Painted in
the broadest of strokes, the stories of Alfredo Rodriguez and Pedrito Martinez
may seem similar: both started life in Havana, discovered their gifts and
passions for music and headed to the States, where they melded the music of
their homeland with a wide variety of influences, each in his own deeply
personal way.
Zoom in a
little, though, and the two paths differ considerably. Rodriguez was born into
a musical family, his father a popular singer and TV host. A child prodigy, he
studied classical piano at the prestigious Conservatorio Amadeo Roldán and
Instituto Superior de Arte while playing popular music in his father’s
orchestra by night. While performing at the Montreux Jazz Festival in 2006 he
was discovered by his future mentor and producer, the legendary Quincy Jones.
Martinez, on
the other hand, honed his craft on the streets of Havana, learning the
deeply-rooted percussion and vocal style of Afro-Cuban folkloric and religious
music. Nearly a decade Rodriguez’s senior, the master percussionist and
vocalist arrived in the U.S. in 1998, was soon awarded First Place at the
Thelonious Monk Institute of Jazz International Afro-Latin Hand Drum
Competition, and appeared in the documentary film, Calle 54. He then co-founded
a Latin fusion group, Yerba Buena, with which he toured extensively and
recorded several successful albums. Pedrito has performed or recorded with
Wynton Marsalis, Sting, Bruce Springsteen, Paul Simon, Angelique Kidjo, Chucho
Valdés, and James Taylor. He has been leader of his own quartet since 2005 with
a GRAMMY® Award-nominated album released in 2013 on Motéma Music.
As a result
of their differences, Rodriguez and Martinez share a natural chemistry that
makes for a galvanizing musical experience when they come together. Their first
duo outing, Duologue (due out February 1, 2019 and available for pre-order now
via Mack Avenue Records), finds the pair exploring a range of moods and
influences, from Cuban classics to collaborative original compositions to a
number of unexpected favorites.
Despite
their shared Cuban roots, Rodriguez and Martinez didn’t cross paths until both
had moved to the States. The pianist caught a set by the always-thrilling
Pedrito Martinez Group at a jazz festival and instantly knew he wanted to work
with the percussionist. “There are times when you feel something and know that
you want to collaborate with someone,” Rodriguez explains. “That was one of
those occasions.”
The first
opportunity for the two to team up came with the recording of Rodriguez’s
second album for Mack Avenue, The Invasion Parade, on which Martinez’s stirring
vocals and virtuosic percussion appear on two tracks. Busy schedules kept them
on separate paths for the next several years, until they reconvened for a stint
at New York City’s Jazz Standard and a short tour in early 2017, their first
chance to test the waters as a duo.
Photo
Credit: Anna Webber
“What makes
this duo completely different is that I came from the folkloric side and
Alfredo came from the classical side,” Martinez says. “You put those things
together and you come out with an extraordinary and different sound. Alfredo
has brilliant ideas when he’s composing and putting together melodies, and it
was so easy to mix and absorb his ideas and vice versa. Each song has a
different sound and history.”
Most of the
original pieces on the album originated with Rodriguez, who would record rough
demos on his phone, then send the files to Martinez to compose lyrics and
rhythmic patterns. The tunes were further solidified in true collaboration
between Rodriguez and Martinez during a weeklong rehearsal period in Los
Angeles prior to recording, then polished by veteran producer Quincy Jones. The
broad sweep of rhythmic frameworks Martinez brings to the original compositions
reflects not only his Afro-Cuban roots but also the range of influences that
have impacted him in NYC, whether it’s reggae, 1970s R&B, jazz or
funk.
“Every
artist on the planet would be lucky to work with Quincy,” Martinez enthuses.
“Just having his name on any record is like a trampoline: you don’t go step by
step, but you automatically jump five steps up.”
Opener
“Africa” stems from Rodriguez’s voracious fascination for rhythmic traditions
from around the world. “If I’m listening to music from Benin, Cameroon,
Nigeria, Burkina Faso, or Cape Verde, I try to bring them into my world,” he
says. “I try to transform those rhythms into something melodic, and that’s how
a song like ‘Africa’ becomes reality.” For Pedrito the object in bringing the
African rhythm scheme that defines the batá drumming he is steeped in is “to
make people feel the tribal roots that my music comes from.” Those specific
rhythms influenced Martinez to have his compositions express the notion that
although both artists were born in Cuba, their history and heritage always
points back to Africa.
“Estamos
Llegando” provides a lush, lyrical testimony to the pair’s gift for conveying
deep emotions, not just rhythmic excitement. The same can be said for the
sweet, tender ballad “Cosas del Amor,” while the title track simmers with
sharp, surging percussive energy. “I always wanted to be a drummer,” Rodriguez
admits with a sheepish laugh. “So I love playing with great percussionists, and
Pedrito is the best example when it comes to Cuban percussion. It really
touches my heart.”
“Flor”
introduces a more soulful, modern sound to the album, while “Jardín Soñador”
offers a vivid, compelling narrative sweep. The classical elegance of
Rodriguez’s upbringing shines through on “Mariposa,” which evokes sensitive
accents from Martinez, before “Yo Volveré” concludes the album with a rousing
fanfare.
While those
new compositions are indicative of the vast range and flavor of the two
artists’ music, their choice of cover songs is more surprising. The ideas
stemmed from Rodriguez’s social media outreach, where he enjoys playing a
variety of songs in the style of timba, the Cuban popular music that became a
craze during Rodríguez’s formative years in the late ’80s and early ’90s.
Hence the
duo’s lively version of Michael Jackson’s “Thriller” – which shares its production
credit with the Quincy Jones-helmed original – and their joyous take on the
theme from the classic video game “Super Mario Bros 3.” More traditional is
their bristling rendition of the Cuban classic “El Punto Cubano.”
“Since the
beginning, my collaboration with Pedrito has been very exciting,” Rodriguez
concludes. “Even though we come from different backgrounds, the energy we
share, the passion for what we do, and the respect we have for each other has
been beautiful.” Adds Martinez, “It was an amazing experience and a pleasure to
work with Alfredo because he’s a great human being. The way he plays and the
way he composes are unique and amazing.”
Alfredo
Rodriquez & Pedrito Martinez · Duologue
Mack Avenue
Records · Release Date: February 1, 2019
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