Mirdalys Herrera, photo by Andrea Canter

Acclaimed Cuban pianists like Omar Sosa, Chucho Valdes and Gonzalo Rubalcaba, as well as popular bands like Cubanismo! and Buena Vista Social Club, are largely responsible for the growing popularity of Afro-Cuban jazz among American audiences. Here in the upper Midwest, the climes and rhythms of the Caribbean seem pretty remote. Or at least that seemed true until a whirlwind from Havana named Nachito Herrera first banged a bolero on the Dakota stage, and literally turned the local jazz scene on its staid ear. Over the past four years, Herrera has burrowed his way into the hearts of Twin Cities’ jazz fans with his monster technique, bottomless energy, and infectious enthusiasm for his homeland and its eclectic rhythms. Even fans of trad and polka now tap their Sorel boots to montuno and clavé. And now Nachito is ready to release his third recording, a reprise of his first live effort, naturally titled Dakota Live 2. And where else but the Dakota will host the CD Release Party on April 21-22.

Nachito

The shores of Cuba sit only 90 miles from the US mainland, yet it is unlikely that this phenomenon of rhumba, son, and bolero ever expected to relocate to the American northland! As a child prodigy, Nachito Herrera studied classical music in Havana with Cuban masters Rubén González, Jorge Gomez Labraña, and Frank Fernández. He went on to serve as music director for several bands before leading Cubanismo! His travels to the US caught the eye of potential sponsors, including the Dakota’s Lowell Pickett, and with some wrangling with state department redtape, this amazing musician found himself in Minnesota. Soon Puro Cubano was born and in high demand throughout the Twin Cities, even landing a gig at the famed Birdland in New York City. The original Live at the Dakota prompted City Pages’ critic Britt Robson to note that “the fact that a magnificent, south-of-the-border pianist like Herrera purposefully transplanted himself to our frozen tundra was the best local music news of 2002. And Live at the Dakota is proof of that fact.”

Photo by Andrea Canter

In 2004, Herrera joined forces with a group of master Afro-Cuban musicians currently working throughout the U.S. but who converged at least monthly for a “Cuban All Stars” gig at the Dakota in downtown Minneapolis. After churning up the stage of the 2004 Twin Cities Hot Summer Jazz Festival, Nachito and company took their sizzling groove into the studio, resulting in the 2005 release of Bembé en mi Casa (FM Music). Bembé reinforced the accolades that have swirled around him since his arrival, proclaiming Herrera, in the words of critic Tom Surowicz, “hotter than the burning tip of a contraband Cuban cigar… stronger than a straight shot of Havana rum….and tastier than a big platter of black beans, rice, sweet plantains and ropa vieja.”

Dakota Live 2

Dakota Live 2 marks a return to the smaller ensemble days of Puro Cubano, and an evolving fusion of Cuban tradition and American post bop. Joining Nachito are long-time Minnesota-based colleagues, bassist Terry Burns, drummer Gordy Knudtson, and Israeli-born percussionist Shai Hayo, the lone holdover from Puro Cubano.

The nine tracks that fill Dakota Live 2 showcase Nachito Herrera the composer/arranger as much as Herrera the performer. In addition to his own works, Nachito and company cover two Wayne Shorter tunes and one from the late Cuban bandleader Mercedita Valdes, the latter (“Babá Fururú”) featuring a stunning vocal performance by daughter, 15-year-old Mirdalys Herrera. Sound is up to the high standards we expect from master engineer Steve Wiese and Creation Audio.

After a short introduction from Dakota owner Lowell Pickett, it only takes a few moments to recognize the sound and fury that brought accolades to Nachito’s previous outings. “Spain in the Twins” goes from flamenco to hot Havana over its six-plus minutes, featuring a twangy electric bass solo from Terry Burns and Shai Hayo’s thumpy conga beat, along with Herrera’s ever-present and powerful dexterity and engaging montuno. Back-to-back renditions of Wayne Shorter follow. Knudtson and Hayo authenticate the cha-cha arrangement of “Speak No Evil,” while Herrera gives the full keyboard a workout. Exploring each phrase from a multitude of angles, he combines fleet scale ascents and descents with thunderous comping in the left hand, to the degree that at some points you wonder where that second piano came from. The melody is Shorter, the rhythm is all Herrera. Clavé and cowbell set the tone for “Yes or No,” with Nachito going nonstop like a locomotive scurrying down the track toward Havana. The ensemble’s montuno adds more and more fuel to the fire until Knudtson’s cymbals signal the crest, resolving in a series of aftershocks.

