About This Event
Doors Open:10:00 PM
Show Time:10:30 PM
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Trumpeter, vocalist and percussionist Pete Rodríguez carries the bloodline of Nuyorican salsa, just as he takes the tradition of Afro-Cuban jazz to new places. The son of renowned salsero Pete “El Conde” Rodríguez and godson of Fania Records bandleader Johnny Pacheco, the younger Rodríguez revisits his father’s legacy on Caminando con Papi. Rodriguez sang on Tito Puente’s Grammy-award winning Mambo Birdland; as an instrumentalist, he’s appeared with legends including Celia Cruz, Eddie Palmieri, Chico O’Farrill and Bebo Valdez. On Wednesday, January 29th he will make a welcome comeback to the sacred ground of the old Village Gate, where he often played “Monday Nights Salsa Meets Jazz” – now LE POISSON ROUGE – for an all-star evening celebrating his latest Destiny Records release, CAMINANDO CON PAPI, his third album as bandleader featuring featuring LUIS PERDOMO (piano), RICKY RODRIGUEZ (bass), RUDY ROYSTON (drums) & ROBERT QUINTERO (percussion).
The idea of saluting “El Conde” had been on Rodríguez’s mind since his father’s death in 2000, but he had been unable to move forward with the project until recently. “Our relationship went beyond father/son, we were more like brothers, as well as co-workers,” says Rodríguez, who became his father’s musical director at the age of 19. Coached by pianist Oscar Hernandez, the former director for “El Conde” and Ruben Blades, Rodríguez was playing trumpet, singing coro, playing maracas and giving cues to the band. He also served as his father’s travelling companion and manager when his mother was no longer able to fly. “When Papi passed away, I didn’t know what to do. I quit playing horn for three years, and I couldn’t listen to his music, especially while I was driving. It would feel like he’d be in the car with me; it was emotionally overwhelming.”
Rodríguez’s connection to his father, and the importance of his family, is obvious from the opening re-arrangement of Blades’ “Tambo,” one of his father’s signature songs. Originally an up tempo guaguancó, Rodríguez has put the lyrics at the forefront, with modern harmonies, a slower tempo, and a form stripped of the salsa signifiers of mambo and coro. “Tambo” opens with Rodríguez’s four-year-old daughter, Nayeli, paying homage to her abuelito before giving way to Rodríguez’s delicate and intimate delivery. The other vocal feature is Perdomo’s equally creative arrangement of Tite Curet’s “Cabildo.”
This contemporary sound of Latin jazz is a commonality among Rodríguez’s Puerto Rican jazz peers. Rodríguez was a high school classmate of saxophonist Davíd Sanchez at the Escuela Libre de Música in San Juan, PR, where Miguel Zenón would follow a few years later. While Rodríguez was a classical trumpet major, Sanchez was already well on his jazz trajectory and got Rodríguez into practicing the Charlie Parker Omnibook. Through practicing alongside Sanchez, saxophonists serve as a bigger influence on Rodríguez’s sound, as evidenced by the rapid-fire lines of “El Camaleón” and the introduction to “Arlene,” and Rodríguez’s penchant for the low and middle registers of his horn.
The legacy of Pete “El Conde” Rodríguez continues in his son, primarily in the quest to grow artistically. “Even the week before Papi died, he was listening to himself and to Beny Moré to perfect his craft,” Rodríguez remembers. “He always thought, ‘I can sing these tunes better.’ I think of him as the Miles Davis of Latin music.”
“Not only is this one of the best jazz albums of the year, it’s one of the best albums in any style of music released in 2013.” – Lucid Culture
“Following in the footsteps of his legendary salsero father, Rodriguez utilizes the lessons he’s learned to create a sound all his own….. Pete Rodriguez brings his life full circle with ‘Caminando con Papi,’ which pays homage to his late father ‘El Conde’ and opens with the voice of his 4-year-old daughter Nayeli.”
– NEW YORK DAILY NEWS
“Pete Rodriguez delicately combines/unites Cuban music and jazz in the masterpiece celebration of good music that every connoisseur and collector must be sure to buy.” – solarlatinclub.com
“Deep and profound music that conjures up the sound of Miles Davis and Freddie Hubbard, with touches of free jazz. It’s intense…challenging material that doesn’t get in the way, by some of the heaviest musicians in New York who come from a Latin background but are more than capable of playing American jazz at the highest levels. Only a handful of people in that school…Historic stuff.” – Peter Watrous, Descarga.com
You can stream the music here:
“CAMINANDO CON PAPI”
Luis Perdomo grew up in a home filled with music. Born in Caracas, Venezuela in 1971, Luis was exposed to just about every style of music by his father, an avid music fan and collector. Alongside salsa, Latin, R & B, and classical, the young Perdomo heard jazz greats like Bud Powell and Oscar Peterson, two of his earliest and most important musical influences. Drawn to jazz and to the piano at an early age, Luis was making regular professional appearances on Venezuelan TV and radio by the time he was twelve. It was about this same time that Luis started to think more and more about the possibility of pursuing a life in music. The more he began to listen and to read about jazz—his tastes had expanded to include players like Cecil Taylor and John Coltrane—the more he became aware of one undeniable truth. All his favorite artists lived and/or recorded in New York City. Thus, it was only a matter of time before he too would make that move.
