Jazz in Cuba – a Blend of Cultures

[Photo Los Jubilados del Caribe. Photo credit: Peregrine Travel]

I recently returned from my 12th trip to Cuba.  The first time I traveled there was to confirm and authenticate information for my workshop entitled “The History of the Cuban Flute.” The motivation for creating this workshop was to give back to the culture and people whose music I’ve been privileged to play since the 70s. Those who didn’t know me at the time maybe had low expectations of my playing, but they soon realized I’d done my homework. I’ve presented this workshop many times since premiering it in 2000 at the National Flute Convention in Texas. 

But I digress. Jazz in Cuba is alive and well and thriving where the rhythms and harmonies intertwine to create a totally authentic and original form of jazz. Most people would call the music Latin Jazz, but that term is so broad, it really doesn’t give the music or the cultures who play the music any justice. Music in Cuba has been influenced by a myriad of cultures dating back to the 1500s when Columbus took a wrong turn and thought Cuba was India. The cultural influences include the Spaniards, Chinese, French, and of course the Africans amongst many other cultures. Each culture brought their influences and melded with the music that is currently played on the island.

Walking through the streets of old Havana, you will hear any number of bands playing traditional classical Cuban music; Charanga or Conjunto to fiery rumba to Trova; a Cuban folk music, jazz, and Cuban classical music. 

The rhythms are intricate and complicated and all flow together. The harmonies move from simple to complex as they complement the rhythm. You can hear Charlie Parker riffs. Coltrane riffs, Louis Armstrong, Arseñio Rodriguez, Celia Cruz, Arcaño, and so much more. 

And how, you may ask, have these musicians accessed all this music? Since the late 90’s Cubans have had access to the internet but unfortunately not to proper music supplies. I asked Maraca, a world-famous Cuban flute player living in Cuba, who in my opinion is the best flutist out there, if he ever transcribed solos. His response was yes, but he memorized them as he didn’t have manuscript paper.

Previous to the 90s, musicians would obtain cassettes of recordings, and they would schedule times when groups of musicians would have access to the cassettes and cassette players. Because the time was limited and supplies were almost non-existent, each person needed to use their time very carefully and productively. In my opinion, this situation created very disciplined musicians.

Now although that situation is not as bad, the Cuban people have many other challenges. I went to one of the few clubs that still exists there called “La Zorra y el Cuervo” (The Fox and the Crow) to play and hear the band. Evidently the band receives $85 a night out of which taxes need to be paid and transportation costs need to be covered. Now granted, the cost of living is different there where $1 is about 300 pesos, but food is very expensive and it’s very difficult to get good quality food.  And yet, the musicians play their hearts out–and we benefit from that.

Historically, because of Cuba’s location and accessibility, many tradesmen passed through the ports of the island. Along with different goods, many people decided to live in Cuba. This phenomenon affected the development of the music. In 1804 the French were thrown out of Haiti, and they emigrated to the eastern part of Cuba. They brought with them their classical trio: the violin, piano, and flute. This trio merged with the current musical groups playing Contradanzas. The result of this merger was the Típica Francesa Charanga, shortened eventually to Charanga. The Spanish culture brought their music to the island as well, resulting in the Conjunto style of music as well as the trova–a Spanish folk music. The slaves brought their music with them–la rumba–with drums and dancing. 

All of these cultures intertwining with each other created a wonderful combination of unique music. It also created an intermingling of cultures and intermarriages. This phenomenon led to the people of the European cultures wanting their offspring to be classically trained in Europe. This did happen along with the founding of classical conservatories in Cuba. To the best of my knowledge, today most Cuban musicians attend the classical conservatories to learn how to play their instruments. As of today, there are no jazz schools or salsa schools. Those genres need to be learned by ear or from other musicians. 

So in spite of the embargo, lack of proper supplies, difficulty in having access to food and everyday household goods and parts for cars, the Cuban people have survived and thrived, and the music has as well, much to our benefit. 

PS I’ve been going to Cuba legally since 2000, so yes, you’ve always been able to travel there. Contact me if you’re interested in the details. andreabrachfeld@gmail.com

–by Andrea Brachfeld

Andrea Brachfeld is a world-renowned flutist in jazz, Latin jazz, and Charanga music. She is also a composer and educator currently living and performing in Baltimore and the DMV and beyond.