Familia: Tribute to Bebo & Chico (Motéma)
Arturo O’Farrill / Chucho Valdés
Released September 15, 2017
AllMusic Favorite Jazz Albums 2017
Familia: Tribute to Bebo & Chico brings together two of the influential families in Afro-Cuban music in a celebration of their late patriarchs: pianist, composer, arranger and bandleader Bebo Valdés and composer, arranger and bandleader “Chico” O´Farrill
It’s a multi-generational tribute led by Arturo O´Farrill and Chucho Valdés — their sons, major figures in their own right — but also featuring the next generation, including pianist Leyanis Valdés, drummer Jessie Valdés, trumpeter Adam O´Farrill and drummer Zack O´Farrill.
In keeping with the theme of Familia, sitarist Anoushka Shankar, daughter of the great Ravi Shankar, is featured playing “Raja Ram,” a piece by executive and artistic producer Kabir Sehgal, inspired by memories of his father.
Scheduled for September 15 release on Motéma Music, the 12-tracks presented in two discs, one featuring the Afro-Latin Jazz Orchestra, the other the Third Generation Ensemble, are a mix of classics by Bebo (“Ecuación” and “Con Poco Coco,”) and Chico (“Pura Emoción” and “Pianitis”) as well as originals by their sons and grandsons. The project was recorded in the studio immediately following sold-out live performances of the material as part of O’Farrill’s Afro Latin Jazz Alliance performance series at New York’s Symphony Space in January 2017.
“I love that the name of the record is Familia and that the cover features pictures of everybody, like a family album,” said Valdés. “I love it because beyond the musical considerations, this is a very emotional project.”
While recording this album, “there were at least two instances in which I literally had to hide in the bathroom to cry,” recalled Valdés. “The first one was when I heard the orchestra playing my dad’s “Ecuación” [originally written for Dizzy Gillespie in 1982 and orchestrated in 2004 for his “Suite Cubana”]; I remember he wrote that suite in pencil and copied all the parts by hand. And when Arturo’s orchestra started playing, the sound put me back at the Tropicana, when I was a kid and Bebo used to take me to the rehearsals — and I had to hide and cry because the emotion was overwhelming. I felt my dad in the room.” The other especially emotional moment happened when recording “Tema de Bebo,” a piece he included as “Bebo” in his 2013 album Border-Free.
“The recording session had a pinch-me feeling, watching two maestros make music at the highest level. This collaboration is a watershed moment not just for the music but for education in our country: how different generations can work, learn, and imagine with each other. The workplace is increasingly intergenerational, and this album shows us how to thrive,” said Sehgal, who also wrote the liner notes.
For O’Farrill, Familia suggests a deeply personal follow up to his latest album, Cuba: The Conversation Continues, which won “Best Instrumental Composition” GRAMMY® for the track “The Afro Latin Jazz Suite,” as well as winning a Latin GRAMMY® for “Best Latin Jazz Album.” It’s a conversation between Chico and Bebo, old friends and colleagues in Cuba, who once shared music and a profound mutual admiration, continued and expanded by other, familiar voices.
But Familia is also something else, he noted: It´s a celebration of the creative spirit.
“It’s important to me that Familia is not just a nostalgia project,” said O’Farrill. “It cannot be. Bebo and Chico were both forward-looking creators so, for us, it was important not just to recreate the music they left us, but to capture the zeal and vision they had for progress. They were innovators. They wrote music that was radical for their times.”
As a tribute to that spirit, consider O’Farrill’s own “Three Revolutions,” celebrating change and progress well beyond the mere political, or Zack O’Farrill’s adventurous “Gonki Gonki.”
Reflecting on the recent political climate as it relates to Familia, O’Farrill says, “It’s sad to see progress made by a family-oriented President be dismantled by a business-oriented one. Business teaches that it’s okay to lie, divide, manipulate and do whatever it takes to succeed. Familia stands as a challenge to those people who think mounds of glitter are what life is all about. We support the progress the United States has made with Cuba. Our restored diplomatic relations are a sign of recognition that familial obligations are more important than ideological or business obligations, and that the first order of business is to see those families as global.”
