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Folder Roberto Ohne Beschnitt Marken.Indd Roberto Fonseca AKOKAN Born in 1975 (Havana) into a musical family, Roberto Fonseca – career took an unexpected turn. “I went to the EGREM studios to re- despite having been described in many different ways (“the most cord Angá Díaz’s album, invited by him, and when I got there I saw promising and important talent in Cuban music”, “A true revelation many people who were legends to me …, Rubén González, Cachaíto who stands out among pianists of his generation”) – remains faithful López, Guajiro Mirabal…… in two months my whole life changed.” to the wish he has had since the beginning of his career: ”I want my music to reach people who don’t know me, and I dream of one day Shortly afterwards, he was invited to be support pianist to the great becoming a point of reference for my audience…” maestro Rubén González, as part of the renowned Orquesta de Ib- rahim Ferrer and that same year he joined the management com- He started studying piano at the age of 8, though his initial passion pany Montuno. “My God, sharing the stage every night with Rubén was percussion. This interest from such an early age would clearly González was a real dream; I’d just stay there, staring at him play influence his trademark “percussive” piano-playing style. His first for hours”. A dream that toured all over the world, with over 400 “job” was as the drummer for a band doing covers of Beatles songs. concerts, promoting Ibrahim Ferrer’s records next to great legends At the age of 14, he created his first compositions, drawing inspi- such as Cachaíto López, Guajiro Mirabal and Manuel Galbán, among ration from the Afro-Cuban genre: “At school we used to regard others. Playing at the most prestigious venues, such as Frankfurt American jazz as a point of reference; I felt that my music would Alter Oper (Frankfurt), Palais des Congrès (Paris), Albert Hall (Lon- be a fusion of both genres … I liked lots of jazz musicians, such as don), Beacon Theatre (New York), Sydney Opera House (Australia), Herbie Hancock and Keith Jarrett, but also old American funk and etc. Not a single review of Ibrahim’s concerts, from South America soul classics”. to Asia, would fail to mention Fonseca’s talent and his magnetic sta- ge presence. Omara Portuondo, passionate about his style, invited His appearance as a pianist, aged just 15, was a revelation at him to take part in her tours, among them the Tokyo Jazz Festival in Havana’s “Jazz Plaza” International Festival; he completed his aca- 2002, where he shared the stage with Herbie Hancock, Michael Bre- demic training as both pianist and teacher. After this, his desire to cker and Wayne Shorter: “I couldn’t believe it, when Herbie Hancock improve and learn further led him to take a degree in Musical Com- himself called me to play with him, I did not even sleep that night!!” position at the Instituto Superior de Arte (ISA). At the age of 21, guided by the need to fuse his music with other styles, he embarked That period of intense work, touring round the world, led Roberto on a tour across Italy with singer Augusto Enriquez, which included to realize that his music was ready for creating his own project. He performances on the state TV channel, RAI. Roberto’s path would dug deep to compose each of the songs that form “Zamazu”, the re- cross, one year later, with saxophonist Javier Zalba (Irakere, Cuba- sult of the integration of all his influences; Afro-Cuban music, jazz, nismo), with whom he formed the group “Temperamento”. classical music and traditional Cuban music. In a year of intense creativity, he recorded and produced his first He discovered that his music can create new possibilities: Meeting album “En el Comienzo”, which won the award for best Jazz album fashion designer Agnès B was the start of a relationship of mutual at the Cubadisco´99 festival; he co-produced, arranged and played admiration. Their rapport first emerged when Roberto started wea- on Augusto Enriquez’s album, “Cuando Yo Sea Grande”, and recor- ring her creations for all his performances, and took shape when Ro- ded his first solo album “Tiene Que Ver” which he released in 1999, berto played live for the Agnès B fashion show in Paris in July 2006. receiving an award in the popular Cuban music category of the Tri- malca competition, organised by UNESCO. His second solo work was In mid 2004 Ibrahim Ferrer decided to carry out a project that would quick to be released, and in 2000 he presented “No Limit”, recorded be the climax of his artistic career, a record and a tour of his treasu- and produced by Roberto for Japanese record label JVC. The same red boleros, which