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Bobby
Carcasses: El Jazz Timbero de la Habana  As I walked up the block to the home
of Bobby Carcasses, sounds of children playing, traffic and Cuban timba
floated all around me. More music filled the staircase as I walked up
to the second floor. I was welcomed into a bright room, where many of
Bobby's drawings, paintings and family photos fill the walls. This tall,
lean gentleman with a warm smile is full of surprises! His patience,
even before embarking in a conversation, is evident. There is a peace
that emanates from this versatile giant yet bursts with great intensity
when performing.Q: Please fill us in on your background. BC: First, I must say I was born in Kingston, Jamaica. My father was an ambassador in 1938 and my family moved there. I returned to Santa Clara, Cuba when I was 4 years old. There, I sang on the Radio Station CHHW and in the theatre 'La Caridad'. In 1956, I moved to Havana, where I spent a few years singing with different quartets and choruses. Later, I started at the Tropicana in 1958 and traveled to New York with the Tropicana musicians and dancers and appeared on the Steve Allen Show. I also sang in the 'Riveria' with another vocal quartet and I went to the Youth Festival in Vienna. In 1961, when I returned from playing congas in an orquestra in Paris [France], I helped found Teatro Musical de la Habana. I had learned to dance and work in drama as an actor. I was always a singer. Back in Santa Clara, I had sung opera and Italian songs. But with the vocal quartet and as a professional, I changed my repertoire. With the Teatro, I started to work as an actor doing musicals. Our dream was to do many kinds of musical theatre. Later, I performed in Teatro Martinique, where I did the opposite of Teatro Musical and played modern theater. I performed there for one year. At the same time, I was the Cuban high jump champion in 1966. Back in 1956, I was junior champion in triple and long jump and was awarded first place in high jump. After Teatro Martinique, I left theatre and I started to sing and play as a professional musician on my own, which I continue to do. In 1978/79, I lead a jam session in the Casa de la Cultura and I got the idea to start a jazz festival in Havana. I presented my ideas to the Minister of Culture, and they told me that they didn't think it was possible because Cuba does not have the musical groups for a jazz festival. They also considered jazz 'music of the enemy' and I had to convince them how jazz is the music of the poor Black people of the United States and the only thing that they had given to the world of art that was recognized as such. They finally gave me permission to start a Jazz Festival. I was president of the Festival for the first and third years and then left the presidency to others. The first festival in 1980 went very well. The rest, as they say, is history. It became a national festival. For the second festival, Tania Maria came from the United States. She helped us here and from then on, the festival was an international jazz festival. We have had many famous jazz musicians over the years such as Charlie Hayden, Dizzie Gillespie, Richie Cole and recently Steve Coleman, Roy Hargrove and many, many others. I must say that I am very satisfied now because I have seen the results of 20 years of hard work come to fruition with the success of the Jazz Festival. I am not as pleased with the chairing of the event. One has the power to do anything and present many musicians, and it doesn't seem to work out that way. But hey, I practice Yoga, and have learned to be patient. I can wait for changes because the truth will always appear. Q: If you asked to be president again, would it be possible? BC: Maybe. They know I am really the only one to preside over the Festival. But I don't expect anything for myself. I only think about doing my work as a musician. Now, you know, we must wait 2 years until the next Jazz Festival [Dec. 2000]. Q: Why is that? Lack of money, what? BC: I am out of the loop of the Festival organization. I am just another artist who performs and have no influence. I don't know where I'll be in 2 years. Maybe here, maybe in Finland. They pay me well [in Finland], so who knows.  Q:
Tell me why 9 years has passed since your last recording up until the
