Introduction
Bebo Valdés (1) has built a
brilliant career based on his works. He had close friendships with
figures who transformed Latin jazz and Cuban music—musicians from the
late 19th century like "Samuel," "Cervantes," and "Romeu." Despite
being 91 years old and suffering from arthritis, his nimble fingers
are still capable of performing complex musical scales and the fast
dance rhythms of "Mambo" (2), which
was pioneered by "Cachao López"
(3).
Since the time flamenco musicians welcomed him into their community
with open arms, Bebo's musical spirit has become more alive and has
soared. With an extraordinary expressive brilliance in his piano
playing, Bebo began collaborating with the renowned flamenco singer
"Diego El Cigala" (4). The result
of this collaboration was the highly successful album Lágrimas Negras
(Black Tears) (5)—a brilliant and
exceptional album that brings various musical styles together before
us, offering a magical taste of folk and tribal music. Here, flamenco
singing and the sound of the instruments chase each other, find each
other, caress each other, embrace, and ultimately merge into a unique
dream.
Source: flamenco-world.com
Interview with Bebo Valdés
At certain points, you have been influenced by Spanish music. Which
type of music has had the greatest impact on you?
Bebo Valdés: The music of old composers like Manuel de Falla, Joaquín
Turina, and Isaac Albéniz. Falla, because of his arrangements—he
applied a French technique to Spanish music. I think he was a student
of Albéniz. I also love Albéniz and Turina. Their music touched my
heart. However, if I had to choose one among them, I would say Falla.
I think he was the best of them all.
Was it flamenco that sparked your love for Spanish music in your
youth?
Bebo Valdés: (Laughs) You could say that. But it took years for me to
move from the influence of those old composers to flamenco, and that
happened when a child named Diego El Cigala heard me playing Lágrimas
Negras alongside my son "Chucho"
(6) and Cachao López. He said he
wanted to learn, and I told him—why not start from the foundation?
Thus, our first meeting took place at the house of "Fernando Trueba."
While playing alongside Diego’s singing, I realized the incredible
similarities between Cuban and Spanish music. For example, there is a
"Malagueña" rhythm that is exactly like our Cuban "Guaguancó"
(7). There are many other rhythmic
and harmonic similarities, influenced by both African and Indian
music. So, naturally, we started playing Bolero
(8), Seguirilla
(9), and Guajira
(10) together.
However, beyond the connection between flamenco and Afro-Cuban
music (11), there are other
similarities—such as the relationship between tango and "Comparsa"
(12), or the resemblance
between Rumba Flamenca (13) and
the songs that were sung in the Yoruba
(14) language…
Bebo Valdés: Yes, I agree. I believe all of this originates from the
migration to Cuba that began in 1509, accompanied by colonization. We
must not forget that the two-beat Cuban dance music, Habanera
(15), came from Spain to Cuba. A
similar thing happened with Contradanza
(16) when Habanera made its way
from Spain to Havana, Contradanza arrived from Haiti and France to
Santiago de Cuba. The Haitian landowners settled in Santiago and
Guantánamo, bringing their enslaved people with them. These Africans,
who were forced to work on sugarcane plantations, carried with them a
unique kind of music, among which we can mention an African form of
Contradanza and the Changüí
(17) music. However, there is
much debate over the true origins of Contradanza. Some music scholars
claim it originates from England, but personally, although I cannot
prove it, I strongly believe this music is 100% French in origin.
Let's move from this discussion to modern music. Let's talk about
"Paquito D'Rivera" (18) the
person responsible for bringing you back to the stage after twenty
years of isolation…
Bebo Valdés: Paquito called me one day in 1994 and asked for my help.
He needed to perform a music program and required some good, authentic
pieces. I told him, "I am far from what you are asking—I haven’t
composed anything in years." He then asked me, "But do you have any
new ideas for a project?" I said, "Well... I have a few!" So I got to
work, and within 36 hours, I had composed several pieces, including
Oleaje (19), which I wrote for
solo piano. Although the album belonged to Paquito, he gifted me the
rights to it, and that’s how Bebo Cabalga de Nuevo! (Bebo Rides Again)
(20)
In the 1940s and 1950s, before the Cuban Revolution, you were a
highly active figure in music. What do you remember from that
era?
