Danilo Pérez (born December 29, 1965) is a Panamanian pianist, composer, educator, and a social activist.[1][2][3][4]
His music is a blend of Panamanian roots with elements of Latin American folk music, jazz, European impressionism, African, and other musical heritages that promote music as a multi-dimensional bridge between people. He has released eleven albums as a leader, and appeared on many recordings as a side man, which have earned him critical acclaim, numerous accolades, Grammy Award wins and nominations. He is a recipient of the United States Artists Fellowship,[5] and the 2009 Smithsonian Legacy Award.[6]
Biography
Early life
Born in Panama in 1965, Danilo Pérez started his musical studies at the age of three with his father, Danilo Enrico Pérez Urriola, an elementary and middle school educator and well known Panamanian singer. In 1967 his father wrote a university thesis which stated that the entire curriculum should be taught through music. He used these techniques to teach his son mathematics, science and other subjects through music, therefore rhythm and interconnective learning became the foundation of Pérez's youth. Pérez started on piano when he was age 3. By age 10, Pérez was studying the European classical piano repertoire at the National Conservatory in Panama. By age 12, he was working professionally as a musician.
In 1989, two events occurred that have proven of lasting influence on both Pérez's creative practice as well as his thinking regarding music as a tool for social change. That year Pérez became the youngest member appointed to Dizzy Gillespie's United Nation Orchestra. Pérez learned from his experience that "One of the things Dizzy taught me was to learn about my own heritage even more than I knew already. He said it was more important for jazz for you to get to what your own roots are, than to learn about other things."[7] Pérez later recalled Gillespie saying, "I want to make music that can create a culture of passport, so that through it, all of humanity can come together".[8] Pérez reflected,[9]
He really showed me the power of music as a diplomatic tool, the power of music in intercultural dialogue,
He really showed me that jazz really questions and allows that it is a duty for us to bring our own culture — where we come from.
I remember one time playing a solo, and I'm very proud of playing a bebop solo in the right language, and everybody is complimenting me. And Dizzy said: "That's good, but you can bring some Panama folklore into it also!"
And I never forget that.
The orchestra's 1990 album Live at the Royal Festival Hall won a Grammy Award. Pérez remained a member of the orchestra until Gillespie's passing in 1992.
The other event was when he returned to his native Panama to perform for the first time with his own ensemble made up of musicians from the United States and Spain: "I went to Panama in 1989 and right after I arrived, the U.S. invasion happened. I performed the concert anyway (I thought, if I die, I prefer to die playing). That day, people for and against the invasion came together to listen to music. That's the power of music."[10]
Subsequent career
In 1993, Pérez turned his focus to his own work as a bandleader and composer and has gone on to release eleven albums as a leader. Pérez released his first album, Danilo Perez, on the Novus label.
In 1994, at the age of 27, Pérez released what is considered his most personal album, The Journey,[11] a musical account of the torturous trip enslaved Africans made across the oceans in the hulls of the slave ships. The album made it to the top ten jazz lists of New York's Village Voice, the New York Times, Billboard, and the Boston Globe. It also allowed Pérez to become a recognizable name in the jazz community. Critics have hailed The Journey, Pérez's second recording, for its quality of composition and incorporation of Pan-African influences into a jazz context. Pérez set up the album as a dream series tracing the route of slaves, stolen or sold from their homes and transported across the sea. The Journey begins with "The Capture", makes its way through "The Taking", "Chains", "The Voyage", and finishes with "Libre Spiritus". According to Minstrel Music Network, "On The Journey, Pérez ... seeks to blur the distinctions between musical styles, through his all-encompassing vision, and (by implication) to eradicate the distinctions between those people native to the Americas, and the Africans and Europeans who mixed with them to cast the alloy of multiculturalism." Pérez was also in three tracks on the Arturo Sandoval Grammy-winning 1994 album Danzón (Dance On).
In 1995 Pérez was appointed to the faculty of the New England Conservatory. Pérez received his first commission in 1995 from the Concorso Internazionale di Composizione. He immediately began applying the concepts he had been working on in the jazz setting of merging the multiple musical languages and the cultural traditions they represent to large scale compositions. The resulting Pan-American Suite double concerto for vibraphone and piano with orchestra combined the musical traditions of Panamanian folk music and western classical forms and was premiered by Gary Burton and Pérez as soloists.
