OMAR SOSA & YILIAN CAÑIZARES Aguas Trio featuring Gustavo Ovalles

FRI, FEB 28, 2020 ROYCE HALL, UCLA WE THE PEOPLE. THE POWER OF ART. WELCOME TO UCLA’S CENTER FOR THE ART OF PERFORMANCE

UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement of the contemporary performing arts in all disciplines—dance, music, spoken word and theater, as well the emerging digital, collaborative and cross-platforms utilized by today’s leading artists. CAP UCLA is the public- facing presenting organization for the performing arts at UCLA—one of the world’s leading public research universities—and we are housed within the UCLA School of the Arts & Architecture along with the Hammer and Fowler museums. CAP UCLA curates and facilitates direct exposure to contemporary performance from around the globe, supporting artists who are creating extraordinary works of art and fostering a vibrant learning community both on and off the UCLA campus. As an influential voice within the local, national and international arts community, CAP UCLA is also where cultural expression and artistic exploration can thrive, and where audiences can have fun and experience the artists of the stage that connect us to new ways of seeing and better understanding the world we live in now.

cap.ucla.edu #CAPUCLA CAP UCLA Presents OMAR SOSA & YILIAN CAÑIZARES Aguas Trio featuring Gustavo Ovalles Fri, Feb 28 at 8PM Royce Hall, UCLA Approximate run time: 75-90 minutes, no intermission ABOUT THE ARTISTS

Omar Sosa Composer-pianist-band leader Omar Sosa’s musical trajectory traces the Diaspora from Cuba to Africa and Brazil; from Central America to Ecuador’s African-descent communities; from San Francisco and New York to Western Europe and the Mediterranean. True to his Afro-Cuban origins, Sosa fashions a spirited vision of uncompromising artistic generosity that embraces humanity at large.

Winner of the Smithsonian Associates’ lifetime achievement award, nominated seven times for Grammy awards and twice for the BBC World Music Awards, Omar Sosa entwines the cultural traditions of Africa, Europe and the Americas in a unique cosmopolitan voice. He articulates a brilliant, thoroughly contemporary global jazz idiom that assumes new form via a joyous, open-hearted, collaborative approach to musical creativity.

Whether as a soloist, ensemble player, or bandleader, Omar Sosa creates music that is simultaneously his own and the world’s—reflecting an immersion in the batá drumming of Santería, the lyricism of the Cuban danzón, the Arabic lute or oud, North African percussion, European classical music and world jazz. Sosa’s attentive and imaginative melding of sounds from around the world marks him as a courageous and original global artist for the twenty-first century.

Omar Sosa was raised in Camagüey, Cuba’s largest inland city. His father, Sindulfo Sosa, taught history and philosophy, and was a school administrator. His mother, Maricusa Palacios, now retired and living in Havana, was a Telex operator for the electric utility. Sosa grew up listening to classical music and a range of popular artists including Nat King Cole, Orquesta Aragón, Benny Moré, Cachao, Frank Emilio Flynn and Conjunto Folklórico Nacional. At age eight, Omar began studying percussion and marimba at the Camagüey conservatory; in Havana, as a teenager, he took up piano at the prestigious Escuela Nacional de Música, and rounded out his formal education at the Instituto Superior de Arte. Among his influences, Omar cites traditional Afro-Cuban music, European classical composers (including Chopin, Bartok, and Satie), Monk, Coltrane, Parker, Oscar Peterson, Herbie Hancock, Chick Corea, Keith Jarrett, Chucho Valdés and the pioneering Cuban jazz group Irakere.

Moving in 1993 to Quito, Ecuador, Omar immersed himself in the folkloric traditions of Esmeraldas, the northwest coast region whose African heritage includes the distinctive regional marimba tradition. He relocated to the San Francisco Bay Area in 1995 and soon invigorated the Latin jazz scene with his adventurous writing and percussive style. Subsequently, he has collaborated with artists from across Western Europe and all corners of the African continent.

