Yosvany Terry: Yedégbé – The
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
Sunday July 20 | 7:30 pm | Dinkelspiel Auditorium
Tickets: $28 general | $14 students
By phone: 650.725.ARTS (2787); In Person: Stanford
For more information, go to our Ticketing
“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
The last book I read was “Biografia de un Cimarron.” In
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.