Bebo Valdés: Back then, many Cubans frequently traveled to the United
States, especially from November to March. They had to perform in
casinos. At that time, I played jazz, though I was also deeply
fascinated by street dances like Boogie-Woogie
(21), Danzón
(22), and Rumba. Then, in 1937,
Cachao López and I formed an orchestra. It must be acknowledged that
Cachao reinvented the music and dance of Mambo in his own way. His
orchestra continued, but I focused on my studies. In 1943, I joined
the "Corbelito" music group. At that time, I was nearing the end of my
studies. I had completed my studies in harmony and was about to begin
my research in counterpoint
(23) and orchestration.
Wasn't that the time when jazz legend "Norman Granz"
(24) invited you to record a
piece?
Bebo Valdés: That happened a bit later, in 1952. I never met him in
person. There were strong influences from American society on Cuban
music. Granz hired me, and we recorded the first Cuban music piece in
history together. About a month later, the piece was recorded in a
studio in Havana, but Granz wasn’t there. I don’t know why he couldn’t
supervise the recording. Regardless, it was a unique Cuban music
recording. There was sugarcane rum and beer. It was amazing!
We've sometimes noticed that Afro-Cuban jazz is not exactly the
same as Latin jazz. What are the differences between these two jazz
styles?
Bebo Valdés: Afro-Cuban jazz was precisely our improvisations based on
Cuban rhythms, exactly what Mario Bauzá
(25) was doing in the U.S. But
the main issue was the financial and commercial aspect because the
term Latin jazz was more appealing to South American record companies.
That title referred to the entire South American continent, which
naturally led to higher sales.
Given that, don’t you think musicians like Xavier Cugat or Dámaso
Pérez Prado diluted the rhythmic complexity of Cuban music—something
that was truly present in Afro-Cuban jazz—and sacrificed it under
the label of Latin jazz for economic reasons?
Bebo Valdés: Well, I can’t really speak about Pérez Prado
specifically. He was born in Matanzas and made excellent arrangements,
especially when he moved to Mexico. Maybe when he became very famous,
he compromised on quality to some extent. As for Xavier Cugat, he was
more of a caricaturist and a Hollywood figure than a musician,
although he was highly successful in entertainment and made more money
than any other Cuban musician!
But Beny Moré (26)! The voice
of Cuban music! A person who was truly a musician rather than a
businessman. Is it true that when Beny Moré saw your son, Chucho
Valdés, playing the piano, he told you: “Hey! This kid is going to
play the piano even better than you!”?
(laughs) That’s exactly what he said… I met Beny in 1945. At that
time, I was working in a radio station’s music group and writing
arrangements for songs. We needed a singer because our previous singer
had fallen ill, so Beny Moré replaced him. He was truly a talented
man. No one expected him to rise from being a street guitarist to
having his own orchestra. However, although Beny knew how to lead his
orchestra, he wasn’t technically a conductor. The one who took on that
role was Generoso Jiménez, who wrote the arrangements for Beny. When I
released the Batanga album, he came to me looking for work because he
had been fired. I talked to Paquito Gutiérrez, and that was when we
started our work at the radio station. After that, Beny Moré truly
shined.
If we want to talk more about Bebo, we cannot overlook the Valdés
family's piano legacy. Your son, Chucho, is a well-known pianist.
What about your granddaughter, Chucho’s daughter?
Bebo Valdés: Yes, it’s unbelievable! Diana, Chucho’s daughter, won
first prize in a classical piano competition in Italy at the age of
19. She is considered the most important treasure of Chucho’s life. A
little while ago, Chucho introduced her to me. She looked into my eyes
and declared that she intended to follow in the musical footsteps of
her father and me in jazz. But she didn’t say this to ask for help—she
expressed it with all her heart. In fact, she was asking me to
convince Chucho to let her pursue such a path. And now, I tell you, we
have an appointment together. At the San Sebastián Jazz Festival on
July 27. First, Chucho will perform with his group, then I will take
the stage with Cigala. Apparently, we are going to witness a
three-piano duel: me, my son Chucho, and my granddaughter Diana.
