00ab AZABACHE<\/strong> \u00bb (2013)<\/div>\n\nMUSICIANS<\/h4>\nIrving ACAO<\/b> | Saxophone<\/div>\nLeonardo Montana<\/b> | Piano<\/div>\nFelipe CABRERA<\/b> | Double bass<\/div>\nLukmil PEREZ<\/b> | Drums<\/div>\n<\/div>\n\nVIDEO<\/h4>\n
Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h3><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h5><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>\u201cAzabache\u201d, the debut album by Irving Acao, was released in 2013 as a true musical talisman. Its title refers to a black gemstone traditionally carved as a good\u2011luck charm: here, the music becomes that azabache, patiently shaped by four craftsmen to create a singular object, charged with energy and meaning. Surrounding the Cuban tenor saxophonist are Felipe Cabrera on double bass, Leonardo Montana on piano, and Lukmil P\u00e9rez on drums: four strong Latin\u2011rooted personalities, all seasoned on major international stages.\n\nThe album offers a jazz that is at once sensitive, sophisticated, and resolutely forward\u2011looking, in which the Afro\u2011Cuban tradition flows through every bar. Latin rhythms are mastered, deconstructed, and refined in the service of varied melodies that move between intensity and gentleness. Irving Acao\u2019s writing, enriched by his experiences alongside Irakere, Chucho Vald\u00e9s, Roy Hargrove, Michel Camilo, Giovanni Hidalgo, Danilo Perez, and McCoy Tyner, shapes a personal language, deeply rooted in jazz yet open to all kinds of rhythmic cross\u2011currents.<\/p>\nComprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n
ALBUM<\/h4>\n\u00ab AZABACHE<\/strong> \u00bb (2013)<\/div>\n\nMUSICIANS<\/h4>\nIrving ACAO<\/b> | Saxophone<\/div>\nLeonardo Montana<\/b> | Piano<\/div>\nFelipe CABRERA<\/b> | Double bass<\/div>\nLukmil PEREZ<\/b> | Drums<\/div>\n<\/div>\n\nVIDEO<\/h4>\n
Azabache<\/h3><\/div><\/div><\/div><\/div><\/div>Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h5><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>\u201cAzabache\u201d, the debut album by Irving Acao, was released in 2013 as a true musical talisman. Its title refers to a black gemstone traditionally carved as a good\u2011luck charm: here, the music becomes that azabache, patiently shaped by four craftsmen to create a singular object, charged with energy and meaning. Surrounding the Cuban tenor saxophonist are Felipe Cabrera on double bass, Leonardo Montana on piano, and Lukmil P\u00e9rez on drums: four strong Latin\u2011rooted personalities, all seasoned on major international stages.\n\nThe album offers a jazz that is at once sensitive, sophisticated, and resolutely forward\u2011looking, in which the Afro\u2011Cuban tradition flows through every bar. Latin rhythms are mastered, deconstructed, and refined in the service of varied melodies that move between intensity and gentleness. Irving Acao\u2019s writing, enriched by his experiences alongside Irakere, Chucho Vald\u00e9s, Roy Hargrove, Michel Camilo, Giovanni Hidalgo, Danilo Perez, and McCoy Tyner, shapes a personal language, deeply rooted in jazz yet open to all kinds of rhythmic cross\u2011currents.<\/p>\nComprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n
ALBUM<\/h4>\n\u00ab AZABACHE<\/strong> \u00bb (2013)<\/div>\n\nMUSICIANS<\/h4>\nIrving ACAO<\/b> | Saxophone<\/div>\nLeonardo Montana<\/b> | Piano<\/div>\nFelipe CABRERA<\/b> | Double bass<\/div>\nLukmil PEREZ<\/b> | Drums<\/div>\n<\/div>\n\nVIDEO<\/h4>\n
