Desde la Bahia

Latin Beat Magazine, Dec, 1998 by Jesse Varela

SAN FRANCISCO DOS GARDENIAS PARA TI: Every year since its founding 16 years ago, the San Francisco Jazz Festival has presented diverse one-of-a-kind events that span a wide spectrum of jazz and related musics. This year was no exception as venues throughout town were transformed into meccas that included 26 performances over 11 action-packed days that began October 29. On the Latin tip, this year's features reflected a generational passing of musical torches as exemplified by "Fiesta Boricua," the pairing of salsa singer Marc Anthony with El Gran Combo, and "Dos Gardenias Para Ti: Leyendas del Piano Cubano," a heart-melting piano summit between Jesús "Chucho" Valdés and the incredible Ruben González.

The meeting of Valdés and González at Davies Symphony Hall was a rare opportunity to experience two delightful masters who have worked diligently to advance the role of the piano in Cuban jazz and popular music. For González this was his American debut following his rediscovery as part of the Buena Vista Social Club last year which spawned the release of "Introducing...Ruben González" for World Circuit/Nonesuch. For Chucho it was one of many visits to the city by the Bay but never at this scale.

From the moment Valdés struck the first notes on the house Steinway, you knew it was going to be a special night. Flanked by a superb trio that included Roberto Vizcaino Guillot (percussion), Raul Piñeda Roque (traps), and Frank Rubio (bass), the repertoire was largely from Valdés' latest album, Bele Bele En La Habana (Blue Note).

Showers of bebop-derived riffs sprayed off the piano as Chucho's vicious swing pounded out his father's (Bebo Valdés) pioneer descarga - Con Poco Coco. Montunos levitated from his left hand as the right swept out crispy improvised melodic lines. Cascading chords with harmonic edges created dissonant tensions that mesmerized the sold out hall in surprising ways. With virtuosity plus, the groups cohesion was attentive and inter-active but rested on the muscular tumbao of Rubio to ground itself for dynamic percussion - piano exchanges and conversations.

Son Montuno was a storm with everyone shining beyond expectations. The hour-long set was an enlightenment by a superb musical cast despite the sound in the cavernous Davies Symphony Hall being far from perfect. Yet there was a resilient bond between the audience and this exquisite giant as his frame lunged back and forth, energizing his full-fisted attacks on the piano as the band lent full bodied support. The crowd screamed for more!

Following the intermission, a proclamation was given to the pair from the city of San Francisco, declaring it Chucho Valdés & Ruben González Day. González was obviously moved as he held up the handsomely framed document signed by mayor Willie Brown for all to see. As he brought on his all-stars, the 83 year-old master was ready to give something back to the audience that stood applauding his legendary trajectory.

With a quiet effortless motion he laid his hands on the keys of the Steinway and began a short solo piece called Como Siento Yo. It was magic as this elder hunched over this huge instrument and drew from it feelings and colors that transported you back to another time and space. As he conversed, you heard those '50s cabaret roots and sounds that radiated the voice of his contemporaries like Lili Martínez and Pedro Justiz "Peruchin." It was a sound that was delicate but forceful.

The crew that accompanied him was practically all the Afro-Cuban All Stars with a couple of exceptions. The band was led musically by trombonist Jesús Ramos and featured Orlando "Cachaito" López (bass), Amadito Valdés (timbal), Angel Terry Domech (conga), Roberto Garcia (bongo), and Manuel Mirabal (trumpet). The great singer Ibrahim Ferrer was slated to be with the band but ill-health forced him to return home to Havana. He was replaced by the equally masterful Manuel "Puntillita" Licea.

Classics poured out like La Negra Tomasa, Engañadora, Chanchullo, Dos Gardenias, Trombon Majadero, Buena Vista, Suena El Piano, and a rousing version of El Cumbanchero. It was a rare moment in the history of this festival. Louie Armstrong and Jelly Roll Morton could never have been there, yet in spirit they lived through González, who proved that important New Orleans-Cuba connection.

Puntillita was a marvel to hear embracing timeless lyrics like Dos Gardenias and caressing them with articulations perhaps more careful than in his youth. Don Ruben embroidered his voice with radiant chordal colors and sustained notes searching for new expression to a song he's played countless times. Cachaito and Amadito were a joy of professionalism. The house sound, given its many obstacles, was artistically handled by Alain Martínez, who was the only one who got it and let the band create the dynamics acoustically only amplifying solos and the voices. It worked!

Both Don Ruben and Chucho were flawless. One a master headed for legendary status at the prime of his career, the other an elder whose heart still beats for a music he helped innovate and make grow. It was a very special night. Kudos SFJS!!!