Posted on November 24, 2007

A MEETING OF THE HEARTS - Roberto Carcassés in Miami
By Chico Alvarez Peraza

A few years ago a young man graced the studios of WBAI, during one of my Sunday shows. He was accompanied by some local musicians who were promoting an event here in NYC. In his own words he had just "come along for the ride" - or something like that. He was quite humble and did not speak much, but his last name caught my attention. I learned that he was the son of Bobby Carcassés, one of my favorite Cuban singers. A number of years went by and I did not hear from him, nor did I hear of him in any way. Every once in a while his name would pop up in one conversation or another and I just assumed that he was somewhere in La Habana, where talented folks like him were inadvertedly being channeled into oblivion.

I could only imagine how hard Roberto must had been working during this period at his craft. Certainly, he had earned a reputation among New York musicians as one of those rare individuals who could fuse the sophisticated sounds of Jazz with the more urban pop side of Cuban music, effortlessly and without alienating those rich Afro-Iberian traditions. Naturally, I was anxious to hear him play.

In New York, the opportunity seemed to elude me - on more than one ocassion, and it wasn't until just recently that I was finally able to sample this young man's art up close. It all happened on January 12th of this year - in Miami of all places. A spot on the map where music, art, politics and controversy seem to follow each other everywhere, and where the avant garde of Cuban Jazz somehow seems out of place with the city's nostalgic surroundings. Indeed, there are places throughout the Dade County area that harken back to a bygone era. Bastions of culture where the ghosts of a not too distant past gather and reminisce about the good old days. But that is another subject altogether. For now let's concentrate on the present, and on Mr. Carcassés' dramatic entry into that world.

As with most cultural events in that city, the news of the Carcassés recital (that's how it was billed) traveled rapidly via the grapevine. I tried to confirm it through my contacts in Miami and via the internet, and I was especially motivated by my impending stop there during that same week. As it turned out there was a site on MySpace which confirmed the time and date of the event. Roberto's sister Verónica had seen to it that all the right people would be informed, that is to say the alternative radio stations and press, which meant of course those who refused not get caught up in the choosing of sides. These were well intentioned folks who firmly believed in the separation of art and politics (even though they knew that it wasn't always possible).

Verónica Carcassés Castillo had in fact been the organizer and chief promoter for the event. This was not the first time that Afro-Cuban Jazz had made its way into the magic city. From time to time, attempts had been made to organize and promote this very stylized music locally, although not always successfully. It was after all, a highly sophisticated sound - "cerebral" you might even say, (as opposed to "butt-shaking") and quite distanced from the commercial stuff that continually bogarted its way into radioland. Anxiety filled the air as Veronica mobilized her contacts within the alternative media, and they in turn spread the word to their constituents. Miami's Cuban Jazz lovers told their friends, who in turn told their friends and so forth. I think they still call it Radio Bemba (at least that's what we call it up north). Finally, and without much fanfare, the big night arrived. But the burning question still remained. Who would come?  

The word was out that this particular event was going to be one of the most interesting exhibitions of Cuban talent to come along in a long time. And according to many of the concert goers which I spoke with, it was. There was a certain ease in the air, and I sensed that everyone was glad to be there. "Robertico" (as he is sometimes called) is no stranger to controversy, nor to this type of cultural environment. He presently resides in La Habana and has performed his repertoire in Brazil, France, England, Argentina, Canada, Holland, Spain, Mexico and Italy. But Miami was truly a new experience for him.

The recital-concert actually took place at a local establishment known as "Kimbaracumbara", in the Calle Ocho section of Miami. The principal promoter was a young empresario by the name of Fabio Díaz, who is also the owner of "Hoy Como Ayer", a cafe-theatre and a popular hangout for lovers of Jazz and Cuban music. The ambience there can best be described as bohemian - in the true sense of the word - an oasis of culture, as one patron actually described it to me.

On this night Roberto Carcassés initiated the concert by playing some solo pieces, garnishing inspiration from such works as "Angélica", written by the late Emiliano Salvador. As I listened to this piece, the first word that popped into my mind was "feeling" - with "sensitivity" trailing a close second. And to think that this young genius once sat a few inches away from me, quietly and attentively listening to every word I had to say, without even as much as interrupting the flow of the interview (a fact that I now appreciate wholly). In no way did he seek to promote himself, simply out of respect for those whom the show was dedicated to. I don't know if he realized just how cool that was.

