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New Album !!! Interactivo "Cubanos Por El Mundo" Coming Out soon

Manuel Artime Theater, Miami July 17-2008...What a Concert!!!!! Thank you all for coming...Gracias a Todos...

Roberto plays Ignacio Cervantes

Luis Bofill sings " El Club"

Gema Corredera sings "Un Bolero que te salve la vida"

Courtesia/ Courtesy of El Nuevo Herald, Entrevista de Sarah Moreno imagenes de Pedro Portal

Watch this...Roberto Carcassés, ALEXIS VALDES TV SHOW, Announcing the Miami Concert July 17,2008. New Album Release " MATIZAR"

Enjoy New Videos in Concert at The Sala Atril 2008, Amateur film, Great Sound

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Cool Stuff at BlingJam.com

THIS VIDEO: MECANICA COTIDIANA composed & performed by Roberto Carcassés.

THIS VIDEO: BUTCH & BUTCH composed & performed by Roberto Carcassés.

VIDEO ABOVE: AY CAROLA.

VIDEO BELOW: ADN composed & performed by Roberto Carcassés.

Concert at Bimhuis in Amsterdam, pictures courtesy of Petra Morales AKA Santa Petra de Colonia, for ArtMusic, 2007.

Cool Slideshows

Roberto Julio Carcassés Colón.

Also known as Robertico, Roberto Carcassés, born May the 19th, 1972. At 11 he started to play, later graduated in percussion and piano from the Cuban Escuela Nacional de Arte, in 1991. He participated as a collaborator with the following personalities: Wynton Marsalis, George Benson, Harper Simon, Chucho Valdés, Gonzalito Rubalcaba, Changuito, his father Bobby Carcassés and many more.

The CD Roberto Carcassés "Invitation" was released in 2000, showcasing many aspects of his musical capacity. Roberto assembled for the recording the best musicians from this generation of Cuban music, like the brilliant trumpet player "El Indio" and the sax players César López and Alfred Thompson of the famous Irakere Band recorded for Velas Records. Roberto is the son of Cuban jazz legend Bobby Carcassés.

Roberto arranged and play for the European Tour of Ojos de Brujo and for their new Album "Techari" (world/ flamenco/with latin influences) the group is based in spain.

He toured as a pianist with the "Grupo de Santiago Feliú in Argentina, Germany and Spain between 92 and 95. He also took part on a tour in Spain and USA with the group Columna B, between 98 and 99. He taught at Stanford University, in the Jazz Workshop for two years (98-99).

He was invited to perform at the following festivals:

Jazz Festival in Barcelona (97),

Festival de La Habana (95,96,97)

Utah Jazz Festival (98).

He recorded the CDs:

"Trampas del tiempo" (Pavel y Gema) for Nube Negra Records.

"Jazz Timbero" (Bobby Carcassés) for Tumi Music, U.K.

"Columna B, Twisted Noon" " for Mambo Music, Selma Reis for Velas Records.

He composed the soundtrack to the film "Violetas" (Mexico), 1997.

He also composed some songs for the movies "Cuarteto de La Habana" (Spain)

"New Rose Hotel" (USA).

He participated as a collaborator with the following personalities: Chucho Valdés, Gonzalito Rubalcaba, Changuito, Wynton Marsalis, George Benson and Harper Simon.

Recent compositions/productions/arrangements.

2007: Luis Bofill, New Album is produced by Roberto & Descemer...is in the making!

2006: Inter-Activo "Goza Pepillo" Award winner (Gran Premio Cubadisco + Opera Prima y Fusión.)

Yusa "Breath" U.K

Telmary “ A Diario” Cuba.

William Vivanco “La Isla Milagrosa” Cuba.

Francis del Rio “Sentimiento” Cuba.

Breathing Havana, Compilation, Japan.

Cool Cool Filin, Compilation, Japan.

Ojos de Brujo “Techarí” Spain.

2005:

Jazz Cuba today DVD , first ever dvd to be released in Cuba.