recent 'Jazz Timbero' (TUMI/England).BC: It is like that here. For a long time, not only because of the Embargo, a long period passed without recordings. I waited and finally engaged with Tumi in England. Here, I would have had to wait even longer to record. Q: You have so many musicians on 'Jazz Timbero'. How was that recorded? BC: I had my group and my music ready. I gave my son (Roberto Carcassess Jr., currently of Columna B) four arrangements to do. He did some very difficult arrangements and preferred to start another band with those arrangements. So, with both groups and the guest artists, we had 32 musicians in all on this CD, including Chucho [Valdes], Changuqito and Cesar Lopez. A whole universe of Cuban musicians! Q: Are you satisfied with the results? BC:Very satisfied. I have heard it has been proposed as a nomination for a Grammy. Q: Congratulations! BC: Yes, I am very proud to even be nominated. Q: What are your future plans and projects? BC: I am preparing a large show. Every 3 or 4 years I present a concert at the Teatro Nacional. This will be sometime in March or April. I will also exhibit my artwork, as I am an artist and designer. I'll play some of the music from 'Jazz Timbero' and pay homage to the 'Crooners', Louis Armstrong, Nat King Cole and many others. I will perform 'Ce' Ce' Bon', 'Mack the Knife' and 'What a Wonderful World'. I'm very happy with these 3 tunes and some are included in the top ten lists of various radio stations in Miami, New York, San Francisco & Los Angeles. Two months ago I was number one with 'Jazz Timbero' in Miami. I am very pleased with it all. Q: When do you go to Finland? BC: I will go to Finland for 4 days at the end of Feb with my big band and then return to Cuba and then go there again [Finland] to work as a director for musical theatre and an instructor of Cuban percussion. I will be engaged there all year, possibly more. In January, a film about Afro-Cuban music and jazz is going to be made. The first part will have Juan de Marcos narrating, the second part will have Rojelio Martinez Fure, an ethnomusicologist, and the third part, on Cuban Jazz, will be done by myself. A German company is producing this film and expects to release it next year. Q: Any plans to come to the US? California? BC: Yes, with this film, I will go to NY and stay and work with Eddie Palmieri, Dave Valentin and all the Latin musicians there. I have an invitation out to Los Angeles from Alfonso Arau. Perhaps I will make a short appearance in some of his films. He is my best friend, the founder and creator of musical theatre in Havana and taught me a lot. As with the yoga I study, I am a very patient man. Every moment comes along at the right time. My career is like that. I have had great results with my music and my work. Besides, I am 60 years old and still fighting.  Q:
Anything you would like to see happen here in Cuba with Jazz?BC: Yes. Before I started the Jazz Festival, there was a big block as far as cultural relations between the US and Cuba. But after the first festival happened, things opened up and more American musicians show up. Now, as you saw this year, Michel Camilo, Max Roach, Danilo Perez, Roy Hargrove, David Sanchez and many others performed. You can see that Cuba is very important. Even though we don't have the money to invite and pay a lot, our country is beautiful to visit and people are friendly. I would like to see this relationship expand and continue. Q: Music appears to be a part of everything here, no separation from one's daily routine. The musicianship seems to be very high also. BC: I think this is a magical country, because of the people and the music. You can see we have great difficulties. You don't see people miserable because they don't own certain possessions, like in other countries. You don't see people dying of hunger here like you might see in other countries. You can find difficulties everywhere. We have our own problems. People are trying to survive and the economy seems to be just a little bit better. Ways are being looked into so that there is greater improvement for all. Q: Are you invited to teach and perform in other parts of the country? BC: Yes, but it is easier to go to the US and Europe than it is to Santa Clara because the transportation is so difficult. In the past 10 years, I've been to New York four times and to Santa Clara only two times! Very, very difficult to travel. I haven't been out to Oriente in more than 20 years. Q: Tell us about your artwork. BC: I have drawings and paintings in many countries. I sell my artwork and this has helped me to survive. Music hasn't always been enough to live on. One of my best clients is Paquito d'Rivera in New York City. Q: Did you go to school for this? BC: My mother had a professor come to the house to teach me. I looked at Michalengelo and many other classic artworks to perfect my drawing. I've just finished 55 drawings for a dictionary of Cuban music that TUMI will produce. This is very important for all. It will include all the Cuban musicians that live outside of Cuba, those that have died and of course, today's musicians. Q: Are there any people you would like to do future projects with? BC: Only my son [Robertico Carcessess, piano] because he is very serious and we love one another very much. He is very professional and open. Not only is he my son, but he is also my friend. We ended on the note of getting in touch when he comes to New York this year. In the meantime, keep your fingers crossed for a future visit here in he Bay Area and pick up a copy of 'Jazz Timbero' on the TUMI label. You will not be disappointed. Listen to a RealAudio5 sound byte from 'Jazz Timbero'! Interview by Julia Sewell. Photos courtesy of TUMI & Julia Sewell. |
