• Submitted by: manso
• Arts and Culture
• 10 / 31 / 2010

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10/29/2010. His latest musical gift to the world is “Chucho’s Steps,” recorded with the Afro-Cuban Messengers following seven years of experimentation. The result is a collection of eight remarkable numbers encompassing jazz, bop, swing and Afro-Cuban ritual music. The title alludes to the mathematical scheme of John Coltrane’s “Giant Steps” answered by Valdes in parallel improvisations and variations.

The winner of seven Grammy Awards and too many honors to cite, this Cuban national treasure and his extraordinary group will perform all eight original compositions at Warner Theatre as part of his first U.S. tour in seven years. It will be an evening to savor.

Speaking from Havana through an interpreter, Valdes said, “Cuban jazz is always several steps ahead of other contemporary styles because of its deep African roots.”

These roots come to the fore when the celebrated composer, arranger and bandleader journeys back to the Yoruba religion that traveled from Africa to Cuba and now intertwines with the Catholic religion. It explodes in “Yansa,” the most unique number in the collection, sung by his latest discovery, vocalist Dreiser Durruthy Bombale. Shivers cascade the spine as the singer entreats the Orisha, a spirit or deity that originated in West, Central and East Africa. The concept was transported to Cuba and other parts of the New World with the slave trade.

“Dreiser was a wonderful discovery,” Valdes said. “He is a very talented person, a classical ballet dancer with extensive knowledge of folklore. I discovered him through friends, and once I heard him, I added him to the band.”

Valdes moves easily from antiquity to the here and now in “Julian,” a sunny, affectionate musical hug of his 3-year-old son in blues and lullaby wrappings. “New Orleans,” his tribute to the Marsalis family, is a complex study in ragtime and jazz, while “Begin to Be Good” is a play on Cole Porter’s “Begin the Beguine” and George Gershwin’s “Lady Be Good.”

“They are two songs my father used to play to me as a child,” he said. “I composed this in memory of those songs and that time in my life.”

Thoughts of Cuba always bring dancing to mind, so it is no wonder that “Danzon” propels the listener to rise and begin moving to the slow bolero rhythms that soon accelerate into a lusty cha-cha. Dance is in the fore in “Zawinul’s Mambo” as well. A wild and wonderful opening track, it honors Joe Zawinul, the Austrian composer Valdes regards as an inspiration.

Throughout the years, many of his friends and colleagues have influenced his development and distinctive style, none more than his father, Bebo Valdes, the foremost pianist and director of Havana’s famous Tropicana nightclub band, with whom he released an album, “Juntos Para Siempre,” in 2008. Other artists he admires and has performed with include Herbie Hancock, Chick Corea, Carlos Santana, Dizzie Gillespie, the Marsalis brothers and Billy Taylor.

Valdes was named goodwill ambassador of the United Nations Food and Agriculture Organization in 2006. Despite all the problems between Cuba and the United States and the travel restrictions over the past decades, Valdes has managed to perform with the best jazz musicians worldwide nonstop throughout his career. How has this been possible?

There was a smile in his voice as he explained, “It has to do with love, music, respect for musicians and communications.”

Cubarte Translation Staff