The history of music in Cuba has been profoundly marked by mestizaje since the nationality’s very conception, in close communion with the war against Spanish colonialism. The birth of nationalist, pro-independence sentiment was anti-colonialist, and anti-racist by implication and in principle. Is it possible to label as racist a Revolution that had as its political foundation the abolition of slavery? Recognizing the symbiosis of Cuban culture with emancipatory ideals, even before 1868, is perhaps the most important cultural development that shaped the thinking of great Cubans, with the obvious reference being José Martí, who continues to serve as an obligatory beacon in this sense.

Now, if we begin to mention the names of those who laid the foundations of our music, we will note that there is no place for racism, and much less for splitting apart the solid marriage of diverse musical expressions, from a current point of view, as is attempted practically every day.

Two names from before the 20th century stand out in terms of academic musical performance and composition: White and Brindis de Salas, but when we consider the more popular plane, others must be added, including Pepe Sánchez, Miguel Faílde and the avalanche represented by Sindo, Matamoros, Siro and all those who illuminated the nascent 20th century.

Not to be overlooked are Anacaona, María Teresa Vera, Guillermina Aramburu, Celia Cruz, Enriqueta Almanza, Isolina Carrillo, Ángel Díaz, the “feeling” movement, Aida Diestro and his Quartet, Beny Moré, Compay Segundo, Lorenzo, Reynaldo and Caridad Hierrezuelo, Joseíto Fernández and many more, providing clear evidence of the marked amalgam that is Cuban music.

With the victory of 1959, we must add to this vast chromatic scope, the opening of doors to what was missing in almost all cases: access to studies and social recognition. With the young Revolution, came the organization and development of other realities that led to the full enjoyment of sectors that had faced discrimination, not only based on skin color, but on the depths of pockets, as well. How can the process begun in 1959 be considered racist, when it made possible that children of longshoremen, managers, and doctors were all seated in the same classroom?

The creation of art schools is the best example of anti-racism our music has experienced. If there were racism in the Revolution, the Cuban Modern Music Orchestra, in 1967, would not have included Paquito D´Rivera, Oscar Valdés, or Chucho Valdés, and possibly, Irakere would never have emerged. Or perhaps Pedrito Calvo, Mayito el Flaco, Pedrito Fajardo or Mayito Rivera would have been excluded from the Van Van, based on the color of their skin. It is clearly ridiculous to imagine racism as a policy or directive in our music. A quick review of the broad scope of Cuba’s current musical panorama provides enough evidence to understand that asserting this is simply running blindly behind those who have made a deal with the devil.

(Source: Granma)

These two greats came together on October 9 in a unique concert, in the truest sense of the word, in Old Havana’s exceptional Plaza de la Catedral to celebrate the 500th anniversary of the city’s founding (November 16).

The distinguished pianists were accompanied by the National Symphony Orchestra, on this occasion under the baton of U.S. conductor Marin Alsop, musical director of the Baltimore and Sao Paulo symphony orchestras.

The concert began with Alsop leading the National Symphony Orchestra in “Cuban Overture” by George Gershwin from the United States and the famous “Enigma Variations” by Britain’s Edward Elgar.

The Chinese pianist opened with none other than the first movement of “Piano ConcertoNo.1, Op. 23”, by Russian composer Piotr Ilich Tchaikovsky.
A fine choice for the musician who, aged 17, replaced André Watts with this piece in the Ravinia Festival, Chicago, and since that moment has seen his fame continue to grow.

No one can remain indifferent toTchaikovsky’s No. 1, and even less so when played by the charmingly brilliantLang Lang, in a performance which demonstrated all the qualities afforded him by critics; impressive skills, impeccable precision, prodigious technique and instantaneous communication.

The Chinese and Cuban performers conversed in a merging of styles and talents, in three Cuban pieces: “Y la negra bailaba” and “Gitanerías,” by Ernesto Lecuona, and “Tres lindas cubanas,” by Antonio María Romeu.
Lang Lang had already stated that he would play Cuban music during a press conference held prior to the concert at Cuba’s National Theatre. “Challenges like this excite me and I enjoy performing pieces from the country I am visiting. It wouldn’t be a challenge to come here and do something I already know.”

