Dayramir González & Habana enTRANCè Quartet

“A stunningly gifted composer and arranger, an entertainer who captures the attention and live spirit of the audience in every performance.”—Wall Street Journal

The VJC welcomes Cuban pianist Dayramir González with his quartet Habana enTRANCé. – James Robbins on bass, Juan Chiavassa on drums, and Taka Nikaido on percussion.

González’ piano-playing is reminiscent of his compatriots Chucho Valdés and Alfredo Rodriguez. He possesses blazing technique that was developed through rigorous practicing in the classical tradition and supercharged by an embodied sense of internalized rhythms centered on clavé, the foundational rhythmical pattern that characterizes much of Cuban music. González’ playing demonstrates a profound understanding of jazz harmony. He is also a percussionist whose music serves as a living reminder of how drumming was a critical element that gave the enslaved peoples in the Americas an essential tool in their efforts to maintain their spirits and culture. 

González’ classical training began as a youth when he studied with his neighbor, Mayra Caridad Valdés (Chucho Valdés’ sister) and then continued in the esteemed Centro Nacional de Escuelas de Arte de Cuba. During this time he was practicing piano from six to eight hours a day. At the age of 16, González joined former Irakere member Oscar Valdes’ Afro-Cuban jazz ensemble Diákara, and immersed himself in timba music. In his youth he twice won first place in Havana’s JoJazz Festival and earned three Cubadisco Awards, considered the Grammys of Cuba. He attended Berklee College of music as the first Cuban national “Presidential Scholar” and performed at Carnegie Hall as one of the representatives of the up-and-coming generation of Afro-Cuban jazz pianists in their Voices of Latin America Series. 

As a young man González toured the U.S. and Europe with the father and son dynasty of Cuban piano: Bebo and Chucho Valdés. He was mentored by these two legendary musicians, the most important living exponents of Cuban piano music at that time. He learned from Bebo Valdés (father) about the rich historical Cuban piano repertoire of són, mambo and chachachá. From Chucho Valdés’ he learned about the modern Cuban approach to the piano and to Cuban music in general. Chucho’s group, Irakere, was one of the most significant ensembles to shift the weight of Cuban music from salsa to timba music. Timba became González’ focus for many years and is still a significant component of his repertoire. 

Dayramir González understands the Cuban musical structures on both micro and macro levels – from its historical roots to its modern, urban and electric sounds. He also is keenly aware of music’s impact on the cultural and social soul of the nation. Many of his original compositions use facets of the time-honored styles of Cuban music as building blocks and referential blue-prints (i.e. Danzon, son, chachachá). But as a conceptualist and creative person with a voice all his own, González’ music demonstrates the integration of all aspects of Cuban music, from folkloric drumming to its connection to newer styles that include hip hop and electronics. His repertoire demonstrates a deep knowledge and respect for the origin of stylistic details and a delight in moving the tradition forward. 

In a conversation with Brian Pace (The Pace Report, online), Dyramir discussed the presence of rhythm and emotion in Cuban music and how those two factors serve as catalysts for creativity:

One of the biggest blessings we have in Cuba is that we still carry the legacy of the Yoruba tribe, it’s still very alive. I’m talking about those who came from West Africa – Benin, Congo, Nigeria. When our ancestors came as slaves to Cuba they were able to establish themselves and express their joys and sorrows through the tambor (hand drums). Many generations of musicians used drums before we had the piano to express how happy or how sad we feel. You can see those emotions in the movement of the body and you hear the emotion in the playing of the tambor and the singing. You notice that [early on] the person was able to communicate these feelings through the drum and voice. And then – it was transferred to the piano. I’m a percussionist who plays piano.

Enjoy the amazing level of his infectious performing. 

 -Eugene Uman, VJC Director