Where were you born?

Havana, Cuba.

 

When did you start playing the piano?

Around the age of four.

 

How did you know you wanted to be a performer?

I’m not sure if I knew it back then. In Cuba, if you want to be a musician, you must go to a classical conservatory – there’s no other way around it, at least not in my time. My parents saw that I had an inclination for music and sent me for lessons. Although my years as a classical piano student were rather painful, I started composing when I was around seven years old, and that was always a space where I felt free and fulfilled. Now, more than 30 years later, performing has become an act of pure joy, and I love sharing it.

 

Who were some of your earliest musical influences?

Cuban timba from the ’90s—bands like Los Van Van, Issac Delgado, El Médico de la Salsa, and Paulo FG—as well as rumba ensembles like Muñequitos de Matanzas. Jazz came into my life a bit later, in my teenage years. I was crazy about Michel Petrucciani, McCoy Tyner, and Michael Brecker, just to name a few.

 

What’s the most memorable gig you’ve performed?

So far, performing with my trio at the Punta del Este Jazz Festival in Uruguay. The fact that people in a faraway country, who didn’t know me at all, welcomed me with such warmth and love was truly unforgettable.

 

Tell us five albums you can’t live without.

Más allá de todo – Chucho Valdés & Pablo Milanés

Rumberos de Corazón – 50 Aniversario – Muñequitos de Matanzas

Tokyo Adagio – Charlie Haden & Gonzalo Rubalcaba

Rebirth – Billy Childs

Panamonk – Danilo Pérez

 

What are your favorite things to do in NYC?

Going out to see live music – it’s always inspiring, and never disappointing.

 

How would you describe your musical style?

Rather kaleidoscopic. It blends influences from classical music, my Afro-Cuban roots, flamenco, and funk. Jazz is the big umbrella where all of these coexist happily in the same ecosystem.

 

What’s your favorite thing about performing at the Roxy Bar?

The incredible audience. For emerging artists like myself, having the opportunity to play at a venue that already has an audience is a game-changer. Many jazz clubs in New York do very little to build their own audience, which puts a lot of pressure on new artists to fill the room and sell tickets. Performing at the Roxy is helping me build my own audience, and I’m very grateful for the opportunity.