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Interview with Dafnis Prieto

Author: Dafnis Prieto; Tomas Pena
Publisher: 2008.
Series: Duke jazz series.
Edition/Format:   Audiobook on CD : CD audio : English
Database:WorldCat
Summary:
Dafnis Prieto speaks with Tomas Peña about growing up in Santa Clara, Cuba, in the small town of Candao; his early musical inspiration found in Cuban festivals known as comparsas; his early attraction to Cuban traditional music, especially the percussive rhythms of rumbas, including guaguanco, columbia, and yambu styles; the complexity of the rhythms of rumbas; playing guitar at a local social club, and eventually  Read more...
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Details

Genre/Form: Interviews
Named Person: Dafnis Prieto; Elvin Jones; Bobby Carcassés; Miguel Angá; Judith Sánchez Ruíz
Material Type: Audio book, etc.
Document Type: Sound Recording
All Authors / Contributors: Dafnis Prieto; Tomas Pena
OCLC Number: 274184131
Notes: Interview with Dafnis Prieto conducted by Tomas Peña in New York, N.Y., on Sep. 26, 2008.
Recording quality is poor.
Description: 2 sound discs (ca. 92 min.) : digital, stereo. ; 4 3/4 in. + transcript (86 leaves)
Series Title: Duke jazz series.

Abstract:

Dafnis Prieto speaks with Tomas Peña about growing up in Santa Clara, Cuba, in the small town of Candao; his early musical inspiration found in Cuban festivals known as comparsas; his early attraction to Cuban traditional music, especially the percussive rhythms of rumbas, including guaguanco, columbia, and yambu styles; the complexity of the rhythms of rumbas; playing guitar at a local social club, and eventually taking up bongos and the clave; taking classical music classes at the School of Fine Arts in Santa Clara [Cuba]; the presence of Russian ideologies after the 1960s revolution in Cuba, and the impact those ideas had on him; the kind of percussion training he received at the School of Fine Arts; becoming interested in avant garde jazz while in school; the influence of local jazz bands, such as Orquestra de Musica Moderna; the influence of big bands, such as Maynard Ferguson's; the influence of John Coltrane and Indian musicians, such as Ravi Shankar and Zakir Hussein; discovering the percussive style of Elvin Jones, and his influence; Bobby Carcasses, and his influence; moving to Havana to attend the Escuela Nacional de Arte [ENA], and the new experiences had there; the Cuban musicians using jazz scatting styles, such as Francisco Fellove Valdes; playing in the group Columna B, which was a collective formed with Yosvany Terry, Roberto Carcasses, Descemer Bueno, and the some time members, Eladio (Don Pancho) Terry and Miguel Anga; the progressive style of the band's compositions; touring with Columna B in the U.S. in venues such as the Zinc Bar and the Nuyorican Poets Café and the group's residency at Stanford University in Palo Alto, Calif.; coming to a point in his career when the music scene in Cuba was too limiting, and deciding to leave Cuba; moving to Spain where his wife, the dancer Judith Sanchez Ruiz, was residing; spending a year in Spain and being contacted by Jane Bunnett to tour in Canada; touring in Canada with Bunnett's band, The spirits of Havana; being forced to leave Spain due to the expiration of his green card, and deciding to move to the U.S.; the difficulty in leaving his family behind in Cuba; arriving in N.Y. in 1999, and his impressions of the city; living in Spanish Harlem; playing at the Jazz Gallery as part of the jazz Cubano series, and his interactions with the owner of the club, Dale Fitzgerald; his first commissioned piece in the U.S. by Dale Fitzgerald; working with other young jazz musicians in N.Y., such as Jason Lindner and Vijay Iyer; being recognized by the The New York Times jazz critic, Ben Ratliff, and the positive impact that had on his career, including an opportunity to perfom with Herbie Hancock and Quincy Jones; playing with Henry Threadgill and Eddie Palmieri; his first recording, About the monks, and the style of the compositions, including an explanation of the title and its meaning; various commissions, including one by the Painted Bride in Penn., and another by Chamber Music America, New works program; various commissions for dance works, and creating scores with his wife, Judith; the process of composing new works; his playing style, and the need to create his own voice distinct from other drummers; his daily routine, including practicing percussive improvisational styles; his ability to deconstruct traditional forms to create new forms and rhythms; being nominated for a GRAMMY with his band, Absolute Quintet, and the impact that had on him; his appreciation for the possibility to create new works through the Chamber Music America program; creating his own record label, Dafnison music; working as a sideman, and his opinions of that role; teaching at New York University, and the challenges therein; participating in drum clinics, and becoming more involved in the professional drumming industry; his hope that the music industry will start to recognize, support, and encourage young talent; his plans for future projects.

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Linked Data


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