Among Omar’s many associations are drummers and percussionists Steve Argüelles, Julio Barretto, Mino Cinelu, Miguel “Angá” Diaz, Marque Gilmore, Gustavo Ovalles, Adam Rudolph, John Santos and Orestes Vilató; singers Lázaro Galarraga, Marta Galarraga, Xiomara Laugart, María Marquez, Sardinia’s Tenore San Gavino de Oniferi, Mola Sylla, Will Power and Tim Eriksen; and woodwind masters Paquito D’Rivera, Luis Depestre, Leandro Saint-Hill and Mark Weinstein.

Sosa’s is a thoroughly contemporary jazz idiom that celebrates the diversity of African voices on the continent and far beyond. Omar says, “Africa and the Diaspora represent an unequaled musical source. I have tried to express the continent’s melodic contour, and its great rhythmic strength. Rhythm connects every people with the supreme Spirit. Every land has ways of calling the Spirits, to pull people together. Philosophically, through jazz—perhaps the Diaspora’s freest genre—we have sought to combine the Caribbean, Latin America and Africa in an expression of freedom, a celebration of the Diaspora, alive in our times.”

Yilian Cañizares “Yilian is one of the most incredible talents of the new generation of Cuban musicians. She is a virtuoso, she is expressive, spontaneous and with a grace that makes her the favorite of all of us.” Chucho Valdés

Before she picks up her violin and walks onstage, Yilian Cañizares pays homage to her ancestors. Candles are lit, prayers are said and offerings made. Then as the houselights dim and her group of crack musicians file on before her, she’ll lean down and touch the floor as she enters.

“This always puts me fully in the moment,” says the vivacious Cuban singer and instrumentalist. “It allows the music and the ancestors to flow through me, to reach people even if they don’t speak my language. I go into a trance when I perform live,” she adds with a grin. “It is like a religious experience.”

All those who have marvelled at her fiery blend of jazz, classical and Afro-Cuban rhythms, who’ve got goosebumps from her otherworldly voice, will testify to feeling transformed. Whether onstage or on record there are few artists as impressively talented as Cañizares, a Havana-born, Swiss-based thirtysomething with a respect for the past and a feel for the future - oh, and a smile to die for.

Two acclaimed albums, 2013’s self-produced Ochumare and 2015’s Invocación, helmed by Alê Siqueira (Roberto Fonseca, Omara Portuondo) have strengthened Cañizares’ reputation as a trailblazer and boundary crosser por excelencia. Not for nothing was she declared ‘revelation of the year’ by French weekly Le Novel Observateur: with her charisma, tapestry of influences and the ease with which she sings and plays violin simultaneously, Cañizares is a bona fide discovery.

“My sound reflects the richness and mixture of cultures that I carry with me today,” she says in her fluent, accented English. “It is who I am: a woman. A Cuban. A musician. A citizen of the world.”

Cañizares grew up in Vedado, the neighbourhood next to Havana’s Plaza de la Revolution. Early musical memories include her grandfather serenading her on guitar, and her mother singing as she accompanied herself on piano.

“Every weekend I’d be taken to see a classical orchestra, jazz quartet or salsa band,” she remembers. “My mother said I’d be chatting away, telling her I wanted to be up on the stage.”

Aged seven, she won a place at the prestigious Manuel Saumell music academy, to study piano and violin. This was the austerity-hit 1990s, Cuba’s so-called ‘Special Period’: “It was tough getting equipment, getting anything,” says Cañizares. She won the National Violin Contest of Cuba four times, nonetheless.

Cañizares was 14-years-old when she was offered a scholarship to study in Caracas, Venezuela. Two years later, a masterclass with a visiting Swiss-based teacher changed her life. “He told me I was gifted, and encouraged me to apply for a place at his music conservatory.”

In 2000 Cañizares found herself in western Switzerland, where her playing and technique hit a whole new level. Big name orchestras beckoned: on moving to Lausanne she spent six years contributing note-perfect takes to symphonies, concertos and operas. Along the way, she began to feel like she was losing something. Craving a creative outlet, she quit.

“I was so inspired by [French jazz violinist] Stéphane Grappelli. The possibilities just blew me away. I wanted to translate this Grappelli universe to my tradition, and make it just as beautiful.”