Perhaps it was young Roberto's respect for Jazz as an artform (and in particular his respect for artists like Emiliano Salvador) which brought him to this point in his career. In retrospect, there probably would not have been anything resembling Cuban Jazz around today, had it not been for the daring innovations of Emiliano and his contemporaries. This does not in any way diminish the contribution of such North American artists as McCoy Tyner or Oscar Peterson. And while it is true that Emiliano was not alone in shaping this music, it is also true that during the short time that he was with us he did introduce a new and exciting style of playing, one which has left an important imprint on the world of Jazz. His hard-driving montuno-jazz style has been emulated by countless others since his death. Roberto is among the many Cuban and Latin American artists who have mastered Emiliano's pianistic idiom, taking it out of the recording studio and straight into the concert halls, presenting it to any and all who will listen, and especially to the orthodox Jazz community - a group of die-hard traditionalists who have not yet fully accepted Cuban Jazz as anything but a hybrid. In the past, as quite often happens with such geniuses, Emiliano was not given any credit for his innovations. To their credit, Roberto and his peers fully acknowledge him, even today.

For this ocassion, it was not just Cuban jazz that was present, but a more universal form of music, an all-encompassing sound which the audience embraced with a passion. Through the artistry of Roberto Carcassés and his cohorts, generational and cultural boundaries were crossed, and a small but significant segment of that city gave up their love to him on this night. It was like a meeting of the hearts.

The audience at Kimbaracumbara was quite receptive to "Conception", another emblemátic piece written by British pianist George Shearing. Carcassés, (who clearly belongs to the post-revolution generation of musicians  - those whose foundations were formed during the eighties and nineties), professes a deep admiration for the great American songbook and for the daring innovators who came up during the previous generations (ironically, many of their works were censored during the early years of the revolution). He even holds a place in his heart for those bulwarks who stubbornly cling to the mainstream style exclusively, contending that they too will come around to the "new" style of jazz. It is not easy to sway a purist, believe me I know.

At this time I think that a little background on this young lion is in order.

Roberto Julio Carcassés Colón was born in La Habana, Cuba on May 19th of 1972. He studied piano and percussion at the Escuela Nacional de Arte until his graduation in 1992. Like many Cuban artists of his generation Roberto respects the Jazz tradition, but he ultimately seeks to add more colors and textures to the old standards, thus cubanizing them, so to speak. But his is not a happy-medium type of blending effect, as with the more commercial and danceable "latin jazz" of the sixties (basically what Tjader, Mongo and other pioneers of this idiom did was to lay down jazz harmonies over syncopated Afro-Cuban rhythmic patterns, such as mambo, cha cha cha, 6/8 bembe, then blow improvisational lines over the free-flowing and hypnotic montuno section.) The latin jazz which I grew up listening to was nothing more than a straight ahead Cuban descarga with jazz overtones. That music was quite danceable (every dance band had a few instrumental descargas in their book) and it was easy to listen to as well. Quite often it competed with r & b and pop, making it into the charts. The more fusionistic style which we now label "latin jazz" evolved decades later, when it began to encompass other forms of music, such as classical European music, secular and religious African based music and rock. This is the fertile ground that young Roberto must have walked upon during his formative years in Cuba, when he performed with such groups as "Estado de Animo", "Columna B", "Santiago Feliú Group" and of course with his father Bobby Carcassés' band. Presently Roberto is both the pianist and leader of "Inter-Activo", a sixteen piece group which recently won the CubaDisco award for "Goza Pepillo" (2006).

Robertos' concept of cubanization is by no means a complete synthesis either. In fact it is the complete opposite of what "latin jazz" is or was initially. Today's contemporary Cuban Jazz is just that- Jazz (in all its manifestations) with Cuban overtones. I mean, let's face it, you just can't dance to it. Maybe that's why it is not all that popular with the "old school" Cubans. Besides Emiliano, Roberto has cited other influences, ranging (of course) from his dad to Chucho Valdés, Gonzalo Rubalcaba, Juan Formell, Jose Luis Cortes, Silvio Rodriguez, Santiago Feliú, Pablo Milanes, Arsenio Rodriguez, Beny Moré and Pedro "Peruchín" Justiz. Other influences (from outside the perimeters of his homeland) have been Kool and the Gang, Ruben Blades, The Beatles, Chick Corea, Bill Evans, Keith Jarret, Sting and even Led Zeppelin. Imagine that!

