WALL STREET JOURNAL
The Surprising New Face of Cuban Jazz

By DAVID CRONIN
March 30, 2007

If thinking of Cuban jazz conjures up images of old men playing in a fog of cigar smoke and rum vapors, then pianist and producer Roberto Fonseca should cause you to think again. Still in his early thirties, the Havana native is the sharp-eyed, even-sharper-dressed rising star of the genre. First dazzling Cuban audiences with an appearance at the Jazz Plaza International Festival in the island's capital when he was only 15, he has developed a growing fan base abroad over the past decade.

Despite having no experience of life before the revolution, Mr. Fonseca's supple piano style can evoke the 1940s and 1950s, when Cuban and African-American musicians drew inspiration from each other. With his lush arrangements and frequent shifts in tempo, his work also betrays the eclecticism of someone who has dabbled in everything from vintage R&B to the grinding beats of rap.

Aficionados of Cuban music focus on three pianists from the island: Rubén González, Lili Martínez and Pedro Jústiz (better known by his stage-name Peruchín). Judging by the praise he's received from his elders -- "Boy, can the kid play!" was how Grammy-winning crooner Ibrahim Ferrer put it -- and by his experience as a protégé of Mr. González, Mr. Fonseca may soon join that list.

Mr. Fonseca produced "Mi Sueńo" (My Dream), the final album by Mr. Ferrer, who died in 2005 after a monthlong concert tour in Europe. On the album, Mr. Fonseca helped Mr. Ferrer realize a longstanding ambition of recording a series of tender love songs called boleros, two of which he performed memorably with Omara Portuondo for Wim Wenders's 1999 movie "Buena Vista Social Club."

Mr. Fonseca is also promoting his fourth solo album, "Zamazu," in which he combines his passion for Afro-Cuban jazz with South American grooves and rhythms. As well as his compatriots, Ms. Portuondo and the bassist Orlando "Cachaíto" López, he recruited two of the most illustrious figures in Brazilian music for its recording sessions: the producer Alę Siqueira and the singer-drummer Carlinhos Brown.

Mr. Fonseca's European tour for the disc will take him to Vienna (April 15), Munich (April 17), Madrid (April 26), Amsterdam (April 28), Brussels (April 29), Paris (May 9) and London (May 20).

Born in 1975, Mr. Fonseca was eight when he began learning the piano and 14 when he started composing. But he initially entered show business as a drummer with a Beatles tribute band. His interest in drums has encouraged him to explore the percussive qualities of the piano.

In 2000, Mr. Fonseca was invited to join the Orquesta Ibrahim Ferrer, as support to the aging Rubén González. He spent hours observing the stately ivory-tinkling of Mr. González, who made his recording debut with the band-leader Arsenio Rodriguez in the 1940s.

A year later, Mr. Fonseca became the youngest member of the Buena Vista Social Club lineup, taking the place occupied by Mr. González on his retirement.

Mr. Fonseca spoke to David Cronin in Brussels.

Q: Did you grow up in a musical family?

Yes, there was music in our house 24 hours a day. My mum played the piano and was a ballerina and my father was a drummer. I also have two brothers: one plays piano, the other drums.

My mum was always singing boleros or classical melodies like those from the Romeo and Juliet opera, whereas my brothers listened to soul, funk and jazz.

I used to hear a lot of jazz on the radio, too. The first cassette I bought was of Keith Jarrett.

Q: You played drums in your youth. Why did you decide to concentrate on the piano?

The piano is one of the most complete instruments. You can use it to make melodies or harmonies or as the rhythm section. When I realized that, I decided to make the transition.

Q: What was it like being recruited to the Buena Vista Social Club?

I was a little scared. I greatly admired Rubén González and I said to myself "I don't want to replace him." So, I just tried to bring my own influences and put my own touch.

Q: It's more than a decade now since the Buena Vista Social Club album was recorded and it remains one of the top-selling world music albums in some European countries. Do you have any explanation for its enduring popularity?

The music on that album is really fresh, clear, deep and natural. I think people can relate to that.

The other reason it's so popular is that it features amazing musicians: Ibrahim Ferrer, Rubén González, Cachaíto López, Guajiro Mirabal. The most wonderful thing that I noticed was the range of people in our audience: from teenagers to old guys. This is music that doesn't age.

Q: How do you feel about producing the last album that Ibrahim Ferrer recorded?

I think it's one of the most beautiful albums I'll ever work on because I realized that Ibrahim was trying to pour all his life into it.

Q: Did you have any sense at the time that he didn't have long to live?

No, he seemed to be fine. He never gave any signs of being sick. It was horrible, and it's still horrible. He was like my grandfather, always teaching me different things about music and life.

He was really famous, this superstar of Cuban music, yet he never acted like that. He was a simple guy, with no ego. The most beautiful thing he helped me learn is no matter how important you are, you should never forget where you come from.

Q: You have played with Western jazz musicians, including Herbie Hancock. What was that like?

I was touring with Omara Portuondo in Japan and we were at the same festival as Herbie Hancock. At the end of his shows, Herbie used to call different musicians to jam with him. I was really surprised when he called me and when we played on the same piano. He is one of the best piano players in the world; he's like an idol for me.

Q: You've also worked with the Cuban hip-hop act Obsesión. Do you think the growth of hip-hop in Cuba poses any threat to more traditional idioms?

We listen to a lot of different music in Cuba: hip-hop, rock, jazz. I'm open to new ways of playing Cuban music. My new album is not the same as the older Cuban stuff you can hear. Cuban music is in a new age but we'll never turn our backs on traditional music because it's so beautiful.

Q: How did you become interested in Brazilian music?

Cuba and Brazil are really similar. We have Afro-Cuban music; they have Afro-Brazilian. With this new album, we did the percussion and drums in Carlinhos Brown's studio in Bahia. Alę Siqueira is a great musician and a great producer. He showed respect for all my ideas and was always determined to bring this baby to life.

Q: What does the title Zamazu mean?

Zamazu is a word that my niece made up. I liked it because everyone can pronounce Zamazu without a problem, no matter where they come from. I like language that doesn't have limits. The same goes for music.

Q: You've teamed up with the fashion designer Agnčs B, who is responsible for the suave outfits you wear onstage, including the Byblos cotton and PVC hat featured on your new album cover. Are you very image-conscious?

I met Agnčs B, when she came to one of Ibrahim's concerts. I use her clothes because they give me a style that I really like. It's important for me to look good to people. When I look good, I feel good.

Q: Are you religious?

Yes, I believe in the Afro-Cuban religion Yoruba, which is similar to Catholicism. My music is 100% about spirituality and soul.

Q: Do you think the end of the Fidel Castro era will have any implications for Cuban music?

That political stuff is for the Cuban embassy. I've come here to talk about music.

Q: But as an artist, do you feel any obligation to protest about how the Havana authorities have imprisoned and denied freedom of expression to their political opponents?

No, I don't feel any obligation. I've had a freedom in playing music and I've had a lot of support within Cuba and outside Cuba. I've gone to the U.S. many times and traveled around the world without any problems.