A full scholarship to the prestigious Manhattan School of Music was the catalyst. And it was at MSM where he began his formal study in both classical and jazz piano with Harold Danko and Martha Pestalozzi respectively. After receiving his BA in Jazz Performance in 1997, Luis pursued his Masters at Queens College with the legendary Sir Roland Hanna. This was perhaps one of the most pivotal moments in his development as an artist. “While studying with Sir Roland Hanna I came to realize just how little I knew about both the piano and the music. He forced me to start with a clean slate and to re-evaluate my musical perceptions—both about jazz and the history of jazz piano. I began to look at jazz and classical music in a new and more in-depth way and my playing evolved accordingly.”
Luis’ music “education,” was not limited to the classroom. Soon after moving to New York, he quickly established himself as an in-demand pianist amassing quite an impressive resume. Some of the artists Luis has recorded and/or performed with include Ravi Coltrane, John Patitucci, Ray Barretto, Brian Lynch, Miguel Zenon, Dave Douglas, Butch Morris, Ben Wolfe, David Gilmore, Ralph Irizarry & Timbalaye, Fort Apache Band, David Sanchez, Johnathan Blake and Ignacio Berroa. A list that is as notable both by its quality as well as its diversity. As a longstanding member of groups led by Miguel Zenón and Ravi Coltrane, Luis has made his mark as a performer, a composer and arranger. He can be heard most recently on both Grammy nominated Ravi Coltrane’s “Blending Times” and Miguel Zenón’s “Alma Adentro: The PuertoRican Songbook”.
Luis’ has released five highly praised recordings as a leader: “Focus Point” (2005), “Awareness” (2006), and the highly acclaimed “Universal Mind” featuring Drew Gress and Jack Dejohnette (2012) for Ravi Coltrane’s RKM Music label. “Pathways” in 2008, and The “Infancia” Project in 2012, were both recorded for Criss Cross Jazz.
Luis’ newest project “Links” was released on May 21st, 2013 on the Criss Cross Jazz label. This high octane CD reunites Luis with three master musicians with whom he has had long musical relationships: drummer Rodney Green, bassist Dwayne Burno and saxophonist Miguel Zenon.
Bassist Ricardo Rodriguez is part of the jazz scene in NYC , which embraces the entire scope of contemporary music . Besides being an in-demand jazz bassist , he can be found playing jazz , contemporary music, Hip-Hop , R&B, Classical music, Afro-Caribbean or folkloric latin music. He studied classical bass and composition at the Conservatory of Music in Puerto Rico. In addition to his work with Joe Locke and Force of Four, Ignacio Berroa Quartet ,The Rodriguez’s Brothers , The Afro Latin Jazz Orchestra , also he has played with Branford Marsalis , Miguel Zenon Quartet , David Sanchez Quartet , Donny McCaslin trio ,Nickel Killmics & DIM Operation band, The 90 Miles Project with Stefon Harris , David Sanchez and Christian Scott , Wayne Escoffery Quintet , Manuel Valera Group, Michele Rosewoman , Billy Drummond , Dave Binney , EJ Strickland Quintet , among others. Ricardo has already recorded with following musicians: Alvin Batiste & Branford Marsalis ( Tribute Honor Series to Alvin Batiste ), Joe Locke ( Force of Four ), Ricardo Pons and Causa Comun ( Segunda Piel ) , Endel Due~no ( Energy ), Magos Herrra ( Distancia ), Yarimir Caban ( MIMA ), Mayra Casales ( Woman on Fire ), Papo Vazquez ( From the Badlands ), Raul Romero ( Holograma ) , Mike Freeman Zona Vibe ( IN THE ZONE ), The Rodriguez Brothers (Conversations ), Luis Bonilla ( Terminal Clarity ), Desmar Guevarra ( Del otro lado del espejo ), Pete Rodriguez ( Alchemist ), Arturo O’ Farril and The Afro Latin Jazz Orchestra ( 40 Acres and a Burro ), Henry Cole and the Afro Beat Collective ( Root before Branches ), and Wayne Escoffery ( The Only Son of One ). In addition , Ricardo has performed for famous International Jazz Festivals in United States , South America , Europe and Asia. Currently, Ricardo is playing with Ninety Miles Band featuring Stefon Harris , Nicholas Payton and David Sanchez, Wayne Escoffery quintet, David Sanchez Quartet , Ignacio Berroa Quartet and his own quintet. (via Reverbnation)
A native of Ft. Worth, Texas, Rudy Royston was raised in Denver, Colorado. He began playing
drums and percussion as a toddler, playing in church and along with an eclectic array of LPs his siblings would have on rotation. The youngest of five, Royston attributes his musical interests and palate to his siblings and parents. Rudy’s older brothers and sister were avid listeners of all genres of music, his mother a strong support, and his father the supervisor of shipping at an established children’s percussion instrument making company. Rudy’s brothers would expose him to a myriad of music, and his father would bring home slightly damaged percussion instruments. As a result, Rudy grew up surrounded by bongos, rhythm sticks and xylophones, recorders, metallophones, glockenspiels, drums and many other percussion instruments. In the fourth grade, with his mother’s ceaseless support, Rudy began studying music
more formally, beginning his studies in reading and writing music. He continued his music studies through middle and into high school—receiving some training on viola and tenor saxophone as well.
