Trumpeter Roy Hargrove, already in the vanguard of young musicians, explores the Afro-Cuban jazz tradition in Habana, his latest Verve release. Recorded in Orvieto, Italy in January 1997, Habana is an exciting update of the Afro-Cuban jazz sound. Roy is the latest in the line of trumpeters seduced by Afro-Cuban music and rhythms leading back through kenny Dorham and others to the man, Dizzy Gillepsie.

Accompanying Hargrove on this labor of love is an impressive cast of American, Cuban and Puerto Rican musicians. In addition to the leader there’s Gary Bartz, Frank Lacy and Russell Malone from the States; from Puerto Rico David Sanchez and John Benitez; and from Havana, Cuba, little heard (at least in the U. S.) legends “Chucho“ Valdes (piano), Miguel “Anga“ Diaz (conga drums), Jose Luis “Changuito“ Quintana (timbales), Horacio “El Negro“ Hernandez (trap drums) and Jorge Reyes (acoustic bass).

Hargrove, steeped in the trumpet tradition was, of course, well-acquainted with the Cuba-jazz relationship that long preceded him: Dizzy’s historic collaborations with Chano Pozo; trumpeter Mario Bauza and band leader Machito; Afro-Cuban jazz development in general. But he hadn’t been to Cuba. And - due partly to the political and social issues that complicate free exchange between Americans and Cubans in all walks of life - he hadn’t yet met the primary living exponents of Afro-Cuban sounds. 

All that changed in 1996 when “Chucho“ Valdes invited Roy and his band to participate in the 16th Annual Havana Jazz Festival, of which “Chucho“ is artistic director. Hargrove and company accepted the invitation and they spent 11 days in Havana, absorbing the culture, the sights, and especially the sounds.

Indeed, his very first night there he sat in with the groundbreaking Cuban group Los Van Van. From there the word about the young American got out and the rest of his stay was a whirlwind of sitting in, sharing musical ideas on-stage, dazzling the locals and being dazzled in return. A strong connection with Cuban music and musicians was forged.

“Just playing with those cats made me realize that every note has to be played like it’s your last one,” declares Roy. “The musicians are so incredible, so dedicated. It opened my eyes and made understand what it was like to really play. You can’t be a mediocre musician there, you have to be excellent. It was an education.”

A spark had been struck, a flame kindled. Later that year further collaborations (especially with “Chucho“ and “Anga“) took place in New York and Europe with equally incendiary results. Naturally, recording with these fabulous musicians became a priority.  

Before the year was out the stage was set - in Italy. The performances on Habana were taped during a week-long residency at the Umbria Jazz Festival’s “winter“ edition in Orvieto. For a week-and-a-half, Hargrove and his band played and rehearsed in two historic halls: the opera house Teatro Mancinelli and the Palazzo di Sette, a 13th -century palace converted to a performance space. They played each day and night to increasingly enthusiastic audiences; the last day was devoted to a recording session, sans audience, at the trio.

The tunes Roy’s considerable compositional skills are represented by three titles. “Dream Traveler”, a joyous 6/8 romp and a good example of why “El Negro“ is the most talked-about drummer to hit the U.S. scene recently. The superb “Ballad For the Children”, was written, Roy says, “...for all the young people getting involved in the music.”   “The Mountaings“ was inspired by a spectacular view from the mountains near Los Angeles.

“Chucho“ penned two fiery tunes: the festive “Mambo For Roy”, and minor blues, “Mr. Bruce“. “Mambo“ was used as closer at each performance. “It was first arranged for my big band, then we modified it for this group,” says Roy. “Because it has a lot of different movements, with a percussion section and a half-time section at the end, it’s a favourite of mine.”

Bartz’s lovely “Nusia’s Poem“ became a performance with two-pianist and two-drummers when John Hicks and Idris Muhammad (who were also playing the festival) joined the band. Setting the spiritual tone for the album is Lacy's mesmerizing  “O Mi Seh Yeh”, which opens and closes the album.

Habana is rounded out by spirited covers of Kenny Dorham’s best-know Afro-Cuban composition, “Una Mas“ and “Afrodisia“.

Throughout the album Hargrove displays the ever-improving chops and musical taste which inspired Newsweek to state: “The hottest trumpet player in the world... is Roy Hargrove. It’s on the level of emotional conviction that Hargrove really delivers the goods. On a ballad, his trumpet fairly purrs. When he plays the blues, you can believe he means it”. Furthermore, Down Beat declared the 27-year-old trumpet to be “...the mainstream’s most remarkable case of accelerated development“.

Hargrove’s commitment to this music includes a summer jazz festival tour with the same unit (plus or minus a few musicians) under the name “Roy Hargrove’s Crisol“. Watch for them.

Roy Hargrove’s talents will continue to take him many places in the coming decades. None are likely to affect him - or be affected by him - as deeply and powerfully as Habana.

Biography courtesy of Gabriele Kleinschmidt Promotions - GKP