Roberto Carcassés performs 4 of his compositions for piano: Ay Carola, Butch & Butch, ADN & Mecanica cotidiana, dvd also featuring trumpet player Alexander Brown & guitar player Elmer Ferrer.

2000

Roberto Carcassés “Invitation” Solo Album, Velas Rec.U.S.A

1998-1999

Columna B “Twisted Noon” Album for Mambo Music, Album Released and Tour: Spain and USA .

Columna B:Roberto Carcassés,, Yosvany Terry, Descemer Bueno, Dafnis Prieto.

Music Workshop 2 years (98-99) Teacher, Stanford University California, U.S.A Masters degree program.

1993-1995

Santiago Feliú “Nausea de fin de siglo”

Santiago Feliú “Futuro inmediato”

Tour, Argentina, Germany, France & Spain.

1992

Estado de Ánimo, Life Performances.

Estado de Animo:Roberto Carcassés, Descemer Bueno, Elmer Ferrer & X Alfonso)

Jazz Festivals Performances:

• Festival Ottawa Canada (2005)
• Festival de Jazz Istambul, Turkey (2003)
• Utah Jazz Festival, U.S.A (1998).
• Stanford Jazz Festival, California U.S.A (1998)
• Barcelona Jazz Festival, Spain (1997),
• Festival de San Sebastián with David Murry, Spain.
• Festival de Jazz Vienne Sud de la France.
• Festival de La Habana (1995,1996,1997, 2006)
• Blue Note, Tokyo, Japan
• Ronnie Scotts , London U.K
• Jamboree, Barcelona, Spain

Albums : collaborations/production/arrangements

• Pavel y Gema "Trampas del tiempo" with Estado de Animo, Spain.
• Bobby Carcassés "Jazz Timbero" Tummi Music, U.K.
• Roberto Carcassés, Invitation, Selma Reis, solo Album, Velas Records. U.S.A.

Film Music scores:

• "Violetas" (Mexico).
• "Cuarteto de La Habana" (Spain)
• “Cuba Today” Documentary (Netherlands)
• “Musica Cubana” - German Krall (Germany producer of Buena Vista Social Club)

Music Videos:

• Roberto Carcassés “ADN”
• Roberto Carcassés “Mecanica Cotidiana”
• Roberto Carcassés “Butch & Butch”
• Roberto Carcassés “Ay Carola”
• Inter.-Activo “El Club”
• Inter.-Activo “Café”
• Inter-Activo “Los Revolucionarios”

An itinerary that remind us of the diversity and the array of styles he has to offer.Roberto Carcassés is another excellent surprise from the current Cuban musical scene, taking form as a pianist, composer-producer-arranger in the most ample sense of the word.

The CD Roberto Carcassés "Invitation" was released in 2000, showcasing many aspects of his musical capacity. Roberto assembled for the recording the best musicians from this generation of Cuban music, like the brilliant trumpet player "El Indio" and the sax players César López and Alfred Thompson of the famous Irakere Band recorded for Velas Records. Roberto is the son of Cuban Jazz Legend Bobby Carcassés.

Cool Slideshows

Article Courtesy of La Sonora, Spain.

Roberto Carcassés, actualmente esta considerado como uno de los pilares de la nueva musica que se hace en Cuba. Ha producido y colaborado con gran parte de la escena musical de la isla.Una de sus primeras formaciones fue Estado de Ánimo junto a Descemer Bueno, Elmer Ferrer y X Alfonso.

Ha impartido Masterclass de piano en Estados Unidos, Canada y Francia y tocado en el Blue Note de Tokio y el Ronnie Scotts de Londres.

En el 2005 se editó el DVD Jazz Cuba Today, donde se recogen las actuaciones del propio Carcassés solo al piano y las del trompetista Alexander Brown y el guitarrista Elmer Ferrer con sus respectivas bandas.

