Part 2

Taking your recent projects, releases, and performances as examples, what, would you say, are the key ideas behind your approach to improvisation?

A solid combination of those ideas can be heard in my latest record Ricano Vol. 2 - Fruto de Mi Corazón:

Strong melodies you can remember, paired with a variety of improvisational styles like: soloing over the changes and just playing straight language with either a lyrical / tasteful vibe or a more aggressive approach (“Si no fuera por tu amor”, “La Magia”).



Super imposing material that clashes with the harmony to build tension (“Candela”) …



… spiritual-like improvisations that aim to go as high as possible (“Redención”).



I’m continually listening to add more of these approaches into my playing.

In your best improvisations, do you feel a strong sense of personal presence or do you (or your ego) “disappear”?

If there is a specific cue that we’re aiming for (a climactic point of transition to another section) it’s a bit more challenging to remove the ego during a solo, but I like that challenge … It makes you work on the music a lot so that hopefully it doesn’t get in the way in the moment.

There’s no guarantee in the moment though. Anything can happen and you gotta flow. A good example of this is the track “Redención” from my latest record Ricano Vol. 2.

On the other hand, if it’s a bit more free and no particular goal other than PLAY is established, then it’s a much easier path towards having that ego disappear. A good example of that is the track “Candela” from the Ricano Vol. 2 album.

What are some of your favorite collaborators and how do they enrich your improvisations?

Francisco Alcalá - Has been playing with me for over 12 years and we’ve grown musically and personally together. There’s a lock I can’t quite explain … It’s powerful, and it definitely comes across when we perform / record together.

Zaccai Curtis- He’s that player that can do everything. He can go deep into complex written out music and he can also play some heavy be bop and modal stuff. It’s amazing to play with him. I feel supported in so many ways. He’s also a Dad and is always a great source for advice in this new path for me.

Ian Ashby - The gentle giant. This man can play anything! He’s had such a wonderful musical upbringing and his positive outlook on life bleeds into the music and of course into all of our interactions.

Benito Gonzalez - The master. A true inspiration for us all. Every time he’s on the keys I know I’m going for a ride as a listener and as an improviser. It’s truly an honor to be able to call him for advice and for gigs!

Lee Fish  - He SINGS through the drums, and he actually sings, which males sense. He’s one of the most noble people I’ve gotten the chance to play and collaborate with. Always down to play, share some time, and build community.

Jeremy Bosch - it was truly a joy to work with Jeremy in the latest Ricano Vol. 2 album. His taste and masterful musicality lead you to many new ideas. His contribution to the track “La Mágia (Verisón Lírica)” from the new Ricano Vol. 2 album really set the tone for everyone and it pushed everyone to bring their A game to match the beauty of those lyrics.



In a live situation, decisions between creatives often work without words. From your experience and current projects, what does this process feel like and how does it work?

Every band or player has their thing when it comes to this.

If you’ve played together for a while you get to know your bandmates phrases / time feel and influences, so making decision becomes easier.

Stewart Copeland said: “Listening is where the cool stuff comes from. And that listening thing, magically, turns all of your chops into gold.” What do you listen for?

A super solid groove!

There can be surprising moments during improvisations – from one of the performers not playing a single note to another shaking up a quiet section with an outburst of noise. Can you tell me about such situations from your own performances and how they impacted the performance?

That’s that magic of live performance.

What ever everyone is bringing to the table at that particular moment collectively creates those types of things.

As a listener, do you also have a preference for improvised music? If so, what is it about this music that you appreciate as part of the audience?

I like to consider my taste to be pretty wide. I get so much joy from listening to improvised music in many shapes and forms … Soul stirring like what Samora Pinderhughes is doing.

[Read our Samora Pinderhughes interview]

Heart Lifting like when you listen to Cecile McLorin Salvant and Sulivan Fortner perform a song together.



A really tight pocket playing / heavy groove / fusion like what Nate Smith is doing, Glasper, Braxton Cook, Andrew Renfroe, Terri Lyne’s new album Trip the Night Fantastic …



Dense and emotional like what Miguel Zenon, Oven Calvaire, or Immanuel Wilkins do. New Afro Caribbean like what David Sanchez, Gabriel Vicens, and Yosvany Terry, or Ivan “Melon” Lewis are doing.



But then also very inside language / tradition heavy stuff with nice arrangements like what Zaccai Curtis laid down in that Cubop Lives album …



… or what Carlos Hernandez did with that great record Monk Con Clave.



In a way, we improvise all the time. In which way is your creative work feeding back and possibly supporting other areas of your life?

As I’m able to make time for creative / improvisational moments, I feel at peace in other areas of my life like: Exercise, Social gatherings, traveling, photography, etc.

Creativity and improvisation is truly a life/ mood battery for me.