She assembled a quartet of musicians from Germany, Venezuela and Switzerland (and later, Cuba) and named it Ochumare, after the orisha deity of rainbows. Six months later, they won the 2008 Montreux Jazz Festival Competition. It’s been upwards ever since. In 2011 she graced Giles Peterson’s Havana Cultura project, and has gone on to share stages with jazz gods including Ibrahim Malouf and Omar Sosa. More recently, she’s sung in French and Yoruba, the language of her West African ancestors, enhancing the lyrics with AfroCuban percussion.

“The traditional Yoruba canon is a huge influence,” she says. “These songs are melodic, rhythmic and powerful.” Invocación is a homage to Cañizares’ nearest and dearest. Her parents, grandparents, husband. Cuban women. The Orishas. Icons such as French icon Piaf, Venezuelan composer Simón Diaz and Cuban poet Luis Carbonell. “It wasn’t until I was half way through making the album that I realised how much it was inspired by people who were no longer here. AfroCuban belief says the spirits of those you love and admire from a personal or artistic point of view continue to stay around you. I find that beautiful.”

Yilian Cañizares, then. A woman born in Cuba and living in Switzerland. An artist as passionate about classical music as she is about jazz, salsa, hip hop and rhythms from elsewhere. A unique performer who, when called upon, is able to join voice and violin and express herself as an orchestra might.

“I have a relationship with the violin that is passionate and precious,” she says of her current Italian-made instrument. “He is like a partner, a lover. We complement each other.” She pauses, smiles. “We still have a long way to go, he and I,” she says. “Always to the service of the music, and the ancestors.”

Gustavo Ovalles After 5 years of studies at the conservatory of Caracas, Gustavo Ovalles has been rapidly attracted towards traditional Venezuelan percussions and dance, that he learns with great teachers. He continues his investigation in Venezuelan villages to find the root of the traditional music. In his research, he comes to la Havana (Cuba) for working with masters of batas drums (religious drums) in order to be initiated and to become son of the drums (Omo Aña).

Since his arrival in France in 1997, this experience allowed him to work with some of the greatest artists of the salsa world, of jazz and to share his traditional music with world music players. He took part in many jazz festivals; Montreal, Noth Sea Jazz festival in Holland and Saint-Louis in Senegal. He has performed on prestigious stages such as Carnegie Hall and the Blue Note of New-York and Tokyo.

Special thanks to our dining partners

Shibumi

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The Executive Producer Council is CAP UCLA’s philanthropic leadership group that develops and contributes resources vital to the Center’s programming and mission. The Council comprises individuals who champion the creative development, presentation and public dialogue with contemporary perform- ing artists by providing direct support for the Center’s annual programming. They are engaged in artistic and curatorial practices that inform the annual programs, long-term initiatives and collaborative planning efforts that stand at the heart of CAP UCLA’s mission and public purpose.

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Jonathan Gordon Swartz Endowment for the Lori Grapes & Susan Wyler Performing Arts Nancy & William Gubin Photographs and/or video Royce Center Circle Endowment Lois Haytin/Harold A. will be taken at today’s per- Fund and Lois Haytin Foundation formance. By entering this Royce Gala Endowment Bonnie & Philip Homsey, II space you grant the event Sally & William A. Rutter Sharon Kagan & Terry Holzgreen organizers full rights to use Endowment for the Performing Sandy & Lewis Kanengiser the images resulting from Arts Carolyn & Charles Knobler the photography/video Shirley & Ralph Shapiro Director’s Discretionary Fund Tom Levine filming, and any reproduc- Bert Levy Shirley & Ralph Shapiro Patricia & James Livingston tions or adaptations of the Endowment for Design for Elsa & Bill Longhauser images for fundraising, Sharing The Honorable Sherrill Luke publicity or other purposes William Montgomery to help achieve the group’s Mary Montella & aims. An artist at every table February 20–March 2, 2020

A festival of gatherings that will consist of great food, lively conversation, fabulous L.A. restaurants, cafes and watering holes and select hosts and artists. Each event will have 12+ amazing people seated at the table to ‘break bread,’ raise a glass and exchange what’s on our minds in an intimate setting to help support the cultural life of Los Angeles.

We urge you to explore the events already announced and to check back for more additions and surprises in the coming weeks!

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