An afternoon with Bobby Carcassés

Bobby Carcassés in the midst of demonstrating a pantomime, one of his evergreen hits that he remises even today.
© Ayash Basu, 2020

Who is Bobby Carcassés?

One might be forgiven for asking this question in some parts of the world. But in Cuba, especially if one is even tenuously drawn towards jazz, such a question is akin to asking who Frank Sinatra is in the United States. But alas, I did ask. And I was promptly educated. “Trumpeter, pianist, conguero, painter, composer, singer, educator, and the greatest showman of Cuba,” explained one of the Producers of the Havana Jazz Festival, as I managed to catch the tail end of this year’s edition.

In fact, Bobby Carcassés along with Chucho Valdés and Paquito D’Rivera amongst a few others, founded the Jazz Plaza Festival in 1979, which later evolved into the Havana International Jazz Festival as we know it today. In post-revolution Cuba, where jazz (and other such alleged CIA ploys) were increasingly curbed by an anti-U.S. government, Valdés and D’Rivera left for American shores, gaining international recognition and fame over time, including winning six and fourteen Grammys respectively. Bobby stayed back. He organized and developed his uniquely accented music, shaping contemporary Latin Jazz and its neoteric sounds in Cuba — a heritage spanning over 60 years. Yet, a significant part of Bobby’s legacy will comprise of not just his music but of those he has taught and mentored — think of Dafnis Prieto, Manuel Valera, Yosvany Terry, and Yunior Terry, all creating waves in the New York jazz arena today.

Bobby recalls his earlier days on stage. He’s done it all from Opera, Zarzeula, Theater, Radio, to Orchestra, Cabaret, Jazz, and Cinema.
© Ayash Basu, 2020

I first met Bobby briefly as he was receiving an honor at the Havana Jazz Festival, probably a routine occurrence for him after all that he has accomplished. He shook hands, spoke briefly, and extended an invitation to his home to talk further, an opportunity I would latch on to with both hands. As is usually the case, Bobby had opened up the Havana Jazz Festival this year too with a performance ahead of The Soul Rebels, Trombone Shorty, and Cimafunk. Bobby is extremely soft spoken, refined in his gesticulations, and tremendously gracious as a host. Three days later I was at his living room for an afternoon of espresso and conversation, but mostly to be schooled on the evolution of Jazz in Cuba.

I asked him how he got his name, suggesting that “Bobby” is an unusual name in Cuba. He talked about his birth in Kingston, Jamaica in 1938, where his grandfather was a Diplomat at the time. He returned to Cuba at age four, long enough for his given name of “Roberto” to be anglicized to “Bobby,” and just “went with it.” He is well-known as “Bobby” all over the Western world: New York, UK, Vienna, Germany, and Paris, but is quick to assert that he is 100% Cuban and his is very much a Cuban story. The island, for whose independence his grandfather had fought against the Spaniards in 1895, is his forever home.

Bobby thinks of himself as the right blend of talent and luck. Despite his numerous talents, he believes it is his ability to continuously adapt that has taken him to where he is. “It is the Cuban way: to be able to adapt to any situation is the Cuban spirit and story,” he says with a constantly content smile on his face. He thanks his Uncles for getting him started on Rumba beats on home furniture as a child.

“The rhythm was there and every single wooden chair, desk, and table were my instruments.”

Bobby jumped on to a quick demonstration on the wooden armrests of his chair and explained the nuances of the African Congo versus the Indian Tabla. Sitting across from him, I too joined in with a brief tabla beat on my wooden armrests, as Bobby explained arm, wrist, palm, and finger positions for both instruments. At 81, his enthusiasm and energy for the art is infectious.

Bobby Carcassés showing a glimpse of his numerous art pieces created over the decades. Much of it is a reflection of the jazz world from one of its most versatile masters.
© Ayash Basu, 2020

India turned out to be an unexpected but strong connection to channel our conversation further.

Bobby is deeply spiritual and lives by Sri Aurobindo and his teachings. One glance at his apartment and studio walls reveal more than a few dozen sketches, photos, postcards, and cutouts of Sri Aurobindo, Paramhansa Yogananda, Swami Vivekananda, and Mahatma Gandhi. In particular, Bobby is extremely well-read on Aurobindian principles and touched upon the tenets of “integral yoga” and “supermind,” both somewhat unfamiliar concepts to me. His son, who is named “Aurobindo,” handed me a very old book from the late 19th century with manuscripts and photos from late 1800s Calcutta (where I was born) and Pondicherry (where I yearn to go), tracing the journey of a young Sri Aurobindo. Despite never having visited India, Bobby is keenly aware of the Indian Nationalist Movement, its leaders, and its influences far West on his heroes such as Martin Luther King. Yoga and meditation shape his daily, two-hour morning routine before anything else he does.

Bobby Carcassés draws up a miniature of one his paintings in real time and offers it to me, a generous gift that I shall cherish forever.
© Ayash Basu, 2020

Bobby’s lovely wife Cecilia serves up some strong Cuban espresso as he quickly sketches out a gift, a miniature of one of his paintings. I follow him as he walks to his studio, picks up a few of his instruments one at a time and plays them all for a few seconds — as if to say to them, “Hey, what’s up? I’m around and am just checking up on you.” His studio walls are a living library of Cuban musicians and performers with pictures and stories everywhere. He almost pays homage to all those past and current musicians on his studio walls every time he walks by. After a few minutes, he stops to put down his flugelhorn and turns to his drawing desk. On that wall are pictures of Sri Aurobindo, Gandhi, and to my utter surprise, Lord Krishna. Out of nowhere, Bobby summons a flute and plays a brief devotional track, a tune I recognize but can’t quite remember.

Bobby has performed in and traveled to the United States, Soviet Union, Paris, UK, Panama, Mexico, and Africa amongst other places. But he is firmly rooted in Cuba and has spent his life balancing Afro-Cuban, Latin, and Jazz notes along with his broad histrionics into a beautiful harmony. My afternoon with Bobby comes to an end; he shakes my hand, gives me a hug and we talk about seeing each other again. Soon.

Bobby Carcassés instinctively plays a tune at his small studio just big enough to host his instruments and drawing desk. Imprints of Aurobindo, Yogananda, and Gandhi are hard to miss.
© Ayash Basu, 2020

© Bobby Carcassés. One of Bobby’s many paintings that fill up his studio and apartment - a rendition of a scene that he knows better than most.