As for the recording sessions, “there were many unbelievable moments for me,” he said. “I have a photograph of Bebo and Chico standing together and looking very happy so when we first started the session I taped this photo on a very high boom stand. So Chucho and I had our backs to each other, and high up, between us, we had Bebo and Chico watching over the music.”
He recalled the recording of “Fathers, Mothers, Sons, Daughters,” for which, at one point, “We had everyone in the studio, Leyanis, Jessie, Zack, Adam, a group of young trumpet players from Cuba, the entire band and me and Chucho,” said Arturo. “I just took a moment to look at the assembled crowd and I had this overwhelming sense of accomplishment, and thinking of Chico and Bebo.”
Arturo “Chico” O´Farrill (October 28, 1921 – June 27, 2001) and Dionisio Ramón Emilio “Bebo” Valdés Amaro (October 9, 1918 – March 22, 2013) first worked together in Cuba at the fabled Tropicana Club. O´Farrill wrote arrangements for the house orchestra and Valdés was the house pianist. From there, their paths diverged widely. O´Farrill moved to New York in the late 40s, lived in Mexico City from 1955 to 1965, when he returned to Manhattan. Valdés left Cuba in self-exile in 1960, first to Mexico and then Europe, settling eventually in Stockholm. Both lived most of their lives as exiles and both unexpectedly found success again, performing and recording, in their winter days, but their paths did not cross again many times.
“A beautiful moment I recall with them was while touring in Spain with Chico in 1995,” said O’Farrill. “I believe we were in Madrid and Bebo came to see the band. And when they saw each other there were a lot of hugs and tears. It was very emotional, very powerful. There was a lot of love and respect between them. It was a beautiful thing to witness.”
As for the next generation, O’Farrill has played and recorded with his sons Zack and Adam from an early age, but for Valdés, this was the first time in the studio with Leyanis and Jessie.
“They already have recorded their first album, and theirs is a very different music. It has nothing to do with me or Bebo,” said Valdés, sounding like a proud dad. Meanwhile O´Farrill, spoke of how moved he was with the way the young guys carried themselves. “Zack, Adam, Leyanis and Jessie are incredible musicians, and I keep thinking of how their music comes from their humanity,” he said. “We have pieces like the ones by Zack and Jessie and you can hear how the vision and spirit of our forefathers has been carried on by the generations that followed. I think Chico and Bebo would’ve been proud.”
1. Bebochicochuchoturo (Arturo O’Farrill / Chucho Valdés) 08:56
2. Three Revolutions (Arturo O’Farrill) 07:52
(Grammy Nominee for Best Original Composition)
3. Ecuatiõn (Bebo Valdés) 09:33
4. Tema de Bebo (Chucho Valdés) 11:59
5. Piantis (Chucho Valdés) 06:09
6. Father, Mothers, Sons, Daughters (Arturo O’Farrill) 10:17
1. Run and Jump (Adam O’Farrill) 07:20
2. Recuerdo (Jessie Valdes) 07:41
3. Gonki Gonki (Zack O’Farrill) 05:44
4. Pura Emocion (Chico O’Farrill) 03:50
5. Para Chico (Chucho Valdés) 02:32
6. Con Poco Coco (Bebo Valdés) 08:07
7. Raja Ram (Ted Howe / Kabir Sehgal) 04:12
Arturo O’Farrill: piano
Chucho Valdés: piano
Carlos Maldonado: percussion, bongos, conga
Chad Lefkowitz-Brown: clarinet, flute, tenor saxophone
Gregg August: bass (CD1 1-6)
Vince Cherico: drums (CD1 1-6)
Bryan Davis: trumpet (CD1 1-6)
Jonathan Powell: trumpet (CD1 1-6)
Seneca Black: trumpet (CD1 1-6)
Jim Seeley: trumpet, flugelhorn (CD1 1-6)
Earl McIntyre: tuba, bass trombone (CD1 1-6)
Frank Cohen: trombone (CD1 1-6)