Terry Burns, Photo by Andrea Canter

The longest track at nearly ten minutes, Nachito’s “Afro 6/8” starts with a piano solo as if reinterpreting Granados from the Cuban folk tradition. Here, the classical schooling of Havana is well reflected in Herrera’s hands, and his technique and dynamic range shines without the all-consuming power of earlier tracks. A long electric bass solo showcases Terry Burns’ adroit fretwork, while a slow piano passage of angular lines conjures Rachmaninoff awash in Bicardi. Further evidence of Nachito’s breadth—not always apparent on his monthly weekend blasts at the Dakota—is a standout track, “Tulipán,” co-written with his old Puro Cubano bassist, Jorge Bringas. The diversity of Herrera’s work here should quickly dispel any claim that he is all flash and bang, as this is Nachito under control. Bass and percussion start off and a clanging piano soon charges out the gate with some quick runs, but the initial phrases are regal rather than volcanic. Congas and drumkit punctuate each bar, while Burns provides a melodic and fluttery solo line; even Nachito signals applause to Burns. The pianist revs up, with more speed and fire, working himself into a frenzy as Gordy Knudtson similarly fires up his artillery. A rippling keyboard descent signals a montuno countdown and a final chord flourish.

Nachito’s danzóns are always crowd pleasers and foot-tappers, and indeed, his “Danzón para Aurora” (for his wife) demands a dance floor. The overall mood is very majestic with rich chords and flourishes. Quickly one forgets that the percussion section has Israeli/Minnesota roots rather than Afro/Caribbean as the track sways back and forth with hestitations, sharp shifts in dynamics and rhythm, and a bubbling skipping line from Burns. Nachito’s lyrical trills in the right hand over a left hand melody prove that he is truly musically ambidextrous.

As magnificent as is Nachito throughout this set, he is nearly upstaged by his daughter’s vocal incantation on Mercedita Valdes’ “Babá Fururú.” Hayo starts off on congas, providing a tribal/folk vibe of anticipation; he is joined by Nachito’s solemn, almost hymnal phrases that hint of thunder, a passage reminiscent of Gonzalo Rubalcaba. Sounding like a cantorial sorceress conjuring the Gods, Mirdalys Herrera gives a ceremonial performance, her voice powerful and penetrating. One can imagine a mythical Yoruban Princess, especially when her only accompaniment is the congas. The rest of the cast serves as the chorus; the piano sounds the final benediction as the crowd erupts.

Gordy Knutson, photo by Andrea Canter

“Virtuosic technique and phantasmagorical fire… this album vaults him into the upper echelon… a trinity [of Cuban pianists] comprising Chucho Valdes, Gonzalo Rubalcaba, and now Nachito Herrera.” – Neil Tesser

CD Release Party, April 21-22

The celebration of Dakota Live 2 will go way beyond the many delights of the quartet recording. Nachito plans to have a 15-piece band on stage at the Dakota, and we can expect not only some of the music from the new album but some newer repertoire drawn from Earth, Wind and Fire, and more. It’s always a “bembé” when Nachito Herrera takes the stage. Come and join the party! And pick up your own copy of Dakota Live 2!

The Dakota is located at 1010 Nicollet Mall, downtown Minneapolis; www.dakotacooks.com. CD Release Party for Nachito Herrera’s Dakota Live 2 takes place Friday-Saturday, April 21-22, 7:30 pm- 11 pm. Stick around for “Later at the Dakota,” late sets of “new band” music from 11:30 pm-2 am featuring happy-hour menu and drink specials. Dakota Live 2 will be available at the Dakota. More information available at www.nachitoherrera.com

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