Ha sido galardonado con un premio Cubadisco este año. Su mas reciente trabajo es el disco de Telmary "A Diario" que ha sido co-producido con Yusa y ha sido grabado y mezclado en los Studios PM de la Habana. Acaba de ganar 3 premios en el Cubadisco entre ellos el Gran Premio compartido con el tambien pianista Chucho Valdes.

Descemer Bueno, Miembro de Interactivo y uno de los productores musicales Cubanos mas importantes del momento, Acaba de conseguir un Goya como co-autor de la Banda sonora de la pelicula "Habana Blues" del director Benito Zambrano. En los 90 formó parte de la banda de fusión "Estado de Animo" junto a Roberto Carcasses, X Alfonso y Elmer Ferrer. En el 2000 forma la banda Newyorkina "Yerbabuena"- Junto a Andres Levin co-produce el primer Album "President Alien" es nominado a los premios Grammy. Ha producido a artistas de la talla de Yusa, Gema y Pavel, Francis del Rio, Kelvis Ochoa y William Vivanco. Su última produción propia es el album, "Siete Rayo" y acaba de masterizar el último trabajo de William Vivanco.

Roberto actualmente se encuentra en algun punto entre New York, La Habana, Miami o Madrid...o en uno de sus aeropuertos. (Published by LaSonora, Ojos de Brujo…Spain , 2006.)

WHAT DID THE PRESS SAY?

WHAT A CONCERT !!!

La Gran Noche de Roberto Carcassés por Eliseo Cardona...BlueMonk.

Desde hace algunos años he buscado escuchar en directo al pianista Roberto Carcassés, uno de esos músicos jóvenes de Cuba que han enlazado el jazz con las corrientes de las músicas urbanas sin alienar la rica tradición musical de la isla. Había preguntado por él en La Habana, en esas noches en que los músicos no tienen hora y se mueven de local en local para no perderse lo que hacen los demás. Pero nunca coincidimos. Anoche, finalmente, pude apreciar su arte. Fue todo un gustazo. ..

mo muchos de los buenos recitales en esta ciudad, la noticia de su presentación en Miami me llegó por radio bemba. Luego lo confirmé en su página de MySpace, que su hermana Verónica mantiene al día. Ella se encargó de organizar posiblemente el mejor de los recitales de jazz cubano que se ha realizado en Miami en muchos años.

El concierto se llevó a cabo en un nuevo local de la Calle Ocho, Kimbaracumbara, un proyecto cultural puesto en pie por el joven empresario Fabio Díaz, uno de los propietarios del popular club Hoy Como Ayer. El espacio merece una nota aparte. Por ahora, baste decir que el concepto -es un café teatro de primer orden, con un rico espíritu de bohemia- estimula la vida cultural en esa zona de Miami. Las noches de Miami tienen otro lugar para evocar las noches de La Habana.

Carcassés dio inicio al concierto tocando en solitario. Y lo inició además dando algunas de las claves fundamentales de su pianismo. La primera es la de Emiliano Salvador, del que tomó "Angélica", la hermosa canción que el gran pianista cubano dedicó a su hija, para transformarla en una épica sentimental. Sin esa carta de presentación, Carcassés hubiera dado la espalda a un modelo fuerte, el de un maestro que, en un corto periodo de tiempo, creo su propio universo, su propio lenguaje pianístico. Y ese lenguaje le sirve a Carcassés para imprimir un sello a la vez cubano y generacional.

La segunda pieza en solitario, el "Conception" de George Shearing, también resultó emblemática. Carcassés pertenece a una generación de músicos -la que se formó en los años 80 y 90- que ha mirado con abierta admiración a los grandes maestros del jazz. Sobre todo, a los grandes de este país.

Esta es música porosa y Carcassés, como muchos músicos de la isla, sabe cambiar los tejidos de un standard para cubanizarlo. Pero anoche prefirió presentar a Shearing ni con un sabor cubano ni con un roce bob. Simplemente, optó por un lenguaje en el que se cruzaron técnica, intuición y citas. Era su callada manera de mostrar sus amplios conocimientos del jazz (con o sin gentilicios).

