Okonkolo Concertante From Cuban Saxophonist Yosvany Terry

by chipboaz on November 30, 2016

Share Button

The use of percussion in Latin Jazz is usually considered a given; most people think of percussion as a defining element of the style. While percussion has certainly been a driving force in our conception of Latin Jazz, it constitutes more than a simple rhythmic pulse. The rhythms that we’ve come to know and love represent important pieces of South American and Caribbean culture. There’s meaning behind every rhythmic pulse a percussionist plays; that’s the important piece. As long as that cultural reference is taken into consideration, percussion simply reinforces it.

Saxophonist Yosvany Terry understands the relationship between percussion and cultural reference point better than most. Growing up around his father, percussionist Eladio Don Pancho Terry Gonzales, he soaked in percussion in every aspect of Cuban life. His work at the Amadeo Roldan Conservatory and his Cuban music superstars Cucho Valdes, Silvio Rodriguez, and more only solidified his understanding. Upon arriving in New York in 1999, Terry embraced jazz whole heartedly and became an in-demand player. These deep experiences come through in this performance of his composition “Okonkolo Concertante.” The piece draws upon the rhythms of the Okonkolo batá drum, keeping the cultural reference while pulling the music through Coltranesque soloing, funk undertones, and more – all without using any batá drums. It’s a rich connection to Cuban music that references percussion without using it.

Do you have a Latin Jazz video to share? E-mail a link to latinjazzcorner@gmail.com

Check out recent Latin Jazz videos:
Tito Puente Playing Dave Brubeck’s Take Five
Ray Obiedo And Mambo Caribe
Papá Bocó From Yasser Tejeda & Palotré
Romero Lubambo & Leny Andrade Duet On Jobim’s Dindi
Giovanni Hidalgo & Friends Tipico Descarga

Share Button

{ 0 comments… add one now }

Leave a Comment

Previous post:

Next post: