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Elio Villafranca

Elio Villafranca

As the Smithsonian issues Elio Villafranca’s second book, Cubano!: Evolution of Popular Cuban Piano Styles, here’s hoping that attention will also be paid to Incantations Encantaciones (Pimienta). Villafranca’s debut CD features stellar solos and ensemble playing by Jane Bunnett, Pat Martino and Terell Stafford, with drummer Dafnis Prieto, bassist Carlos Henríquez and conguero Wilson “Chembo” Corniel. “If I had used only Cuban musicians in this recording,” Villafranca says, “it would have been purely Cuban and inherently limited. The goal was to create a cultural and musical fusion, a sound and a Pan-American language featuring jazz, European and regional influences. This strategy demanded that the group congeal through the process of fusing each individual’s talents rather than through coming together to vibe in one obvious Latin groove. I preferred to integrate jazz figures with little experience in Latin music, mixing them with Puerto Rican, Canadian and Cuban musicians.”

Consequently, in “Cacique,” a manysided Villafranca composition fashioned after melodic ideas from Coltrane’s “Miles’ Mode,” Schoenberg meets indigenous Afro-Cuban religious rhythms and instruments. “If Coltrane or Mingus had attended Santería rituals in Cuba,” wonders the pianist, “what would they have done?” Similar queries lie behind the nub of many of his jazz compositions.

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