Chucho Valdés returns to Montréal - Jazzgram
by Emilie Pons - Sept. 2009
In Montréal, paradoxically enough, one feels there is a connection between Cuba and Canada. Cuba has a weather Canada doesn’t benefit from every month, but Canada is more inviting to Cuban artists than the US. Cultural and human exchanges abound between the two countries. The Montréal audience certainly proved this upon listening to the Chucho Valdés Quintet on July 2 at the Théatre Maisonneuve, Place des Arts, a performance that took place as part of the 30th Montréal Jazz Festival: the musicians had to play three encores as they brought down the house. That night, pianist Chucho Valdés was joined by Lazaro “El Fino” Alarc—n on bass and percussion, Juan Carlos Rojas on drums, Yaroldy Abreu on percussion, and Mayra Caridad Valdés on vocals (she joined the band a little later on). The Montreal audience was most receptive to Valdés’ music. They understood the beauty and the uniqueness of his music. In one of the three encores, bassist Alarcon and percussionist Abreu used the gourds they had handy to create a most special rhythmical moment, enthralling the entire crowd with their audacious creativity.
After seven years of absence, it proved to be a wonderful comeback for Chucho Valdés, who showed that he is a giant not only in height. The way he played the piano was soft, light, and sophisticated. He will be turning 68 this year, but he has lost none of his most special energy, authenticity, dexterity, and originality. Valdés was born in a musical family since he is the son of pianist Bebo Valdés, one of the most influential figures in Cuban music and winner of five Grammy Awards. In 1967, Chucho Valdés formed Orquesta Cubana de Musica Moderna before founding Irakere which would become one of the top Cuban jazz orchestras and included at one point trumpet player Arturo Sandoval and reed player Paquito D’Rivera. Chucho Valdés is probably, to this day, one of the most gifted pianist technically, rhythmically, and melodically; upon listening to his music, one may feel and admire his artistic depth as well, a tribute to not only Afro-Cuban music, but also, and simply enough, to music in general.
Chucho Valdés and his bass player Lazaro Alarcon met at a jazz festival in Vitoria, Spain, in 2000. As Alarcon explained after the concert, “in one of the themes the quintet played, [one could hear] a mixture of Cuban rhythms. The theme was dedicated to Duke Ellington and the Cuban rhythms in it were cha cha cha and bolero to end up with a rumba rhythm — conga style.” Indeed, the shadow of Duke Ellington was cast over the evening as the quintet gave personal renditions of “Satin Doll,” “In A Sentimental Mood,” and “Caravan.” Valdés’ sister mesmerized the audience with her version of “Besame Mucho.” The way she projected her voice on stage was quite astounding. Her voice moved effortlessly from very high to very low pitches, and she also scatted and conversed with the public in a call-and-response manner, which created a magical bound between the band and the audience. As Alarcon mentioned, both Mayra Caridad Valdés and her brother have the ability to “mix classical music with popular music,” while remaining Cuban, which makes their style rich and extremely charming.
After such a breathtaking musical moment, one hopes the Valdés Quintet will not wait another seven years to return to Montréal.
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