While a sophomore in high school, Rudy attended the Telluride Jazz Camp in Colorado on scholarship, where he studied jazz drum set for the first time with Duffy Jackson and Ed Soph. It was then Rudy knew he would pursue music the rest of his life. He began studying classical and jazz repertoire, as well as marching percussion, rising to achieve membership into topnotch city and state-wide high school ensembles.
Rudy went on to study marching purcussion, classical percussion and Jazz Performance at University of Northern Colorado, Metropolitan State College of Denver, and University of Denver. Rudy graduated with honors from Denver University, where he received Bachelor of Arts degrees in Music and Poetry. He later received K-12 teaching credentials from Metropolitan State College of Denver.
While in college, Rudy began playing with well-regarded trumpeter Ron Miles, whom Rudy deems his greatest teacher and music mentor. A now major figure in the Denver music scene, Rudy performed with artist such as Fred Fuller, Dale Bruning, Laura Newman, Fred Hess, Dotsero, Leslie Drayton, Joe Keel, Nelson Rangell and Bill Frisell—with whom he still plays.
Upon graduating college, Rudy went on to play and record in the gospel, alternative rock and jazz scenes in Denver and around the United States. He taught music 10 years in public schools before relocating to the east coast in 2006 to pursue graduate studies in music at Rutgers University, Mason Gross School of the Arts, studying jazz percussion with the great Victor Lewis. Rudy quickly integrated into the New York music scene, performing with world-renowned artists such as Bill Frisell, Les McCann, Dave Douglas, Ben Allison, Jason Moran, JD Allen, Sean Jones, Greg Osby, Jennifer Holiday, Tia Fuller, Ravi Coltrane, Ralph Bowen, Bruce Barth, George Colligan, Don Byron, Tom Harrell, John Ellis,
John Patitucci, Jenny Scheinman and The Mingus Big Band, to name a few. A lover of all genres of music, Rudy continues to expand his horizons as he gains increasing recognition in the world of Jazz. You may see Royston’s performance schedule, as well as music downloads on his web space:Rude Royston official sit.
Roberto Quintero was born in Caracas,Venezuela,where he was surrounded by Afro-Venezuelan and Afro-Cuban rhythen and music.
His father,a respected composer,singer and percussionist in his native country,tutored and encouraged Robert on percussion trougt his adolescent years.Roberto comes from a long line of outstanding musicians which includes his Uncle,Carlos Nene Quintero and cousin Luisito Quintero.Roberto studied at conservatory of music in Caracas-Venezuela and Orquesta Sinfonica Juvenil de Venezuela,and his percussion technique soon garnered attention from his colleagues.
He joined the popular music ensembles Grupo Madera and Oscar D’Leon,where he enjoyed widespresd worldwide expousure.Besides being known for hisskillful Congas work,Roberto also plays bongos drum set,djembe,timbales and wide variety of assorted percussion intruments.his technique has worked with,dave samuels,dave weckel,Chicago Group, bobby wacson,steve khan,diane schuur,angelia kijod,Milguel Zenon.richard bona,gato barbieri,David Sanchez,Roy Hargrove,David Sancious,eddie palmieri,jack de johnette,RoyHaney, john patitucci,marc anthony,timbalaye,celia cruz and contless other high-profile music acts quintero is comfortable working in any genre of music fron simpronic to jazz,latin jazz,latin,house.