Some critics have pointed out that your piano style is more related
to the 19th-century neoclassical style, like that of pianists such
as Romeo and Samuel, rather than 20th-century piano playing...
Bebo Valdés: This question is generally about style. When I released
the Batanga album, everyone said that this style was the future of
Cuban piano playing. But I could never forget the playing of "Ernesto
Lecuona" and Romeo. They created a domain that all of us walk upon
today.
Let’s focus on the album you recently released with Diego Cigala,
Lágrimas Negras. In this album, for the first time, Cuban bolero
music was combined with Spanish flamenco. What led you to release an
album in the bolero style, and why did you choose the title Lágrimas
Negras (Black Tears)?
Bebo Valdés: The name Lágrimas Negras was chosen because it belongs to
a famous classic bolero song composed by Miguel Matamoros
(27). We wanted to have a
different interpretation of this song, distinct from the hundreds of
existing versions. Moreover, Cigala is crazy about this song… and in
love with every bolero, really. I have played these songs all my life.
I can say that people were deeply moved by this performance. This
album has highly emotional pieces. At times, listeners are touched and
brought to tears, and at other times, they feel lively and cheerful.
When you play different styles, how do you adapt them to the
piano?
Bebo Valdés: On the surface, I don’t change anything in the style. I
try to capture the form. I might modify the melodies slightly for
embellishment. I learn a lot from flamenco musicians. I find myself
among Diego Cigala and others, entering their world. And they enter
mine. Look… they gave me a gift. (He proudly shows a medal pinned to
his right chest.) This medal belongs to the Brotherhood of the Gypsies
of Almería (28). They told me
that I am one of them. And I told them the same thing. (He pauses
briefly.) It’s unbelievable how musical they are. For example, take
"Niño Josele" (29). He has never
attended a conservatory, yet he is one of the finest performers on
stage.
As a final question, what plans do you have for the future?
Bebo Valdés: I don’t have any long-term projects for the future, but
at the moment, I have many plans. With God's help, I intend to work as
much as I can. At my age, I cannot make long-term plans. Months go by,
and I count them… but who cares? Because just this year, I have
recorded three new albums! One with my own group, one as solo piano
and violin performances, and another with a nine-member ensemble. Each
album represents a different aspect of me. These projects were
suggested to me by Nat Chediak and Trueba, and fortunately, they were
possible. And now, I ask God to help us continue working together for
as long as possible.
Footnotes
(1) Bebo Valdés, the legendary
Cuban pianist, bandleader, and composer, pivotal in the development of
Cuban jazz and mambo. His innovative style and collaborations,
particularly left an indelible mark on Latin music.
go back
(2) Mambo: A type of Cuban dance
and music. The word originates from the Yoruba language, spoken by
African slaves brought to Cuba, meaning "conversation with the gods."
Mambo is a Latin American music style that emerged in the 1930s,
pioneered by Cachao López and some of his contemporaries, such as Beny
Moré. This music was performed in Havana casinos.
go back
(3) Cachao López: Known as
"Cachao," he was a musician and bass player in mambo music and played
a crucial role in popularizing mambo in the early 1950s in the U.S. He
won multiple Grammy Awards and is recognized as the inventor of mambo.
go back
(4) Diego El Cigala: Diego Ramón
Jiménez Salazar, a renowned flamenco singer, known as "El Cigala,"
meaning "Norwegian lobster." He stated that three Guitarists gave him
this nickname, referring to his extreme thinness! He won a Grammy
Award with Bebo Valdés for their album Lágrimas Negras (Black Tears).
go back
(5) Lágrimas Negras: a classic
Cuban bolero that blends traditional melodies with poignant lyrics of
heartbreak. Its enduring popularity stems from its emotional depth and
the captivating performances it has inspired.