For his part, maestro Chucho performed two of his own works, “Claudia“ and “Nanu,” without overlooking a jazz number, for which he selected “Victory Stride,” by James Price Johnson from the U.S.
Renditions of “El cumbanchero,” by Puerto Rico’sRafael Hernández and “Happy Birthday” in honor of Chucho’s 74 birthday (October 9, 1941) and that of his father Bebo, another great of Cuban music (October 9, 1918 – Stockholm, March 22, 2013) concluded the concert

Speaking to the press, Chucho noted that the idea to hold a concert in Havana emerged during an encounter between the two musicians in Vienna, in March 2013. “At that time we were doing something together with Beethoven’s “Moonlight Sonata.” It was a conversation, a game for the both of us,” noted the author of “Misa negra.”
A noteworthy detail: Lang Lang played a Steinway & Sons piano, worth around $130,000 dollars, which was subsequently donated by the manufacturer to the Cuban Institute of Music.
The concert was magnificent, with two world renowned figures as its protagonists. It was a genuine privilege to enjoy performances by Lang Lang and Chucho Valdés, together in Havana, and an extraordinary gift for music lovers. The open air concert, lasting over two hours, which took place on a glorious October evening in the Plaza de la Catedral, was an absolute treat; a singular prologue to the approaching 500th anniversary of the city of San Cristóbal de La Habana.

(Granma)

Many critics qualify the Chinese as “a hallucinating and very passionate virtuoso”, that he has in common with the unique Cuban jazziest who has won eight Grammy Awards, born in Havana, city to which they dedicate their performance on occasion of the 500 years of its foundation.

Both met last year in Vienna, Austria and, by chance, according to what the organizer and cultural journalist, Eric Latzky told Prensa Latina.

Each one had a series of presentations of their own in the European city, they met for a short time and played some music together in private, then they decided they would like to make a show together, he said.

In Havana, music matters and we are close neighbors with lots of common cultural interests, assured Latzky, of U.S. nationality as other members of the production team of the concert, who stayed here for a few days to study the space in the Cathedral square.

That place located in the heart of the most ancient part of the city was selected as scenario of the concert and Latzky thanked the cooperation of the Cuban Institute of Music and its President Orlando Vistel, to carry out the event.

According to the cultural journalist, each artist already made his proposal of the themes they would like to play.

Now the U.S.conductor and violinist Marina Alsop should decide the definitive program, as during the concert in Havana, the present director of the Baltimore Symphonic Orchestra will lead Cuba’s National Symphony Orchestra.

According to the Colombian press, Lang has opened the doors to people who used to think classic music as boring and have considered it later pure fun.

On his part, Dionisio de Jesús Valdés Rodríguez, known as Chucho Valdes, was registered in the Jazz Latino Hall of Fame in Los Angeles, United States, in 2000 and he has the Doctor Honoris Causa Title from universities in Canada, the United States and Cuba.

The New York Times proclaimed the Cuban in 2012 as the “Deacon of the Jazz Latino” and, taking into account the sound of the musical gender in Japan they are manufacturing pianos under the brand Chucho.

Latzky sees the union of these two greats of world music as a festive occasion and hopes that the Cuban people enjoys the present.

(By Prensa Latina)

In view of all these vicissitudes, Dionisio Jesús Valdés Rodríguez, better known as Chucho Valdés, has decided to record an album of emblematic Irakere tracks, with a small big band, offering up an explosive mixture of jazz, rock, classical and a wide range of traditional Cuban music, including instruments and rhythms of Afro-Cuban religious ritual music, in a gesture of reverence to these musicians who made history, from 1973 onwards.

Thus the Havana pianist brings Irakere into the 21st century. It is an idea that was well received last year, during the jazz festival held in Barcelona, Spain, where novice musicians played well-known numbers by the band.

The album will be recorded by young musicians during a concert in France, and should be ready for release by July, Chucho Valdés revealed from Colombia, where he performed at the Jorge Eliecer Gaitan theater in Bogota.

Chucho believes it could prove to be a novel initiative, since young musicians wish to play their own versions of the singles which were hits across the world.

Chucho’s projects for the rest of 2015 include organizing several tours of Europe and the United States.

The musician, now over 70, has released almost 100 albums and features on a long list of Grammy nominations and Awards.

The Afro-Cuban Latin jazz icon has prepared himself both mentally and physically for these changing times.

Chucho belongs to that distinguished group of musicians who were huge stars in instrumentation, composition, musical arrangements and conducting.

In this list we can include Pérez Prado (The King of Mambo), Bebo Valdés (The King of Batanga), Antonio María Romeu (The King of Danzón) and Israel “Cachao” and Orestes López (The Kings of New Rhythm).