Cuando arrancó con Verónica, la pieza escrita por su padre Bobby Carcassés para su hija, Roberto cerraba un ciclo de influencias. Y esta, no por tercera, es la menos importante. En rigor, el gran Bobby es el mayor modelo de este joven que ha escuchado música sin prejuicios y que prefiere la elegancia montunera al virtuosismo técnico. Puesto en otras palabras, Carcassés toca con el corazón antes que con la cabeza.

Se trata de una sabiduría prematura que lo hace buscar un sonido noble y rico antes que el protagonismo a través de la pirotécnica propia de muchos pianistas de la isla. Esto fue más que evidente cuando tocó con el bajista Edward (no tengo su apellido) y el batería Leo García, a quienes invitaba a aportar ideas, a moverse con soltura y trabajar en conjunto.

En la pequeña tarima, los tres se dieron gusto despachando un "Capullito de alelí" (Rafael Hernández) que tomaba del montuno tanto como del hardbop; un So what? (Miles Davis) que viajaba del rock al funk y de vuelta; o un On Dolphin Green Street (Kaper / Washington) que en ocasiones se revelaba guarachoso. Aquí (para mi gusto) lo mejor la intervención del saxo tenor de Carlos Averhoff Jr., que aportó un solo magistral, modelo de exuberancia comedida.

Pero tocar en la Calle Ocho, y además tocar para cubanos, sería imperdonable si no se acude a un tema emblemático. De ahí un Son del Almendra llevado a terrenos del jazz afrocubano.

En casi todo, el pianismo de Carcassés iba de lo percusivo y lo angular a lo más lo lírico sin caer en lo sentimental. Es un músico que no se conforma con ser un mero comentarista de las músicas que lo seducen. Digamos que el suyo es un discurso de vanguardia para oído contemporáneos.

Viernes 12 de enero de 2006.

ELISEO CARDONA. ..

El Sentinel / The Sun-Sentinel.

01/12/2007 MIAMI CONCERT...VIDEOS: ALMENDRA, VERONICA, SO WHAT.

A MEETING OF THE HEARTS, Roberto Carcassés in Miami By CHICO ALVAREZ PERAZA

A few years ago a young man graced the studios of WBAI, during one of my Sunday shows. He was accompanied by some local musicians who were promoting an event here in NYC. In his own words he had just "come along for the ride" - or something like that.

He was quite humble and did not speak much, but his last name caught my attention. I learned that he was the son Bobby Carcassés, one of my favorite Cuban singers. A number of years went by and I did not hear from him, nor did I hear of him in any way. Every once in a while his name would pop up in one conversation or another and I just assumed that he was somewhere in La Habana, where talented folks like him were inadvertedly being channeled into oblivion.

I could only imagine how hard Roberto must had been working during this period at his craft. Certainly, he had earned a reputation among New York musicians as one of those rare individuals who could fuse the sophisticated sounds of Jazz with the more urban pop side of Cuban music, effortlessly and without alienating those rich Afro-Iberian traditions. Naturally, I was anxious to hear him play.

In New York, the opportunity seemed to elude me - on more than one ocassion, and it wasn't until just recently that I was finally able to sample this young man's art up close. It all happened on January 12th of this year - in Miami of all places. A spot on the map where music, art, politics and controversy seem to follow each other everywhere, and where the avant garde of Cuban Jazz somehow seems out of place with the city's nostalgic surroundings. Indeed, there are places throughout the Dade County area that harken back to a bygone era. Bastions of culture where the ghosts of a not too distant past gather and reminisce about the good old days. But that is another subject altogether. For now let's concentrate on the present, and on Mr. Carcassés' dramatic entry into that world.<?P>

As with most cultural events in that city, the news of the Carcassés recital (that's how it was billed) traveled rapidly via the grape-vine. I tried to confirm it through my contacts in Miami and via the internet, and I was especially motivated by my impending stop there during that same week. As it turned out there was a site on MySpace which confirmed the time and date of the event. Roberto's sister Verónica had seen to it that all the right people would be informed, that is to say the alternative radio stations and press, which meant of course those who refused not get caught up in the choosing of sides. These were well intentioned folks who firmly believed in the separation of art and politics (even though they knew that it wasn't always possible).