go back
(6) Chucho Valdés: A highly
acclaimed Cuban pianist and composer, renowned for his virtuosic blend
of jazz, classical, and Afro-Cuban musical traditions. His innovative
contributions to Latin jazz have earned him numerous Grammy Awards and
solidified his status as a musical legend. go back
(7) Guaguancó: A Cuban dance
featuring highly complex movements with a fast rhythm. This music
involves Cuban percussion instruments accompanied by a solo singer and
a chorus. Additionally, a male and a female dancer perform along with
the music. go back
(8) Bolero: A slow-tempo dance
common in Spain and Cuba, with a history of over a century. The
Spanish and Cuban versions of this dance are distinct. It typically
has a 3/4 rhythm. go back
(9) Seguirilla: A Spanish dance
also found in Cuba, often featuring minimal lyrics but enriched with
wailing and lament-like sounds. It is a solo dance that must be
performed with intense emotion. This dance is solemn, harsh, and
deeply expressive, often associated with traditional and ritualistic
ceremonies. The surroundings should be simple and unadorned. The
rhythm is slow yet complex. go back
(10) Guajira: A Cuban music style
with rural-themed lyrics. It is usually performed in 3/4 or 6/8 time
by a singer accompanied by a Guitar. The lyrics often describe the
beauty of rural landscapes. go back
(11) Afro-Cuban Music: Cuban
music with African roots. In practice, Cuban music as a whole is
deeply influenced by African traditions, making this term broadly
applicable to Cuban music. go back
(12) Comparsa: A theatrical and
highly visual dance performed as a street festival. Performers and
dancers move to the sound of drums and the voices of singers known as
Conga. A panel of judges selects the best performers.
go back
(13)Rumba Flamenco: A style of
Flamenco music influenced by Afro-Cuban music. This influence traveled
from Cuba to Spain in the 19th century. In Spain, it is performed with
Guitar and hand claps, while in Cuba, it incorporates percussion
instruments. go back
(14) Yoruba: A widely spoken West
African language brought to Cuba by African slaves. More than 25
million people in Africa speak Yoruba. It is commonly used in
songwriting and composing. go back
(15) Habanera: A Cuban dance from
the 19th century characterized by the Habanera rhythm, accompanied by
song lyrics. It follows a 2/4 time signature, with a dotted eighth
note, a sixteenth note, and two eighth notes in each measure. It was
the first Cuban dance exported worldwide. go back
(16) Contradanza: An 18th-century
English-origin dance, performed by the French, English, and Germans in
the 19th century. It is designed for multiple dancing couples. It was
a dance of the aristocracy. go back
(17) Changüí Sound: A dance
popular in eastern Cuba in the early 20th century. It emerged
alongside the fusion of Spanish Guitar and African rhythms and was
especially common in the Guantánamo province.
go back
(18) Paquito de Rivera: A Cuban
musician, alto Saxophonist, soprano Saxophonist, and Clarinetist,
winner of multiple Grammy Awards. go back
(19) Oleaje: A captivating piano
piece that showcases his mastery of blending Cuban rhythms with jazz
improvisation, evoking the rolling, powerful movement of ocean waves.
go back
(20) Translation of the album's
title in Spanish "Bebo Cabalga de Nuevo". go back
(21) Boogie-Woogie: A six-beat
rhythm dance popular in Europe between the 1930s and 1950s.
go back
(22) Danzón: The national and
official dance of Cuba, introduced by French immigrants who fled the
Haitian Revolution. go back
(23) Counterpoint: The technique
of setting, writing, or playing a melody or melodies in conjunction
with another, according to fixed rules. go back
(24) Norman Granz: A famous
American jazz musician and music producer in the 1950s and 1960s.
go back
(25) Mario Bauzá: A Cuban
musician active in the U.S. in the 1930s, among the first to introduce
Cuban music to America. go back
(26) Benny Moré: A Cuban singer
(1919–1963), considered by many as the greatest Cuban singer of all
time. Due to his mastery of various musical styles, he was given many
titles, including Bárbaro del Ritmo ("The Wild Man of Rhythm").
go back
(27) Miguel Matamoros, Cuban
composer and Guitarist (1894–1971). go back
(28) Almería: A province in
southeastern Spain on the Mediterranean coast.
go back
(29) Niño Josele: A Spanish
Guitarist and innovator of the Neoflamenco style.
go back