Tokunori Kajiwara: trombone (CD1 1-6)
Rafi Malkiel: trombone, euphonium (CD1 1-6)
Ivan Renta: tenor saxophone (CD1 1-6)
Robert Porcelli: flute, alto saxophone (CD1 1-6)
Larry Bustamante: bass clarinet, baritone saxophone (CD1 1-6)
David DeJesus: flute, alto saxophone (CD1 1-6)
Tony Rosa: percussion, conga (CD1 1-6)
Leyanis Valdes: piano (CD2 1-7)
Bam Bam Rodriguez: bass (CD2 1-7)
Jessie Valdes: drums (CD2 1-7)
Zack O’Farrill: drums (CD2 1-7)
Adam O’ Farrill: trumpet (CD2 1-7)
Jesús Ricardo Anduz: trumpet (CD2 1-7)
Kali Rodríguez-Peña: trumpet (CD2 1-7)
Ernesto Vega: clarinet (CD2 1-7)
Anoushka Shankar: sitar (CD2 7)
Christopher Sanchez: percussion (CD1 1)
Recorded January 30 – February 1, 2017, at Jeevan Music Studios, London and Systems Two Recording Studios, Brooklyn, New York
Produced by Kabir Sehgal, Arturo O’Farrill
Executive Producer: Kabir Sehgal
Engineers: Rafa Sardina, Peter Karl, Julian Hepple (CD2 7)
Mixing: Rafa Sardina
Mastering: Oscar Autie
Photography: David Garten
Pianists Arturo O’Farrill and Chucho Valdés celebrate their rich musical family legacies on 2017’s ambitious, gloriously realized Familia: Tribute to Bebo & Chico. Although they grew up on separate shores, O’Farrill in New York (via Mexico) and Valdés in Cuba, they both came of age in musical households as the sons of legendary Cuban bandleaders Chico O’Farrill and Bebo Valdés. Along with icons like Chano Pozo, Machito, and Dizzy Gillespie, the elder O’Farrill and Valdés were giants of Afro-Cuban music. Similarly, just as their fathers helped further the dissemination and creative development of Afro-Cuban and Latin jazz, Arturo and Chucho are innovators in their own rights, with decades of experience playing both traditional Cuban music and ultra-modern jazz. Impressively, they bring all that history to bear on Familia, a two-disc collection featuring songs composed by their fathers, as well as new compositions inspired by their lives growing up in such deeply artistic families. Joining them here are their equally talented children, including trumpeter Adam O’Farrill, drummer Zack O’Farrill, pianist Leyanis Valdés, and drummer Jessie Valdés. Also on board are the members of Arturo O’Farrill’s own Grammy Award-winning Afro Latin Jazz Orchestra. Disc one primarily features the Afro Latin Jazz Orchestra and finds O’Farrill and Valdés taking a more traditional, if still dazzling approach on cuts like the merengue-infused “BeboChicoChuchoTuro” and a lushly orchestrated reading of Bebo Valdés’ “Ecuacion.” Also compelling are the pianist’s solo turns on Chico O’Farrill’s “Pianitis” and O’Farrill’s homage to his parents, “Fathers, Mothers, Sons, Daughters,” which features several sparkling cadenzas from pianist Leyanis Valdés. Disc two showcases the smaller, post-bop-leaning Third Generations Ensemble, in which they explore the more progressive edges of Afro-Cuban jazz. Here, trumpeter (and third place finisher at the 2014 Thelonious Monk Jazz Competition) Adam O’Farrill shines, revealing his knack for harmonically adventurous improvisation à la Woody Shaw on the kinetic and fractured “Run and Jump.” Similarly, the trumpeter breathes new life into Chico O’Farrill’s “Pura Emocion” framed by his father’s taut, angular arrangement. Elsewhere, Zack O’Farrill contributes the expansive “Gonki Gonki” (his mother’s way of describing the sound of rhythmic piano montunos) and Chucho offers the lushly virtuosic solo track “Para Chico.” The sheer amount of virtuosity on display on Familia: Tribute to Bebo & Chico might well be overwhelming if the music itself weren’t so warmly and beautifully rendered.
Matt Collar (AllMusic)