Danilo Perez was deeply motivated to express more than simply the qualities of melody, harmony and rhythm on his latest album …Till Then. Personal and global events became the impetus for the Panamanian-born pianist and composer to seek inspiration from musicians he describes as “idealists”—familiar names like Stevie Wonder, Ruben Blades, Joni Mitchell and Milton Nascimento, and other lesser known artists like Chilean Violeta Parra and Brazilian Chico Baraque—whose compositions fill the disc.
The meaning and fleetingness of life mushroomed in importance for Perez on September 11, 2001. He had been scheduled to fly from his home in Boston to Los Angles to attend the Latin Grammys. At the last minute he opted not to go, saving him from the doomed flight. He describes the experience of being so close to taking that plane as a “wake-up call.”
In 2002, Perez also lost his longtime friend, mentor and teacher, flautist Mauricio Smith, a great sorrow that also contributed to the pianist’s mindset and thus musical direction. What Perez describes as the “sounds” of the then-upcoming war with Iraq was yet another factor.
“The whole thing about the world, how we’re living right now, is such chaos,” says Perez, who leads his trio with bassist Ben Street and drummer Adam Cruz at Snug Harbor November 23 and 24. “As I get older, I don’t want to do music that doesn’t really have meaning for me.
“These [the composers on the album] are people who through the hardest times, spoke their voices out with their songwriting. They stood up for their point of view. I thought it was quite interesting to pick up the kind of people who for me have been very inspirational through my life because they are not only writers but voices of society. They’re visionaries. Their songs aren’t like a check in the bank. They’re idealistic—they believe in Utopia. I do too.”
That optimism is heard on Perez’s original opener, “Native Soul,” and much of the material on the disc that blossoms as a contemplative, yet lively, celebration.
“The struggle is hopeful,” explains Perez of how he envisions the music’s duality of introspection and happiness and the certain calmness that prevails on …Till Then. “There are a lot of people doing things. The struggle is bringing the best out of people too. With the years going by, I think my yin and yang are balancing out,” adds Perez as he compares the new release with the more razzle-dazzle displayed on some of his earlier works “I was feeling younger and feeling ‘grrrrrr.’”
Perez, who gained recognition on the scene in the late 1980s with the Dizzy Gillespie’s United Nations Orchestra, has led and recorded with his own band since 1992 garnering critical acclaim and three Grammy nominations. Most recently, the pianist has been performing and recording with veteran saxophone giant Wayne Shorter’s outstanding quartet along with Louisiana drummer Brian Blade and bassist John Patitucci, who also appear on four cuts on …Till Then. Naturally, this experience has also been a huge influence in his development and outlook.
“[He’s helped me understand] that every performance follows to the next one,” says Perez, “not to see it as an ending. Also to have patience—to let the music come to me instead of forcing it.”
Having toured in the late 1990s with the Wynton Marsalis Septet, and now sharing bandstands with Brian Blade, Perez has observed the commonality of New Orleans artists in celebrating life through their music. “They have fun,” Perez says. “Brian to me is just taking that whole feeling and he uses it no matter what the situation. He brings his culture, man. He can be funky; he can be so sensitive. When I play with him, I know I’m hearing an older wisdom. He sounds like he’s been around 300 years on this earth. He’s not from this planet, definitely. Playing with Wynton’s band gave me that feeling too.”
Perez continues his involvement with drummer Roy Haynes’ trio and has also been playing regularly with soprano saxophonist Steve Lacy, who is linked to New Orleans music as a protégé of native son, the late Sidney Bechet. “He is an architect of sound,” declares Perez. “He and Wayne are the opposite of the same spectrum. Steve uses a very specific amount of sounds, while Wayne is more symphonic and orchestral. They both excite my mind.”
In many respects, the holistic, idealistic philosophy of …Till Then reflects Perez’s life and musical journey. Lessons learned in childhood from parents who were both teachers and politically active, resurface in the project. Perez gives back to society not only as a musician but also as an educator at the New England Conservatory. Since 2000 he’s acted as a U.S cultural ambassador to Panama and launched the first annual Panamanian Jazz Festival this fall. The next edition is planned for the winter of 2005. In late October, Perez made a trip to Panama and was awarded the key to Panama City.
At his five previous appearances in the city, Perez wowed audiences with his unique rhythmic approach, superb technical prowess, and warm demeanor. The pianist looks forward to his return to New Orleans, a place where he feels at home.
“Expect a lot of adventure,” Perez promises. “And I’m sure the food and the feeling in New Orleans and the sun will trigger some new information for us.”
A TRIBUTE TO CULTURE
The Backstreet Cultural Museum observes All Saints’ Day, November 1, with its annual parade starting at 3 p.m. at D.W. Rhodes Funeral Home at 1716 N. Claiborne Ave. The event, which includes a brass band procession and presentations, is held to remember those active in the Mardi Gras Indian, second line and brass band traditions who passed on during the last year. There will be special tributes to the late Big Chef Gerald “Jake” Millon of the While Eagles, Second Chief Sterling Desmond of the Yellow Jackets and Michael “Buck” Harris, a member of the Original Bucket Men, the Black Men of Labor and Grand Marshal for the Tremé Brass Band.
The parade will make one stop at the Charbonnet Family Funeral Home on St. Philip and N. Claiborne and culminate at the Backstreet Cultural Museum, 1116 St. Claude Avenue for a ceremony followed by refreshments.