would celebrate the singer’s love for the genre. year he composed the soundtrack for the film “Black”, by French His close relationship with Roberto and the trust he placed in his director P. Maraval, and produced the record “Un montón de cosas” musical abilities led to Roberto taking part in the first recordings. for the Hip-Hop group Obsesión. He arranged and co-produced the work in the EGREM studios in November of that same year, producing over 10 songs in January Roberto’s life changed with the start of the 21st century, not only 2005, as well as assuming the role of director of the world tour “Mi because he released his third album, “Elengo”, but also because his sueño: A bolero Songbook tour 2005”. Ibrahim Ferrer used to say “This “muchacho”, despite having a jazz background, gets me and dedicates this new album to all the people that welcomed him with respects my music, and - boy, can the kid play…!“ open arms. His new record is called “AKOKAN”, which means heart in Yoruba. “All the music that I compose is a part of me, and having After two exciting tours with this project, August 2005 was a time to choose has been really difficult…” of great pain for Roberto, with the loss of Ibrahim Ferrer. This be- came the driving force behind the desire to finish his own album With “Akokan” Roberto wants to bring the magic, strength and im- “Zamazu”, and he did so in 6 months. He invited in Alê Siqueira, one provisation of a live show to the studio. Accompanied by his band, of Brazil’s major music producers, creator of great projects such as the one that he has been playing with for the last 12 years, Roberto Tribalistas, Flor de Amor (Omara Portuondo), Infinito Particular (Ma- as the record’s producer has encouraged creativity and chemistry risa Monte), etc. He travelled to Bahia for the pre-production stage amongst the musicians. In “Akokan” we find a pure Roberto Fonse- at Carlinhos Brown’s studio, and added the finishing touches to all ca. There are also two very special collaborations from artists that the collaborations on the album, including Brazilian percussion. At Roberto admires, artists that have very different styles: Mayra An- that moment, a date was fixed for the album’s recording – January drade, the Cape Verdean singer who wrote the words and sings on 2006 – as well as a place – La Habana. ‘Siete Potencias’, and Raul Midón, the American singer, wrote ‘Se- And so, in barely 5 days in January, Roberto recorded over 2 hours cond Chance’. On this track Roberto did the arrangements and Raul of music. A creative output reminiscent of the classic jazz sessions. played also guitar. In comparison to “Zamazu”, on this new album Several musicians were included in the line-up for this fabulous al- the piano is the true protagonist with some incredible piano solos bum and several collaborations closed the 3-year creative cycle. and a different way of playing, one enriched by many experiences and the desire for us to feel his passion for life and music as the Carlinhos Brown, Cachaíto López, Omara Portuondo, Vicente Amigo, driving force of each piece. Toninho Ferragutti, and friends such as Javier Zalba, Omar Gonzá- lez, Ramsés Rodríguez and a further twenty or so musicians were in- volved. All were witnesses to a Roberto Fonseca seeking to connect the most sensitive touch on the piano to the melody and forces of rhythms that amalgamate the principal musical cultures of America, Brazil and Cuba with those of the African continent. Compositions of a beauty that touches the sublime, with lyrics of imagination that inform the aesthetics of the album, a place where virtuosity submits to emotion. In 2006 he produced the Japanese singer Asa Feeston’s album and collaborated as a musician on other albums, such as Timbalada’s la- test. Together with Nick Gold from the World Circuit record label, he put the last touches to co-producing what would have been Ibrahim PRESS REVIEWS: Ferrer next album, one that he recorded just before passing away. It was released in 2007 under the name of “Mi Sueño”. This album was nominated at the Latin Grammy Awards 07 for Best Traditional “A fabulously gifted pianist, composer and bandleader... a gift for Tropical Album. melody that outshines more celebrated peers...one of a new breed who can transcend musical boundaries through sheer quality.” In the month of July, during the summer festivals in Europe, Roberto The Guardian shared the stage with Bebo and Chucho Valdés at Jazz in Marciac and composed the song “Latin in Marciac” which the Festival used for the opening and closing of its main concerts. “An elegant line and an unhurried feel for time and space.
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