Canadian label We Are Busy Bodies have unearthed a pair of rare Latin jazz albums by a Venezuelan pianist, part of a thriving nightlife in mid-20th century Caracas. Originally released in 1970 on the tiny Discos A&B label, De Repente is a piano-trio album, mixing self-penned numbers and interpretations of other compositions. The way he plays ‘Misty’, in the same florid style as its creator, Erroll Garner, suggests that the album was aimed at a small but dedicated local following. There are interesting takes on Wes Montgomery's ‘Bumpin’ On Sunset’ and Duke Ellington's ‘C Jam Blues’, and the added percussion helps to enliven ‘Petite Mambo’, ‘In Time’ and Tom Jobim's ‘Aguas de Marzo’, but one feels throughout that the pianist was still finding his chops, imitating more than truly creating. Armas can certainly play and it's pleasant enough stuff, just a trifle unremarkable.

Recorded three years later and given national release by the powerful BASF corporation, Espejismo translates as ‘Mirage,’ yet this is more the real deal. The additions of Tata Guerra's percussion and Domingo Moret's flute make for a more rounded, variegated affair. The pianist notes that this time he was ‘oriented more towards Venezuelan music with influences from jazz and improvised themes.’ More homegrown and less under the spell of Brazil and the US, the result is redolent of early Sergio Mendes or Chucho Valdés: rhythmic, melodic, quintessentially of its era and quite charming. ‘Barlovento’, for example, is a mature piece that would grace any similar Latin jazz combo's songbook. The piano/flute dialogue at the heart of ‘Río Manzanares’ is artfully realised and producer Freddy Leon's cheesy keyboards actually enhance ‘Indecisión’. ‘María Gracia’ is a rare ballad, while ‘Sobre el Orinoco’ kicks off in waltz time before morphing into the kind of percussive number that characterises this accomplished album.