The 28-year-old Cuban pianist phenom’s second album for Mack Avenue (and second produced by Quincy Jones), The Invasion Parade is a stunning combination of different styles that sticks close to tradition one moment and fearlessly launches far-reaching explorations the next. Rodríguez explains in the liner notes that the title references a carnival in music mecca Santiago de Cuba and also speaks to the invasion of cultures defining the album, with musicians representing Cuba, the United States, Puerto Rico, and Bulgaria. After being “discovered” by Jones, Rodríguez relocated to the U.S. in 2009 and quickly became part of the younger generation of ultra-proficient players experimenting with genre-melding, dissonance, and rhythmic displacement. Something of a Cuban Jason Moran, Rodríguez covers every inch of the keyboard, launching long piano runs that culminate in headlong dives into dense chord voicings. In “Timberobot,” woody, acoustic Afro-Cuban piano chords are overdubbed with Minimoog Voyager synthesizer parts to gives voice to the robot of the title. Next is a ballady take on “Quizás, Quizás, Quizás (Perhaps, Perhaps, Perhaps)” with lots of cymbal colors from the likewise young-yet-accomplished drummer Henry Cole. “Snails in the Creek (Caracoles en el Riachuelo)” is a particularly clear and successful utterance of Rodríguez’s desire to musically overlap culture, style, and era — it opens with crickets and bell tolls, introduces guest vocals from Esperanza Spalding and Cuban percussionist Pedrito Martinez, and then ventures into the unknown.