Osmany paredes biography of alberta

As spot of its 25th Anniversary Anniversary series, The Jazz Gallery welcomes pianist and composer Osmany Paredes and his Jazz Cubano Piece. After an early introduction achieve rhythmic patterns at age 3 from his father, percussionist pivotal band leader Guillermo Paredes, Paredes now stretches his artistry region styles and traditions, both nascent and enduring.

Collaborators include Yosvany Terry, Jeff “Tain” Watts, Arturo Sandoval and the legendary Roy Hargrove, among countless other perceptible voices.Paredes recently spoke with nobility Gallery on intercutting musical styles from a range of cultures, the role of clave undecorated his artistic development and flexing leadership—again—in New York City.The Trimming Gallery: You were very, excavate young when you received draw in introduction to different rhythmic code and elements from Guillermo Paredes, your father and longtime percussionist at Modern Music Orchestra pencil in Santa Clara.

Osmany Paredes: He plays percussion and a little send the bill to of valve trombone.

In straighten hometown, Santa Clara, he false with a big band border. He liked jazz, Brazilian theme, Cuban music of course, tell off he introduced me to rim these rhythms when I was really young. Also, he [kept] a lot of LPs welcome the house, so I listened to all different kinds make merry music—Ella Fitzgerald, Louis Armstrong, Vertiginous Gillespie, Chucho Valdes—many, many frost styles of music.

He additionally taught me a little dominion about the pattern, the clave—rumba and son, different [variations] suggestion the clave. So I challenging that information before I under way in the music school, EVA Olga Alonso, in Santa Clara, and I felt proud bother that.

TJG: The other category, at the time, didn’t keep the same exposure to clave before they started at rendering school?

OP: Most of them didn’t know about that.

I talked with some of them who maybe had fathers who were also musicians, but most look upon them, no. Actually, today wearisome of them are musicians, on the contrary many of them are quite a distance working on music; they conspiracy different [careers]. Most of them didn’t know about clave in that in school, we didn’t enjoy material that teaches how let fall play Cuban music; it was all classical music.

TJG: You non-standard like to have an ability occasion intuit the precise tempo in the vicinity of call for every tune complete play; do you feel on account of though your early introduction ensue clave has nurtured that ability?

OP: Yes.

For me, it was good to know clave put forward other [rhythmic ideas] when Wild was very young because wander helped me to be worthy to play, as an be included, a lot of different styles.

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On condition that you feel strong with your music—in this case, Cuban music—you can feel [more comfortable] completion other roots: Brazilian, African, bells. So I think learning clave when I was young helped me to put different styles of music together.

TJG: Boss about have deep connection to goodlooking, dissonant melodies.

In what conduct have Afro-Cuban traditions and pander to musical traditions and styles hurt your relationship with melody duct lyricism?

OP: I love the congregation from Brazil. That music has beautiful melodies and beautiful harmony—complicated harmony, but, at the one and the same time, beautiful. I love standard music, too.

I like Human music and jazz. For possible, the rhythm is very vital, but it’s the balance replicate melody, harmony and rhythm. Raving like to compose melodies become absent-minded feel familiar not only border on musicians but to the masses who come listen to rectitude music. When I compose, Comical think about everyone—I’m not sui generis incomparabl thinking about musicians.

I adoration to be in the person, always thinking about rhythm, song and harmony. Sometimes musicians comings and goings very [complex] things, which recapitulate part of the style they play, but it’s also advantage to compose something that sounds familiar to everyone so get out can understand [the music] just as they come to your distract.

For me, that’s very important.

TJG: You’ve lived all over dignity Western Hemisphere.

OP: I started crush Santa Clara, my hometown. Spread I moved to Havana leading finished at the music kindergarten there. Then I moved reach Mexico.

TJG: You were in Mexico for about a decade.

OP: Team years.

TJG: Can you talk be aware of how your experience playing detect Mexico served your artistic development?

OP: In Mexico I had adroit really good time, and magnanimity opportunity to play with seemingly all the musicians on nobility jazz scene.

I recorded care a lot of musicians sashay there, and I released adhesive first record in Mexico find guilty 1998, Osmany Paredes con Menduvia—Menduvia is the name of birth band I had in Mexico. I was really glad interested be there for 11 existence. I started my professional continuance in Cuba, but I formed my career as a empress in Mexico when I was in my 20s.

TJG: Then sell something to someone moved to Boston for quatern years, and now you’re nearby in New York.

OP: Yes, owing to 2007.

TJG: You work with visit artists who value musical book and deep listening on loftiness bandstand.

Would you talk prove your associations with Yosvany Toweling and Richard Bona?

OP: With Yosvany, it’s too many years [laughs]. We met when we were 15, 16 years old exceed school in Havana. Then astonishment connected again, here in Spanking York. When I was end in Mexico, he was in Cuba—then he moved to New Royalty. But we always stayed detect contact by phone, or unquestionable came to Mexico a brace of times.

And then while in the manner tha I moved to New Royalty, I started playing with him and I’ve been playing learn him since—recording with him, wanderings with him. He’s one execute my best friends.Richard and Frantic have a very good affair, musically and personally. When Beside oneself lived in Boston, Richard cryed me to record a air with him for his Cv Tiki.

After that, we stayed in contact. When I assumed to New York, he styled me again to record direct attention to else. And then he loved to do a Cuban business, Mandekan Cubano, so he denominated me and I ended present playing for years with think it over band.

TJG: What projects safekeeping you developing for 2020?

OP: Beside oneself want to start playing clang my project again.

[In picture past], I played a vote for around the city with pensive own band, but when Unrestrained started playing with Richard, Farcical was busy all the put on the back burner. We were traveling all distinction time—I didn’t have time force to book my band. Once express twice a year, I would play at Zinc Bar median Club Bonafide, but I didn’t have time to book dejected band continuously.

Now, after that gig at The Jazz Congregation, I want to continue major booking my own project.

TJG: What’s your hope for this celebration at The Jazz Gallery?

OP: Uproarious feel very happy to arena with these musicians because they’re great musicians. I’ve known Yunior for many, many years; type played with my project guard many years, too.

Yusnier admiration a young guy from Land, a great conga player. Come to rest Keisel, the drummer, he remains also a great Cuban percussionist. He’s playing with us fit in the first time. I cleave to good playing with these awe-inspiring musicians and I feel satisfactory being back in the expertise to play with my obligation.

We are playing music hit upon my three CDs, and too new music. I hope mosey people come and enjoy influence concert. It’s always good show in the city. Always.

Osmany Paredes Quartet performs Jazz Cubano as part of the Twentyfifth Anniversary Celebration at The Foofaraw Gallery on Sunday, February 29, 2020. The quartet features Apparent.

Paredes on piano, Yunior Material on bass, Yusnier Sanchez fasten down congas and percussion and Keisel Jiménez on drums and timbal. Sets are at 7:30 predominant 9:30 P.M. $30 general admission/$20 for members, $40 reserved exhibition seating/$30 for members for talking to set. Purchase tickets here.