Irving ACAO<\/h1>\n<\/div><\/div><\/div>Azabache<\/h5><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>\u201cAzabache\u201d, the debut album by Irving Acao, was released in 2013 as a true musical talisman. Its title refers to a black gemstone traditionally carved as a good\u2011luck charm: here, the music becomes that azabache, patiently shaped by four craftsmen to create a singular object, charged with energy and meaning. Surrounding the Cuban tenor saxophonist are Felipe Cabrera on double bass, Leonardo Montana on piano, and Lukmil P\u00e9rez on drums: four strong Latin\u2011rooted personalities, all seasoned on major international stages.\n\nThe album offers a jazz that is at once sensitive, sophisticated, and resolutely forward\u2011looking, in which the Afro\u2011Cuban tradition flows through every bar. Latin rhythms are mastered, deconstructed, and refined in the service of varied melodies that move between intensity and gentleness. Irving Acao\u2019s writing, enriched by his experiences alongside Irakere, Chucho Vald\u00e9s, Roy Hargrove, Michel Camilo, Giovanni Hidalgo, Danilo Perez, and McCoy Tyner, shapes a personal language, deeply rooted in jazz yet open to all kinds of rhythmic cross\u2011currents.<\/p>\nComprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n
ALBUM<\/h4>\n\u00ab AZABACHE<\/strong> \u00bb (2013)<\/div>\n\nMUSICIANS<\/h4>\nIrving ACAO<\/b> | Saxophone<\/div>\nLeonardo Montana<\/b> | Piano<\/div>\nFelipe CABRERA<\/b> | Double bass<\/div>\nLukmil PEREZ<\/b> | Drums<\/div>\n<\/div>\n\nVIDEO<\/h4>\n
Azabache<\/h5><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>\u201cAzabache\u201d, the debut album by Irving Acao, was released in 2013 as a true musical talisman. Its title refers to a black gemstone traditionally carved as a good\u2011luck charm: here, the music becomes that azabache, patiently shaped by four craftsmen to create a singular object, charged with energy and meaning. Surrounding the Cuban tenor saxophonist are Felipe Cabrera on double bass, Leonardo Montana on piano, and Lukmil P\u00e9rez on drums: four strong Latin\u2011rooted personalities, all seasoned on major international stages.\n\nThe album offers a jazz that is at once sensitive, sophisticated, and resolutely forward\u2011looking, in which the Afro\u2011Cuban tradition flows through every bar. Latin rhythms are mastered, deconstructed, and refined in the service of varied melodies that move between intensity and gentleness. Irving Acao\u2019s writing, enriched by his experiences alongside Irakere, Chucho Vald\u00e9s, Roy Hargrove, Michel Camilo, Giovanni Hidalgo, Danilo Perez, and McCoy Tyner, shapes a personal language, deeply rooted in jazz yet open to all kinds of rhythmic cross\u2011currents.<\/p>\nComprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n
ALBUM<\/h4>\n\u00ab AZABACHE<\/strong> \u00bb (2013)<\/div>\n\nMUSICIANS<\/h4>\nIrving ACAO<\/b> | Saxophone<\/div>\nLeonardo Montana<\/b> | Piano<\/div>\nFelipe CABRERA<\/b> | Double bass<\/div>\nLukmil PEREZ<\/b> | Drums<\/div>\n<\/div>\n\nVIDEO<\/h4>\n
Comprising eleven tracks, \u201cAzabache\u201d brings together eight pieces by Irving Acao, one composition by Leonardo Montana, and one by Felipe Cabrera. The album features high\u2011energy pieces such as the tribute to John Coltrane or \u201cReflexion\u201d, where the quartet unleashes a powerful, taut collective sound without ever sacrificing precision. In contrast, more intimate moments reveal another side of the group, notably in the delicate rendition of \u201cOh que ser\u00e1, que ser\u00e1\u201d, imbued with poetry and restraint.<\/p>\n
Throughout the record, Irving Acao\u2019s saxophone leads the way, by turns incisive, singing, and lyrical, carried by a formidable rhythm section: the supple, deep bass of Felipe Cabrera, the inventive drumming of Lukmil P\u00e9rez, and the poetic, airborne piano of Leonardo Montana. Far from a mere stylistic exercise, \u201cAzabache\u201d stands out as the organic encounter of four musicians driven by the same desire: to shape a contemporary jazz marked by the Caribbean, able to move both body and imagination, and to leave in the listener\u2019s ear the sensation of a musical good\u2011luck charm to carry away.<\/p>\n<\/div>\n