Diversity yes, but Robert Carcassés can also play "straight ahead" jazz, with uncanny authenticity. I can attest to that. Take Shearing's piece for example, which came off straight as an arrow, sans any of the Cuban or Be-Bop elements that are so prevalent in the repertoire and style of most "latin" pianists. Roberto's tecnique on this one was awesome, and his quiet and melodic touch would have made Shearing beam with pride.

"Verónica" is a piece that was written by his father Bobby Carcassés in dedication to his sister, and for no apparent reason Roberto chose to close out the solo segment with this one. The elder Carcassés was perhaps Roberto's major influence, at a time when Roberto was first beginning to distinguish between the highly disciplined and demanding classical music of the conservatory and the equally disciplined and demanding street sounds which prevailed around him. The difference may have been that the latter was much more fun to play, and required more heart than brain. To this day Roberto prefers the simplistic but elegant ostinato of a montuno over the rigorous pirotechniques of the European school. But that has in no way hindered his creativity.

For the next segment of the show Roberto brought out a most capable trio, and prominently featured both bassist Edward Magdariaga and drummer Leo García as soloists. Rafael Hernández' "Capullito de Alelí" was pure montuno interwoven with hardbop, while Miles Davis' "So what?" fluctuated between rock and funk. The Kaper-Washington standard "On Green Dolphin Street" bordered on the guaracha-son combination, without it becoming quite so monotonous as to be called a "salsa" piece. It did have its "flava", but lacked the spice that previous "latin jazz" versions have had in the past. In other words, it was not danceable "latin jazz". If I tend to stress this element, it is because I feel that this is where the fundamental difference between the "vieja guardia" and the "nueva ola" lies. Tenor saxophonist Carlos Averhoff Jr. was called in on this one, adding his usually tasty solos to the cauldren.

Another emblematic piece was Abelardo Valdes' "Almendra", which savoured more of an Afro-Cuban Jazz feel than your traditional danzon would. No problem, as far as I am concerned. Again, the traditionalists would have invariably raised their eyebrows, although I wasn't looking around for anything like that. To which I may add - So what? (hey - maybe that's why Roberto chose Miles' tune, right?). In any event, it was the piano virtuosity of this young Cuban which was the highlight of the evening. His delivery was at times percusive, angular and lirical  (swinging too) - a little bit of everything you might say - a complete tour de force. From where I sat, Roberto came off as a total musician, and one who was not satisfied with merely playing good music. His performance is an exercise in good public relations. He is in no way complacent, and is just as eager to engage in good conversation with his audience than to show off his pianistic skills.

Back in Cuba Roberto keeps busy doing local gigs or recordings, either as a sideman or as arranger. His first DVD was titled "Jazz Cuba Today" and his most recent one is "Techarí", featuring the Spanish group "Ojos de Brujo".  He is presently producing a new CD for Miami based singer Luis Bofill and bassist-singer-composer Descemer Bueno, also out of Miami. Most of his performances outside Cuba are in concert settings or large festivals, usually with a trio or a quartet. In Madrid, his presentation will more often than not be augmented by two or three more pieces, and that's because there are so many Cuban musicians living there who could use the work. Sometimes he will take the role of sideman, as with the aforementioned Ojos De Brujo" (Andalusian flamenco-timba-son fusion). Roberto and Cuban trumpeter Carlos Sarduy have each collaborated with this group, recording with them first in Cuba and later touring with them worldwide. During these tours they will often take side gigs with their trio as well. Whenever he is in New York City he usually hooks up with drummer Dafnis Prieto and the Terry brothers, Yosvany (sax) and Junior (bass) - to recreate "Columna B" .  Presently Roberto is on a tour of Holland and France with "Yusa" (consisting of bassist Feliciano Arango and percussionist Inor Sotolongo). He has informed me that for the Miami gig he chose Leo and Edward because he had not played with them in years. Now this is really a mindblower, since their chemistry that night was just awesome! Can you imagine what it would have sounded like if they had actually rehearsed weeks in advance?

Without a doubt, there is a rosy future in store for Roberto Carcassés, but right now he will go down in musical history as the shy young pianist who aroused everyone's curiosity and made them all come out to hear some Jazz - in Miami of all places.