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East Coast – New York – New Jersey

Chucho Váldes. This virtuous pianist, composer and arranger brings to the music market the sequel of his album Jazz Batá after four decades

Musicians: Chucho Valdés (Piano), Yelsy Heredia (Double Bass) – Dreiser Durruthy (Voice and Superaron Batá) & Yaroldy Abreu Robles (Congas & Percussion) – and Guest artist: Regina Carter (Violin). 

After (Forty Six) 46 years, Chucho Valdés returns to the musical arena with Jazz Batá 2, an album that once again shows the creativity of this imposing Cuban music artist.

Jazz Batá 2 of the Latin Jazz genre contains eight tracks recorded in two and a half days in the John Lee´s studio in New Jersey. This ten-handed CD is the mix of classical music from West Africa impregnated in the piano solos with the Jazz Batá (sacred drums, with the hourglass shape of the Yoruba religion in Cuba), Violin, Bass and Percussion that give a sound with personality, rhythmic and lyrical at the same time.

The band in small format for this record production has four supporting musicians: Yaroldy Abreu Robles, Dreiser Durruthy Bombalé, Yelsy Heredia and Regina Carter. The first three belong to the Guantánamo region and they have deep roots in the Cuban musical culture, in addition to having studied at the conservatory.

Likewise and it should also be noted that Chucho Valdés, influential star of the contemporary Afro-Cuban Jazz, established this experimental format to three instruments (Piano, Bass and Batá) for the first time in 1972 with his album Jazz Batá.

The Jazz Batá 2‘s first single, “100 Años de Bebo”, is an unpublished melody whose composition was by Bebo and it’s a tribute to his centenary. This Danzón-Mambo is played by Regina Carter with an introduction and a “Tumbao” final, added by Chucho Valdés.

The tracks: “Obatalá”, “Oshun” and “El Güije” are themes inspired by the Yoruba religion of Cuba (Santería). Oshun is a Haitian merengue with the incursion of the violin, while El Güije is based on a rhythm created by the percussionist Dreiser Durruthy, and he presents it by speaking the sacred language, derived from the Afro-Cuban religion known as “palo”.

“Son XXI” from this new studio album, is a song by the deceased Cuban composer, Enrique Ubieta, who played with rhythmic clusters of Jazz. The first time that Chucho Valdés interpreted this theme was in the Musical Theater of Havana at the beginning of the 60s.

“Luces” is the first Bolero that incorporates Congas and Batá, as well as the harmonies of increased chords. And the single seven: “Chucho Valdés humor” is a “Descarga”, built on a rhythmic three notes (G, B, and C). According to the Valdés’ Words, “It’s like a twister”.

Finally, the eighth track: “El Payaso” is a piano solo, dedicated to Maurice Ravel. This melody was composed by Chucho Valdés when he was a member of the Cuban Orchestra of Modern Music (Founder in 1967). “… I’m a bit avant-garde, I play Batá on the Piano …”, said Chucho Valdés .

With this record production, Chucho Valdés marks a new milestone in his career, a beginning with the record label: Mack Avenue Records, and a significant chapter of his past.

Release: November 16^th 2018

Label Record: Mack Avenue Records

Available NOW to download in the entire world!

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Norteamerica / USA / Nueva York

Jimmy Bosch was born on October 18, 1959 to a Puerto Rican family in the city of Hoboken in the state of New Jersey.

At the elementary school of his hometown, at the age of eleven Jimmy Bosch was offered a trombone which would give the starting point in his career. According to him, that metallic, valveless, long instrument (which was taller than him) was not necessarily what a child dreamed of; Perhaps, at that time, children dreamed of traveling to the moon, or with an electric guitar that would make them look like The Beatles or, failing that, the Rolling Stones. It didn’t take long for that 11-year-old boy to transform this instrument into an expression of his already visible creativity.

At the age of 13, the talented Jimmy was rehearsing with local bands and making his first foray onto the public stage a year or two later. His determination, the Latin blood that ran through his veins and the taste for the genre that had captivated him on so many occasions, led him to play with the most recognized band in the city: Manny Oquendo & Conjunto Libre. His dexterity and ingenuity in playing “moñas” (a section of trombone solos that enrich the melody) helped him to work with them since 1978, which is why it was alongside the Mythical Free Ensemble that Jimmy experienced the freedom to express himself musically with the trombone

On March 11, 1996, Jimmy Bosch debuted with his band at the internationally known S.O.B.’s nightclub. The result was immediate: Publications in the most prestigious newspapers in the Big Apple such as the “New York Times”, praising his excellence and a house full of loyal fans began to crown the dream of this tropical music worker. In this way he becomes a remarkably respected musician and an icon of Latin culture in New York.

His compositions reflect the creativity and depth of who Jimmy Bosch is. He takes his audience on a journey from Bronx-style “funk” to “hot” guajiras, melodious cha-cha-chás, and clearly poetic lyrics awash with feeling. Thus, Jimmy pays tribute to the other teachers who share their presentations generating remembrance and posterity in each one of them.

In 1998, under the Ryko Latino label, his first solo album, “Soneando trombone”, was released. Jimmy included a “Big Band” with renowned Latin virtuoso artists, such as trumpeter Alfredo “Chocolate” Armenteros, bassist Andy González, and singers like Jimmy Sabater and Pete “El Conde” Rodríguez. They played a mix of Latin styles, including “hard sauce,” of which Bosch is one of its greatest exponents. Bosch not only played a virtuoso trombone, but was also the musical director on that recording.

With his recording debut as a solo artist, Bosch scored a definite success on the international scene. In Europe critics welcomed his musical creations. And in the United States, newspapers such as the Los Angeles Times and The New York Times were full of praise for their brilliant performances.

At the beginning of 1999, the popular musician returns to the charts with a new production: “Salsa dura“. In this production, including musicians like Steve Turre and Chucho Valdés, it was as diverse, strong, and tough as his first production. The recording also included songs like I’m Still Changing. For the release of “Salsa dura” the Creole trombonist traveled to Europe and performed on countless stages of the Old Continent.

Persevering in his creativity, in 2004 Bosch received new applause in Puerto Rico, presenting his musical proposal at jazz festivals. His bows have accompanied such important figures in the salsa industry around the planet as the aforementioned Free Ensemble of Manny Oquendo and Andy González, Eddie Palmieri, Ray Barretto, Rubén Blades, India, the Lebron Brothers, La Combinación Perfecta, Cachao, Spanish Harlem Orchestra and Celia Cruz among others. He was the musical director of the outstanding Puerto Rican performer Marc Anthony.

The late creator of the Mambo, Israel “Cachao” López, composed for him the song “Lluvia, viento y caña”. The legendary trombone solo can be heard on the Grammy-winning recording, “Master Sessions Vol. 1” produced by Emilio Estefan and Andy García.

This talented musician stamps his signature with his particular way of playing the trombone, becoming his personal stamp in the music industry. Today, Jimmy Bosch is famous for his explosive solos, full of melody, vibration and funk.

Known by many as “El Trombón Criollo” for the strength of his improvisations, Jimmy radiates his energy to any musical challenge. Jimmy brings us El airplane de la salsa, his latest production, surrounded by high-voltage musicians and soneros.