Verónica Carcassés Castillo had in fact been the organizer and chief promoter for the event. This was not the first time that Afro-Cuban Jazz had made its way into the magic city. From time to time, attempts had been made to organize and promote this very stylized music locally, although not always successfully. It was after all, a highly sophisticated sound - "cerebral" you might even say, (as opposed to "butt-shaking") and quite distanced from the commercial stuff that continually bogarted its way into radioland. Anxiety filled the air as Veronica mobilized her contacts within the alternative media, and they in turn spread the word to their constituents. Miami's Cuban Jazz lovers told their friends, who in turn told their friends and so forth. I think they still call it Radio Bemba (at least that's what we call it up north). Finally, and without much fanfare, the big night arrived. But the burning question still remained. Who would come?

The word was out that this particular event was going to be one of the most interesting exhibitions of Cuban talent to come along in a long time. And according to many of the concert goers which I spoke with, it was. There was a certain ease in the air, and I sensed that everyone was glad to be there. "Robertico" (as he is sometimes called) is no stranger to controversy, nor to this type of cultural environment. He presently resides in La Habana and has performed his repertoire in Brazil, France, England, Argentina, Canada, Holland, Spain, Mexico and Italy. But Miami was truly a new experience for him.

The recital-concert actually took place at a local establishment known as "Kimbaracumbara", in the Calle Ocho section of Miami. The principal promoter was a young empresario by the name of Fabio Díaz, who is also the owner of "Hoy Como Ayer", a cafe-theatre and a popular hangout for lovers of Jazz and Cuban music. The ambience there can best be described as bohemian - in the true sense of the word - an oasis of culture, as one patron actually described it to me.

On this night Roberto Carcassés initiated the concert by playing some solo pieces, garnishing inspiration from such works as "Angélica", written by the late Emiliano Salvador. As I listened to this piece, the first word that popped into my mind was "feeling" - with "sensitivity" trailing a close second. And to think that this young genius once sat a few inches away from me, quietly and attentively listening to every word I had to say, without even as much as interrupting the flow of the interview (a fact that I now appreciate wholly). In no way did he seek to promote himself, simply out of respect for those whom the show was dedicated to. I don't know if he realized just how cool that was.

Perhaps it was young Roberto's respect for Jazz as an artform (and in particular his respect for artists like Emiliano Salvador) which brought him to this point in his career. In retrospect, there probably would not have been anything resembling Cuban Jazz around today, had it not been for the daring innovations of Emiliano and his contemporaries. This does not in any way diminish the contribution of such North American artists as McCoy Tyner or Oscar Peterson.

And while it is true that Emiliano was not alone in shaping this music, it is also true that during the short time that he was with us he did introduce a new and exciting style of playing, one which has left an important imprint on the world of Jazz. His hard-driving montuno-jazz style has been emulated by countless others since his death. Roberto is among the many Cuban and Latin American artists who have mastered Emiliano's pianistic idiom, taking it out of the recording studio and straight into the concert halls, presenting it to any and all who will listen, and especially to the orthodox Jazz community - a group of die-hard traditionalists who have not yet fully accepted Cuban Jazz as anything but a hybrid. In the past, as quite often happens with such genuises, Emiliano was not given any credit for his innovations. To their credit, Roberto and his peers fully acknowledge him, even today.

For this ocassion, it was not just Cuban jazz that was present, but a more universal form of music, an all-encompassing sound which the audience embraced with a passion. Through the artistry of Roberto Carcassés and his cohorts, generational and cultural boundaries were crossed, and a small but significant segment of that city gave up their love to him on this night. It was like a meeting of the hearts.

