Cuban-born pianist David Virelles, who has amassed a rich and varied catalog by his late thirties, adds more variety still with Nuna, his first solo piano offering. A valued sideman to Henry Threadgill, Andrew Cyrille, Tomasz Stańko, Chris Potter, and more, Virelles is known for his experimental outlook on jazz, Afro-Cuban, North African, Western classical, and other traditions, elements of which pulse throughout Nuna. He begins with a brief, increasingly percussive prelude on the marímbula, a Caribbean box instrument that sounds something like a bass kalimba. This makes the piano entrance on “Ocho” especially striking in its bold, sonorous detail. Virelles continues in that mold with material that is by turns abstract, dissonant, elegant, and highly virtuosic, spanning registers and tone colors. Along with his own pieces, he tackles two from Cuban tradition: “Cuando Canta El Cornetin” by Mariano Mercerón, a sweeping sonata with hints of danzón, tango, and modern jazz; and “Germania” by the trova legend Sindo Garay, taken at a luxuriously slow pace like Garay himself. The result is a triumph, taking its place within a growing literature of forward-thinking solo piano music by the likes of Kris Davis, Vijay Iyer, Craig Taborn, and Jason Moran.