The Pure Emotions Of Chico O'Farrill

Latin Beat Magazine, June-July, 1999 by Luis Tamargo

LT: Why did you return to Havana in 1956?

CO: Partly as a result of those feelings of sentimental foolishness which affect our lives once in a while. It also had to do with the emergence of rock 'n' roll, as personified by Elvis Presley, who was getting so much attention at that time. I felt that his success was an insult to so many unrecognized jazz musicians. So I decided to go back to Havana fora while in order to get away from such a state of affairs.

LT: Upon your return to Havana, you recorded a wonderful album with Cuarteto D'Aida. How were you able to combine their vocal filin style with your big band structure?

CO: It happened spontaneously. The final product was very beautiful...The filin movement produced a great amount of good music, but it got a bit carried away later on.

LT: Filin was a style nurtured by Havana's nightlife. That is why it disappeared as soon as the Last Caudillo killed the nightlife.

CO: Yes, but Fidel did not only murder the nightlife. He killed many other things (LAUGHTER).

LT: You also arranged for Bola de Nieve, one of the predecessors of filin. Although he humorously admitted once that he had "the voice of a vendedor de duraznos (peach vendor)," Bola's vocal style was extremely sensitive and enchanting.

CO: Perhaps it was precisely due to the fact that he was able to sing those romantic and sentimental boleros with such a vulgar voice (LAUGHTER). He was capable of injecting a unique feeling into the music. By the way, Bola was a marvelous cook. He loved to cook for me.

LT: That makes sense! Bola's mother not only served as inspiration for Grenet's Mama Inés, but she was also Lecuona's favorite cook.

CO: You are providing a wealth of information that I was not aware of. Maybe I should be the interviewer next time (LAUGHTER).

LT: In 1958, you settled in México City, where you composed your so-called Aztec Suite for Art Farmer.

CO: I thought of that title because I wrote the suite in México, but if did not have anything to do with Mexican music (LAUGHTER). I played it again with Art farmer a few years ago.

LT: You did not record any albums as a bandleader between 1965 and 1995. Why?

CO: I was so busy doing arrangements for Count Basie and other jazz luminaries that I did not have enough time to record under my own name. For example, I worked as an arranger in eleven of Basie's recordings. In addition, I began to produce jingles which paid very well and ensured our daily rations of rice and beans (LAUGHTER).

LT: In the CD Pure Emotion (Milestone, 1995), you had the audacity to offer a 12-minute version of La Cucaracha, the most trivial Mexican tune of all time. Were you aware that Charlie Parker had previously brought to justice said musical insect? (LAUGHTER)

CO: No, I was not aware of that. I wrote that piece in México fora performance at the Mexican capital's Club Israelita. Around that time, I had been spending many hours listening to Stravinsky and other classical composers. This is how I conceived such an elegant cockroach (LAUGHTER).