The audience at Kimbaracumbara was quite receptive to "Conception", another emblemátic piece written by British pianist George Shearing. Carcassés, (who clearly belongs to the post-revolution generation of musicians - those whose foundations were formed during the eighties and nineties), professes a deep admiration for the great American songbook and for the daring innovators who came up during the previous generations (ironically, many of their works were censored during the early years of the revolution). He even holds a place in his heart for those bulwarks who stubbornly cling to the mainstream style exclusively, contending that they too will come around to the "new" style of jazz. It is not easy to sway a purist, believe me I know.

At this time I think that a little background on this young lion is in order.

Roberto Julio Carcassés Colón was born in La Habana, Cuba on May 19th of 1972. He studied piano and percussion at the Escuela Nacional de Arte until his graduation in 1992. Like many Cuban artists of his generation Roberto respects the Jazz tradition, but he ultimately seeks to add more colors and textures to the old standards, thus cubanizing them, so to speak.

But his is not a happy-medium type of blending effect, as with the more commercial and danceable "latin jazz" of the sixties (basically what Tjader, Mongo and other pioneers of this idiom did was to lay down jazz harmonies over syncopated Afro-Cuban rhythmic patterns, such as mambo, cha cha cha, 6/8 bembe, then blow improvisational lines over the free-flowing and hypnotic montuno section.)

The latin jazz which I grew up listening to was nothing more than a straight ahead Cuban descarga with jazz overtones. That music was quite danceable (every dance band had a few instrumental descargas in their book) and it was easy to listen to as well. Quite often it competed with r & b and pop, making it into the charts. The more fusionistic style which we now label "latin jazz" evolved decades later, when it began to encompass other forms of music, such as classical European music, secular and religious African based music and rock.

This is the fertile ground that young Roberto must have walked upon during his formative years in Cuba, when he performed with such groups as "Estado de Animo", "Columna B", "Santiago Feliú Group" and of course with his father Bobby Carcassés' band. Presently Roberto is both the pianist and leader of "Inter-Activo", a sixteen piece group which recently won the CubaDisco award for "Goza Pepillo" (2006).

Robertos' concept of cubanization is by no means a complete synthesis either. In fact it is the complete opposite of what "latin jazz" is or was initially. Today's contemporary Cuban Jazz is just that- Jazz (in all its manifestations) with Cuban overtones. I mean, let's face it, you just can't dance to it. Maybe that's why it is not all that popular with the "old school" Cubans. Besides Emiliano, Roberto has cited other influences, ranging (of course) from his dad to Chucho Valdés, Gonzalo Rubalcaba, Juan Formell, Jose Luis Cortes, Silvio Rodriguez, Santiago Feliú, Pablo Milanes, Arsenio Rodriguez, Beny Moré and Pedro "Peruchín"Justiz. Other influences (from outside the perimeters of his homeland) have been Kool and the Gang, Ruben Blades, The Beatles, Chick Correa, Bill Evans, Keith Jarret, Sting and even Led Zeppelin. Imagine that!

Diversity yes, but Robert Carcassés can also play "straight ahead" jazz, with uncanny authenticty. I can attest to that. Take Shearing's piece for example, which came off straight as an arrow, sans any of the Cuban or Be-Bop elements that are so prevalent in the repertoire and style of most "latin"pianists. Roberto's tecnique on this one was awesome, and his quiet and melodic touch would have made Shearing beam with pride.

"Verónica" is a piece that was written by his father Bobby Carcassés in dedication to his sister, and for no apparent reason Roberto chose to close out the solo segment with this one. The elder Carcassés was perhaps Roberto's major influence, at a time when Roberto was first beginning to distinguish between the highly disciplined and demanding classical music of the conservatory and the equally disciplined and demanding street sounds which prevailed around him. The difference may have been that the latter was much more fun to play, and required more heart than brain. To this day Roberto prefers the simplistic but elegant ostinato of a montuno over the rigorous pirotechniques of the European school. But that has in no way hindered his creativity.