Taking stock of these memories, that first phase of Irakere faced all kinds of misunderstandings, they were criticized for the use of drums of African heritage in the new jazz, but they were always resolute and their success soon proved them right.

I remember, how could I forget, when they first travelled to the Polish Jazz Festival in 1970. On my return, I met Chucho, at the Festival of Popular Song of Varadero 1970, and there I saw them full of joy over their success in the presence of Dave Brubeck, a U.S. pianist and jazz composer and one of Chucho Valdés’ musical idols.

“Before Brubeck, we played Misa negra, our emblematic work, we played with everything we had, it was our big chance. The crowd cheered like crazy, stamping on the ground. All this euphoria scared us. People asked us to play another and another. In the end Brubeck hugged us and told us we were doing something new, different, and that this would open up a path for us into Latin jazz. We all began to cry.”

Chucho and Irakere were predestined to reach the peak of international success. The band was demonstrating the contributions of the new school of Cuban music that was beginning to bear fruit.

Then came that decisive year for Irakere, 1977, with the arrival of the Daphne cruise ship in Havana, bringing Dizzy Gillespie and a cohort of established jazz musicians: Stan Getz, Earl “Fatha” Hines, David Amram, Ray Mantilla, Anne Brackeen, Billy Hart, Rudy Rutherford, John Orr, Eddie Graham and the singers Marva Josie and Ry Cooder. The tour ended with a concert at the Mella theater.

Then came the big break, the big moment for Irakere, with the non-stop contracts to appear at the 1978 Newport Festival and Carnegie Hall, before McCoy Tyner, Bill Evans and Mary Lou William. This was followed by the Festival of Montreux (Switzerland). CBS released an album of five tracks by the group, including Misa negra (17 minutes) taken from their performances in Newport and Montreux.

This first LP entitled Irakere (CBS-EGREM) won the Grammy Award for Best Latin Recording in 1979.

The band’s successes accumulated into a long list of Grammy nominations and Awards, apart from those that Irakere musicians won as soloists. Leonardo Acosta deserves a special mention for his theoretical support, album notes and recording of the history of the band over the years.

Chucho Valdés and all the musicians who over these past 42 years have contributed to Irakere deserve our recognition. Let’s hope they continue to bring glory to Cuban music.

(Granma)

Havana, Dec 21 (Prensa Latina) With a luxury concert offered by pianist Chucho Valdes and his quintet, was inaugurated the 28th International Jazz Plaza Festival at the Mella Theater in Havana.

During the opening ceremony last night the maestro Bobby Carcasses welcomed the participating artists in Mexico, Sweden, United States, Canada, United Kingdom, Africa and Cuba on behalf of the Organizing Committee, the Cuban Institute of Music and the National Council of Popular Music.

Those attending the inauguration greeted with loud applause the presence on stage of Maestro Chucho Valdes, one of the most important pianists in the world, and proclaimed this year by The New York Times as the dean of Latin j

azz.

The awarded Cuban pianist also shared stage with the renowned Canadian jazz musician Jane Burnnett, a flutist and saxophonist with a long history linked to Cuban music and Latin jazz.

This Friday the festival will be dedicated to jazz play by women, with Anacaona, Bellita and Jaztumbatá, Xiomara Laugart, Yissi Garcia and Dayne Arocena.

On Saturday the public can enjoy performances by the Spanish group of Abdon Alcaraz and the Argentine Pablo Sanguinetti, accompanied by Cubans Omar Puente, Alfred Thompson, Jesus Fuentes and José Luis Cortés and NG La Banda.

On Sunday, Jazz Plaza 2012 will close its curtains with presentations of Pie Grande, of Mexico; the Swedish David Bradish, and Cubans Jorge Luis Pacheco, Giraldo Piloto and Climax, Yoruba Andabo and maestro Bobby Carcasses.

Chucho is simply great as a pianist, composer and person, he deserves this homage and much more,” said Brower in Havana, adding that he has admired and worked with the great Cuban jazz musician for 50 years.

As part of the tribute, the piece for piano and wind quartet La fiesta de la luz (The party of light), especially dedicated to Valdés, will be premiered at the Minor Basilica of the Saint Francis of Assisi concert hall on October 6th, along with the performance of Ernán López Nussa and other Cuban guests musicians, who will recreate tunes and pieces composed by the honored artist.

Born in Quivicán on October 9th, 1941, Chucho Valdés was a founding member of the emblematic Modern Music Orchestra, the famous Irakere group and has won several Grammy Awards.

(Radio Habana Cuba)