The rhythms of Cuba and Africa fueled an enthusiastic audience who transformed the “house of swing” into a dance floor, reminiscent of the historic Palladium Ballroom in Manhattan where mambo was popularized, as virtuoso bassist Carlos Henriquez led his orchestra in a tribute to legendary singer and “Queen of Salsa” Celia Cruz at the Rose Theater at Jazz at Lincoln Center October 17 and 18. Henriquez was joined by renowned percussionist Bobby Allende, and vocalists Aymée Nuviola, Alain Pérez, and Ariacne Trujillo Duran to celebrate 100 years of the iconic singer with a career spanning set that included genre standards and mainstays like “Toro Mata,” “La Bemba Colora,” and “Quimbara.”
Celia Cruz was a monumental force in the world of Latin music, propelling Afro-Cuban music to new heights of popularity by lending her distinct and powerful voice to some of the genre’s most iconic works. Forced into exile during the Cuban revolution, Cruz found refuge in New York City, where she collaborated with other genre giants, including Tito Puente, Johnny Pacheco, and Willie Colón, often using her art to address social issues and draw connections to her African and Cuban cultural ties. She died across the river in Fort Lee, New Jersey, in 2003 and is buried in Woodlawn Cemetery in the Bronx.
“This is a special night,” Nuviola, a Cuban native who played Cruz in a telenovela adaptation of her life, proclaimed as she took to the stage to kick things off alongside Henriquez, Allende, and the orchestra. “This is a night to celebrate Celia!” Nuviola performed renditions of “Yerbero Moderna,” and “Toro Mata,” before being joined by Cuban vocalist and bassist Pérez for a duet rendition of “La Bemba Colora.” The duo had no problem prompting audience members to rise from their seats, leading attendees in dance and song. As Nuviola left the stage to a thunderous applause, Pérez took some time to address the audience. “Vive la historia de una mujer que esta un inspirio,” Pérez said to the audience, which translates roughly to, “long live the history of a woman who is an inspiration.” Trujillo Duran followed Pérez before the three singers took to the stage for a final performance of songs that included “La Vida es un Carnaval.” The lines between salsa and jazz, clave and swing, were increasingly blurred throughout the performance, as the virtuosity of the musicians and singers were on full display. The players explored the endless possibilities of each composition as they delivered fresh improvisational ideas over a rhythm section that was fiercely locked in. The horn section, consisting of Jesus Ricardo, Manuel Ruiz, Xito Lovell, and Ben Romanow, pianist Osmany Paredes, and percussionists Marcos Lopez and Carlitos Padron backed Henriquez, Allende, and the vocalists as they delivered renditions of classic songs, maintained their shape without sacrificing the adventure and exploration of ideas that is a central tenement of jazz music.
The event was held as part of Jazz at Lincoln Center’s 25-26 season titled “Mother Africa,” which “celebrates jazz and the African diaspora that brought it to life,” according to their website.
You can stay up to date with their programming, learn about student discounts, and more at their website at jazz.org.