For the next segment of the show Roberto brought out a most capable trio, and prominently featured both bassist Edward Magdariaga and drummer Leo García as soloists. Rafael Hernández' "Capullito de Alelí" was pure montuno interwoven with hardbop, while Miles Davis' "So what?" fluctuated between rock and funk. The Kaper-Washington standard "On Green Dolhin Street" bordered on the guaracha-son combination, without it becoming quite so monotonous as to be called a "salsa" piece. It did have its "flava", but lacked the spice that previous"latin jazz" versions have had in the past. In other words, it was not danceable "latin jazz". If I tend to stress this element, it is because I feel that this is where the fundamental difference between the "vieja guardia" and the "nueva ola" lies. Tenor saxophonist Carlos Averhoff Jr. was called in on this one, adding his usually tasty solos to the cauldren.

Another emblematic piece was Abelardo Valdes' "Almendra", which savoured more of an Afro-Cuban Jazz feel than your traditional danzon would. No problem, as far as I am concerned. Again, the traditionalists would have invariably raised their eyebrows, although I wasn't looking around for anything like that. To which I may add - So what? (hey - maybe that's why Roberto chose Miles' tune, right?). In any event, it was the piano virtuosity of this young Cuban which was the highlight of the evening. His delivery was at times percusive, angular and lirical (swinging too) - a little bit of everything you might say - a complete tour de force. From where I sat, Roberto came off as a total musician, and one who was not satisfied with merely playing good music. His performance is an excersice in good public relations. He is in no way complascent, and is just as eager to engage in good conversation with his audience than to show off his pianistic skills.

Back in Cuba Roberto keeps busy doing local gigs or recordings, either as a sideman or as arranger. His first DVD was titled "Jazz Cuba Today" and his most recent one is "Techarí", featuring the Spanish group "Ojos de Brujo". He is presently producing a new CD for Miami based singer Luis Bofill and bassist-singer-composer Descemer Bueno, also out of Miami. Most of his performances outside Cuba are in concert settings or large festivals, usually with a trio or a quartet. In Madrid, his presentation will more often than not be augmented by two or three more pieces, and that's because there are so many Cuban musicians living there who could use the work.

Sometimes he will take the role of sideman, as with the aforementioned Ojos De Brujo" (Andalusian flamenco-timba-son fusion). Roberto and Cuban trumpeter Carlos Sarduy have each collaborated with this group, recording with them first in Cuba and later touring with them worldwide. During these tours they will often take side gigs with their trio as well.

Whenever he is in New York City he usually hooks up with drummer Dafnis Prieto and the Terry brothers, Yosvany (sax) and Junior (bass) - to recreate "Columna B" . Presently Roberto is on a tour of Holland and France with "Yusa" (consisting of bassist Feliciano Arango and percussionist Inor Sotolongo). He has informed me that for the Miami gig he chose Leo and Edward because he had not played with them in years. Now this is really a mindblower, since their chemistry that night was just awesome! Can you imagine what it would have sounded like if they had actually rehearsed weeks in advance?

Without a doubt, there is a rosy future in store for Roberto Carcassés, but right now he will go down in musical history as the shy young pianist who aroused everyone's curiosity and made them all come out to hear some Jazz - in Miami of all places.

This slideshow features: Roberto Robin (son) & Verónica Carcassés (sister) + Carmen Daisy Rodriguez (Robin's mom) , Photography by Alberto Romeu Studio.

Cool Slideshows

Check out, NEW CD MATIZAR RELEASE DATE JULY 17, 2008 at the ARTIME THEATER IN MIAMI...

YUSA "BREATHE" Roberto composed and arranged the Album together with Yusa & Descemer Bueno. Roberto plays..piano, Fender Rhodes, cajon, palo de lluvia, chorus.

Noticias...El CD "GOZA PEPILLO" de INTERACTIVO, producido por Roberto Carcasses, banda en la que Yusa se desempeña como cantante y bajista, ganó en CUBADISCO 2006 el GRAN PREMIO más los Premios de¨Opera Prima y Fusión.