Posted on November 3, 2007

Percussionist Nils Fischer Tips His Hat to
The Joe Cuba Sextet
¡Gracias Joe Cuba! (Walboomers Latina, 2007)

By Tomas Peña

TP: You began your musical career as pianist then you switched to percussion after listening to a recording by Paquito D’ Rivera. Do you remember the name of the recording?

NF: Sure I do! Paquito D’ Rivera Live at Keystone Korner (1983, CBS Records) with Claudio Roditi, Carlos Franzetti, Steve Bailey, Ignacio Berroa and Daniel Ponce.

TP: What a coincidence! That’s one of my favorite recordings! I have had one hell of a time trying to find it. I hear it is out of print …

TP: After high school you studied in Cuba. Where exactly did you study and with whom?

NF: I studied folkloric percussion at the “Cabildo Teatral De Santiago De Cuba” with Milian Gali. I also participated at the Carnaval in 1988, playing “Ritmo Conga Santiaguera” all day and marching with the drum section for approximately 100 miles per day! Later, I spent a week in Habana, where I saw Gonzalo Rubalcaba’s band (with Roberto Vizcaíno) – they were unbelievable!

TP: In 1992 you became a member of the Latin Jazz group, Nueva Manteca. Word has it that on your first gig you performed with one of the most formidable and respected percussionists on the planet, Giovanni Hidalgo. How did you fare? That must have been quite an experience …

NF: I played timbales, bongo and the chekere with Nueva Manteca for many years. Since two years or so I am on congas. Now let me get to your question! I had just completed one year at the Rotterdam Conservatory. My teachers were Jan Hartong (piano), Lucas Van Merwijk (drums), Ben van den Dungen (tenor sax), Jarmo Hogendijk (trumpet), Martin Verdonk (congas) and Nicky Marrero (timbales). All of who were members of Nueva Manteca. When Nicky left the band, they were looking for a new timbalero. That’s how I came into the picture. It was incredible to follow-up Nicky Marrero! But even “worse” was when Jan told me that the first two gigs were with Giovanni Hidalgo. I studied Nueva Manteca’s repertoire religiously and finally the great day came. Before the concerts Giovanni gave a clinic at the conservatory, displaying his intimidating “chops,” which were nothing short of revolutionary (and still are!) and his deep knowledge and respect for tradition. There are a lot of fast players out there, but “Gio” really changed conga playing forever … Can you imagine how I felt? Honored but scared. My veins were pumping 100% adrenaline! Nonetheless, the performances turned out well. It’s so easy to play with great musicians … and an extremely amazing experience to play, not only with my teachers, but also with Giovanni. To use the old cliché, it was a dream come true. The experience motivated me to keep studying, and become a better musician.

TP: Let’s talk about the genesis of ¡Gracias Joe Cuba!… during the 80s you purchased a slew of (vinyl) recordings from a local record store. In the pile were a number of recordings by the Joe Cuba Sextet. What set Joe Cuba’s music apart from the rest?

NF: The Joe Cuba Sextet swings like hell! Keep in mind, without being incredible virtuosos they knocked out audiences night after night with just a small band (as Joe Cuba told me)... I was already knocked out by the records and exciting arrangements. In my opinion, Cheo is one of the most swinging singers in the history of this music. Whenever I listen to him I get so inspired (even as a drummer). Cheo sings like a percussion player, I hear all the “palos” in his phrasing. He is truly amazing. Did you know that he began his career as a tumbador? Another aspect of the Joe Cuba Sextet is the fact that the music is so “real” and directly from the heart.

TP: It must be a great feeling to know that Joe Cuba approves of the recording. I understand he paid you the ultimate compliment by giving you his “bendicion” (blessing) …

NF: I have been very lucky with this project but what surprises and satisfies me the most is the fact Joe approves of it. He likes anything “que tiene swing,” as he told me. He also said that the recording brought back great memories and he could feel the joy they had recording it. Wow! The fact that he likes ¡Gracias Joe Cuba! is the ultimate appreciation and a confirmation of my musical vision. Joe Cuba is one of my all-time heroes. Tomas, as I tell you this I really get emotional … what a great person “Sonny” (Joe Cuba’s nickname) is. I mean, we come from completely different environments, eras and continents and he not only accepts it, but also really likes it. What more could I possibly ask for? Fantastic!

TP: You breathe new life into Joe Cuba’s repertoire. What was the plan going in and how did you manage to put your spin on the material without sacrificing the essence of the Joe Cuba sound?

NF: I hope we didn’t lose anything in the translation… anyway, I did it my way, which is not 100% Borinquen, Cuban, Nuyorican or Colombian … you see, I don’t like to separate all of those “dejes.” I love La Sonora Ponceña and Batacumbele, but I also love La Charanga Habanera, Son De Cali, Los Van Van, Ray Barretto, Rubén Blades, Irakere, El Gran Combo and Issac Delgado.

In the end, I owe a lot to the arrangers, Alain Perez, March Bischoff and Jan Hartong. I asked them to arrange the material in a modern way, but to still respect Joe Cuba’s legacy. There were certain passages that remain unchanged and others that I chose to modernize. The challenge was to move away from the vibes and add horns. But still, I absolutely needed the vibes and Bart plays great! As for the recording sessions, with all of those great musicians there was not much talking …

I really wanted everybody to play and sing the way they liked. On occasion, I interfered. For example, I wanted singer Fabian “Huracan” Nodarse to dedicate the first pregón on Ariñañara to Joe Cuba.

