Stanford Jazz Workshop

Stanford Jazz Festival 2007
2008 Festival At A Glance
June 27   Terence Blanchard Quintet
June 28   Early Bird featuring Crosspulse Percussion Ensemble
June 28   Mary Stallings
June 29   3 Cohens
July 5   John Calloway Quintet
July 6   Everything you Wanted to Know About Jazz (But Were Afraid to Ask)
July 6   Sony Holland Plus Five
July 11   Mulgrew Miller
July 12   Early Bird with Jim Nadel
July 12   Kenny Burrell Quartet
July 13   Mel Martin and the Benny Carter Tribute Band
July 18   Gary Bartz Quartet featuring George Cables
July 19   The Whole Drum Truth
July 20   Yosvany Terry: Yedégbé—The Afro-Caribbean Legacy
July 21   Sandy Cressman and Homenagem Brasileira
July 22   Dayna Stephens Quartet
July 23   Andrew Speight's Bebop Night
July 24   Victor Lin and Friends
July 26   Geoffrey Keezer Quartet wtih special guest Joe Locke
July 27   Taylor Eigsti / Julian Lage Duo
July 28   Sylvia Cuenca Trio
July 29   Ruth Davies' Blues Night featuring Henry Butler
July 30   Ambrose and Friends
July 31   Tia Fuller and Healing Space
Aug 2   Dena DeRose Trio with special guest Donald Bailey
Aug 3   The Agosto Trio: Scofield / Grenadier / Stewart
Aug 4   Barry Harris / Charles McPherson Quartet
Aug 5   Jason Moran / Larry Grenadier / Richard Davis / Jeff Ballard
Aug 6   Delfeayo Marsalis & the Stanford Jazz Workshop Sextet
Aug 8   Stanford Jazz Workshop All-Star Jam Session
Aug 9   Fly + 1 with special guest Joshua Redman
36th Season
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Yosvany Terry picture

Yosvany Terry: Yedégbé – The Afro-Caribbean Legacy
Yosvany Terry, saxophone, chekeré; Osmany Paredes, piano; Yunior Terry, bass; Pedro Martinez, percussion/vocals; Roman Diaz, percussion; Justin Brown & Sandy Perez, drums; Felix Pupi Insua, dancer

Take 5!Sunday July 20 | 7:30 pm | Dinkelspiel Auditorium
Tickets: $28 general | $14 students

Online: Ticketweb
By phone: 650.725.ARTS (2787); In Person: Stanford Ticket Office
For more information, go to our Ticketing Information Page

Program Notes

“Like James Carter, Cuban saxist Yosvany Terry has a voice on several axes, but alto is his specialty. He’s capable of making Afro-Cuban jazz seem folksy and modernistic all at once.” – Time Out New York

In saxophonist and composer Yosvany Terry’s music, the traditional sounds of his native Cuba fuse with fiery post-bop, sophisticated harmonies, and avant-garde innovation. Yosvany grew up in a family of performers steeped in musical tradition and learned from his father, Eladio “Don Pancho” Terry, a renowned violinist, bandleader, and master of the chekeré. A graduate of Cuba’s prestigious National School of Art and the Amadeo Roldan Conservatory, Yosvany founded the influential group Columna B and performed with many giants of Cuban music. Yosvany moved to New York in 1999, and the excitement and inspiration he found there are reflected on his 2006 album Metamorphosis. At the forefront of a group of young Cuban musicians who have recently infused the New York scene with a new creative energy, Yosvany has recently collaborated with pianist Gonzalo Rubalcaba. In his latest project, Ye-dé-gbé, Terry explores the Afro-Caribbean Arará musical tradition in a suite of compositions for a jazz ensemble with African percussion.

Presented in association with La Peña Cultural Center & Yerba Buena Gardens Festival
Supported in part by Tom & Claude Anyos

Yédegbé web site

Q&A with Yosvany Terry

What is the first recording you remember hearing as a child?
It was at the age of five when decided I wanted to become a professional musician, given that my father, who’s a violinist and play chekeré, used to practiced every week. I used to go to see him playing with my brother all the time.

Who is your greatest musical influence?
My greatest influence as musician is Bela Bartok and Hermeto Pascoal. From them and the rest of the very long list of other people, I learnt about how music should be a live entity that communicates beyond words and languages.

What’s the last book you’ve read?
The last book I read was “Biografia de un Cimarron.” In English it would be “Biography of a Runaway Slave,” by Miguel Barnet.

What’s your favorite jazz venue?

What’s your favorite thing about being a Stanford Jazz Workshop faculty member?
The most attracting thing to me is that I get to listen to a lot of young students that later will become pros. I also enjoy the networking that occurs during and after the workshop.

If you were to describe your music as a color, what color would it be and why?
Violet and is because within itself you can see the rainbow.

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