In 1998, his album Central Avenue,[14] placed mejoranera music (a style of Panamanian folklore singing) within a contemporary jazz context and earned Grammy and Latin Grammy nominations. Both albums received the Boston Music Awards and was chosen as one of the 10 best recordings across genres by Time magazine in 1998.[15]
A subsequent commission from the Chicago Jazz Festival in 1999 for the saxophonist Steve Lacy, Suite for the Americas incorporated American and Latin American folk music with the traditional elements of jazz and was scored for jazz quartet and the American folk instruments of blues guitarist John Primer with the Latin folk singer Luciana Souza and bata drums. Pérez later recorded the piece for his 2000 release Motherland. That same year he received the first of two commissions from Lincoln Center.
In 2000, he joined Wayne Shorter's "Footprints Quartet" with John Patitucci and Brian Blade. Pérez appeared on all four of the recordings the group made. The quartet received the Jazz Journalists Association award for Small Ensemble of the Year six times between 2002 and 2015. The quartet's first release Footprints Live! (2002) received the "Album of the Year Award" in 2003 from the Jazz Journalist Association and the DownBeat Critics and Readers polls. The quartet's second release Alegría (2003) won the Grammy Award for Best Jazz Instrumental Album. The quartet's third release Beyond the Sound Barrier (2005) received a Grammy award for Best Jazz Instrumental Performance Individual or Group. The quartet's final release Without a Net (2013) received "Album of the Year" from the Jazz Journalists Association, the DownBeat and NPR Jazz Critics polls. The performance techniques of the quartet have formed the basis of new pedagogy for the study of the relationship between improvisation and composition and is the subject of numerous research studies in jazz.[citation needed] Regarding Shorter, Pérez says, "Wayne has encouraged me to write what I hope for and what I wish the world to be."[This quote needs a citation]
In 2003, Pérez founded Panama Jazz Festival[16][17] with the stated mission of bettering the lives of people through shared musical experiences as listeners, on stage and in the classrooms. About the festival Pérez states, "By offering performances and educational activities of the highest order, as well as practical, hands on training in the music business, the Panama Jazz Festival[18][19] aims to inspire and educate while providing tools and opportunities to build a better future for individuals and their communities." As such, while the festival annually offers a rich program of concerts by leading international jazz musicians, the emphasis is on music education. It has become the largest music education event in the region and includes classical programs as well as the Latin American Symposium on Music Therapy and an annual symposium on AfroPanamanian traditions. The festival also supports the year-round educational programs of Danilo Pérez Foundation,[20][21][22] which brings art and music to children living in communities of extreme poverty throughout the Republic of Panama.
In 2008 Berklee College of Music[23][24] approached Pérez with opportunity to design a curriculum that could serve as a platform for his work as an artist and humanitarian that could be taught to generations of gifted musicians for years to come. In 2009 he was named the founder and artistic director for the Berklee Global Jazz Institute;[25] a creative music institute with a progressive vision to develop the artist of the new millennium. About the Institute Pérez states, "the practice of sharing humanity through performance experience is the core of the curriculum and I work with gifted musicians to become leaders in the world community to affect positive social change with one common goal: to develop the creative cultural Ambassadors of the new millennium.
In 2008, the album Across the Crystal Sea,[26] a collaboration between Pérez and the prolific composer and arranger Claus Ogerman, was released. Praised by The Guardian[27] as "So ultra-smooth it achieves something like a state of grace". Claus Ogerman said "This is a record I wanted to make before I leave the planet".[28]
In the 2010 Pérez released Providencia,[29][30] which was also nominated for a Grammy Award in the category of "Best Instrumental Jazz Album". Regarding Pérez's 2014 release Panama 500,[31]Harvard Professor David Carrasco remarked "Danilo's musical vision says 'Presente' to the musical tones, timbres, lips and dedos who discovered what only this year we learn while listening to Panama 500, the truth that what we think of as modest, little Panamá, IS also the center of the world,' our becoming world of music, human dialogue, human possibility and pleasure."
