Chilly Gonzales has always flown below the radar, his collaborations, his re-imaginings, his rapping, his piano concertos, even his Grammy’s all quietly and intensely racking up. You might not know who he is. But, to put it bluntly, you should.

Six years after Solo Piano II comes the final piece of his three-part work and if the man, commonly known as Gonzo to his fans, has demonstrated anything, it’s his versatility. This is a work that’s teeming with tension, but also a sense of nostalgic charm flows through the notes, which give us an antidote to our woes.

This 15 track work is startlingly short at just 35 minutes; the wonder is what Gonzales accomplishes within that frame, which is to immerse you in his colourful, at times painful, world. Your mood shifts with his pieces that thrum with purpose and passion. ‘Lost Ostinato’ is a serious and tragic melody full of deep resounding bass like a journey through a deep wood that explodes into the sharp and tense chase of ‘Blizzard in B Flat Minor’. It’s the soundtrack to a black and white movie that was never made.

Over the course of his three Solo Piano records Chilly Gonzales has shown his mastery of this instrument and it’s his playful nature that has ensured his almost revered cult status. Rap fans love his attitude, while classical enthusiasts love his ability and both are sure to love his innovation. The three records work together as a suite going from the orchestral to the jazzy to the final light-hearted C Major notes of ‘Whist’.

On ‘Pretenderness’ the notes linger and dangle daring you to question what’s next while Bach’s ‘Prelude in C Major’ has been given over to a sense of the uncanny as Gonzales changes it to a C Sharp Major and ups the notches on the time signature like a well played chess move. It’s these elements that reward the careful and dedicated listener, though the beauty is also in the background.

Chilly Gonzales has shown time and again that he’s a composer worthy of our attention and this is just one more instance that proves him right. Solo Piano III is Gonzales at his most traditional, but with hints of his more disarming inner ego.