Yoruba rhythms have been an endless source of inspiration to musicians around the world since their African birth.[1] As the Yoruba religion has played a major role in shaping Cuban culture since the massive arrival of West African slaves on the island in the nineteenth century, a multitude of Cuban instrumentalists and composers have shown undeniable Yoruba influences.[2] Chucho Valdés is one of the most famous figures to illustrate this phenomenon.[3] For more than five decades, he has performed, improvised, arranged, composed, mixed, mastered and edited music that not only uses Yoruba rhythms but also strongly celebrates the general Afro-Cuban legacy.[4] Valdés is a pioneer and model to most Cuban musicians, including myself, because he has developed a unique and personal style through the hybridization of two powerful and distinct musical genres: jazz and Afro-Cuban music.[5] I have been greatly influenced by this pianist since I started learning music, and I believe I have been following his path in my recent quest for hybrid creative music. In this essay, I will discuss the personality of the Yoruba deities in relationship with their rhythms. Then, I will do a brief analysis of Chucho Valdés’ performance practice and use of Yoruba rhythms. Finally, I will tend to in related Chucho’s approach to my own approach. I will attempt to define and analyze both ways of approaching piano performance, improvisation, and composition and will illustrate the main differences. I will then explain why I have chosen this musical direction and sketch out my personal path within the broader perspective of contemporary jazz performance practice. [1] Acosta, Leonardo. Cubano Be, Cubano Bop: One Hundred Years of Jazz in Cuba. Washington: Smithsonian Books, 2003, p. 59. [2] Ortiz, Fernando. Los Negros Brujos. Miami, Florida: Ediciones Universales,1973. p-12. [3] Acosta, Smithsonian Books: 2003, p. 212. [4] Chucho Valdés’s Website.“Biography.” Accessed on November 9, 2015. http://www.valdeschucho.com/index.html#about. [5] Acosta, Smithsonian Books: 2003, p. 212.
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