TP: You enlisted some “heavyweights” for this recording: Bass player Alain Perez, trumpet player Brian Lynch, timbalero Jose “Pepe” Espinosa, not to mention some of your former band mates (Lucas Van Merwijk, Jan Hartong, etc). All things considered, that’s quite a roster for an independent recording!

NF: Hey Jan, Lucas and I are still band mates...

Actually I am lucky that the musicians who participated are good friends. I met Alain on a gig in Holland. Maite Hontelé, a Dutch trumpet player organized a concert in Rotterdam with Alain Pérez and I felt like I was in heaven. We clicked like crazy! I knew that I had to have him to perform on my CD.

Pepe is a close friend. I met him at a festival in 2000 where I played with Lucas' Cubop City Big Band. We had a jam session after the concert and what can I say? He invited me to Cuba and when I arrived one year later, he took me around for two weeks. While I was there I sat in with so many great musicians, like the guys from la Charanga Habanera, Sello LA, Papiosco [Klimax], Oscar Valdes' Diakara etc. Thanks to Pepe, I had a fantastic time in Havana.

When I heard that Pepe moved to Madrid (2005), VOILÁ! Now that's what I call a lucky coincidence! So I headed to Madrid with [yes - another friend] Marc Bischoff (a fantastic pianist and arranger) to record. Alain arranged "Ariñañara" and the medley of "Pancho", "Vine Pa' Ver" and "Tremendo Coco" - and the studio and a rehearsal place. I really owe him!

I have known Brian (Lynch) since 2001 when we did a tour together with the "Descarga Amsterdam". Brian is a regular teacher at the Conservatory of the city of Groningen and it was just a matter of waiting for his next teaching period. On several occasions I invited Pepe and Brian to Rotterdam, where we performed at a local jazz club. I also had Pepe give masterclasses at the CODARTS INSTITUTE [Rotterdam Conservatory].

The "Dutch cast" is just my dream team: Lucas van Merwijk, Marc Bischoff, Jan Laurens Hartong, Leslie Lopez, Liber Torriente, Fabian Nodarse, Nando Vanin, Alberto Caicedo, Gerardo Rosales, Joe Rivera, Nico Schepers, Alberto "Molote" Muñoz, David Rothschild, Santiago Cañada, Bart Platteau, Eduardo Alfonso, Gerrit Jan Binkhorst and my good old friend from Germany, who now lives in NYC, Christof Knoche.

Last but not least I got in touch with engineer Jon Fausty through Ralph Irizarry who gave me his phone number. For the trip to Tampa for mixing and mastering, I got some financial help by the Dutch government.  I managed to convince them what a difference Jon's contribution to the project would make, which I think is true.

TP: Has the fact that you are not a Latino ever been an issue for you? I am thinking of musicians like Poncho Sanchez, who were given a hard way to go when they came on the scene …

NF: Let me quote from Brian Lynch’s liner notes of his latest CD, "Simpático”: "You know how not to be an outsider? Don't be one!" Easily to say, hmmm? But it was a long way to go. When I first got in touch with Latin music I felt this deep affection for the music, the people and the culture. I think people appreciate when you respect and like their culture. I'll never forget how Pepe took care of me in Cuba or Tito de Gracia, Jimmy Rivera and Paoli Mejias when I visited Puerto Rico. Or the great Bobby Sanabria, who took the time to show me around New York City. Later Bobby put me in touch with Joe Cuba! So in answer to your question, I have never really been given a hard time. Through Nueva Manteca, Lucas' Big Band I have had the honor to play with some of Latin music's greatest musicians. ALL of them are fantastic people, with zero attitude: Armando Peraza, Orestes Vilató, Chocolate, Paquito, Michel Camilo, Giovanni, Luis Conte, Claudio Rodíti, Edy Martínez, Nelson Gonzáles, John Benitez, Karl Perazzo, Rebeca Mauleón, Ralph Irizarry, Yolandita Rivera, Meñique.

TP: Finally, what is in your CD player (at home or in your car) as we speak?

NF: In the car I have Alain Pérez "En el Aire" WOW what a CD! The concept is amazing! It sounds “light” and “heavy” at the same time. The arrangements, rhythm section, horn section … it’s a super duper must have.

TP: Musically speaking, you and I are definitely on the same page. I haven’t stopped playing Alain’s recording since I received it. He is definitely a name to watch.

NF: At home I am watching a DVD I received from Kevin Moore at www.timba.com with vintage footage of early Ritmo Oriental and Los Van Van. That is the shit!

TP: Who are some of your favorite artists and why?

OK, this is very hard. As far as up-and-coming artists, revolutionary concepts, every note from the heart and adventurous playing: Alexander Abreu, Tito De Gracia, Alain Pérez, Julito Padrón, Melón, Jose Espinosa, Pedrito Martinez, Yulién Oviedo, Yaroldi Abreu, Paoli Mejias, Dafnis Prieto, the kid that sings and plays quinto with Los Ibelli [the rumba group], I could continue forever!

TP: There are so many wonderful established as well as up-and-coming artists. At times I find it difficult to keep up with it. Is there any chance of you coming to the states in the near future?

NF: I 'll be probably performing with the Cubop City Big Band in Miami in September, 2008. One day I would love to come with TIMBAZO!!!

TP: Any other thoughts?

NF: Thanks for your interest in what I do! It has been a great, great pleasure for me to do this interview. 

TP: The pleasure has been all mine … keep swinging!

For additional information on Nils Fischer visit:
www.nilsfischer.com

Partial Discography:
Arsenio! with Lucas Van Merwjik’s
Cubop City Big Band
Congo Square, Tribute to New Orleans with Nueva Manteca
Rumbata – Patria y Bandera with Issac Delgado