Pérez[32] has received commissions from many chamber groups and his work often finds inspiration in the people, journeys and events that shaped the origins of the Americas. In 2011 the Imani Winds commissioned Pérez as part of their legacy commissioning for his composition Travesias Panameñas.[33] In 2012 Pérez was commissioned by Carnegie Hall to compose an octet for members of the Simón Bolívar Symphony Orchestra of Venezuela. Pérez describes the work, Cuentos del Mar, as, "a brushstroke of the oceanic museum of life-the place where we see ourselves depicted, hopeful or mistaken. It is a story of ambition and colonization, a new world that is full of hope and ready to change the course of humanity.
Another commission in 2013 by the Banff Center[34] for his piece Camino de Cruces, written for the Cecilia Quartet.[35] A three-movement crossover work for piano and string quartet. About this work Pérez states, "Camino de Cruces[36] tries to create a personal journey that captures the different challenges the Spaniards, native Indians, and slaves may have faced during their journey from the Atlantic to the Pacific during colonization. At the base of the piece is folkloric counterpoint: native Indian, African, and European cultures blending their influences to create a hybrid form in order to represent Panama as a melting pot". Pérez continues "This piece is based on my concept called three-dimensional music that combines jazz, Pan-American folklore, and classical music. It has melodic references to traditional Panamanian folklore mixed with North American blues and improvisations, fused with harmonic language from my background in classical music and jazz."
On February 23, 2014, Pérez's dream of bringing a world-class jazz club to Panama became realized with the opening of Danilo's Jazz Club in Panama City's Casco Viejo historic district.[37] Live jazz was suspended during the COVID-19 pandemic.[38] As of 2024, the venue is simply called "The Club" and has tango and salsa bands in addition to jazz.[39]
In 2015 Pérez was commissioned by the Museum of Biodiversity in Panama designed by architect Frank Gehry to compose a site specific work. For this occasion Pérez developed a tridimensional music concept where three different musical stories could be heard individually and/or together depending on where the listener stood in the gallery. The four-part composition was intended as a soundtrack for one of the museum's permanent exhibitions The Human Path,[40] with each movement of the work corresponding to one of four key eras: the beginning of man, the development of the native culture, colonization, and modernity.
In 2015 Pérez premiered two brand new commissions. In July, his composition "Expeditions- Panamania 2015" [41] was performed at the Panamerican games in Toronto. The same year in September, he also premiered his "Detroit World Suite- La leyenda de Bayano at the Detroit Jazz Festival. Some of Pérez's accomplishments include The Legacy Award from the Smithsonian Latino Center, the ASICOM International Award from the University of Oviedo and the Gloria Career Achievement Award from the International Latino Cultural Center of Chicago are among the significant acknowledgements he has received for his work.[42] Pérez previously served as Goodwill Ambassador to UNICEF and currently serves as an UNESCO Artist for Peace and as Cultural Ambassador to the Republic of Panama. In 2016 Pérez received an honorary doctorate[43] from the University of Panama. Pérez's work continues to receive recognition all around the world and in 2017 the Puerto Rico Heineken Jazz Festival [44] dedicated its edition in honor and the work of Panamanian pianist Danilo Pérez.[45] In 2018 Danilo Pérez won the United States Artists Fellowship[46][47][48] and the Victoriano Lorenzo Award.[49]
Recording as a leader
In 1992, he released his first solo album, Danilo Pérez, and then his second, The Journey, in 1994. He performed The Journey in concert with the Panamanian Symphony Orchestra the same year.[50] The album is a musical account of the trip enslaved Africans made across the ocean, beginning with "The Capture", through "The Taking", "Chains", The Voyage", and ending with "Libre Spiritus". David Sanchez and Giovanni Hidalgo play on the album, which was recorded in two days at the Power Station in New York City. The album made it to the top ten jazz lists in The Village Voice, The New York Times, The Boston Globe, and Billboard magazine. It was named one of the best albums of the 1990s by DownBeat magazine.[50]
In 1998, Central Avenue, Pérez's fourth album, received a Grammy nomination for Best Latin Jazz Album. Central Avenue is a blend of influences from blues, folk, and Caribbean and Middle Eastern genres. It was produced by Tommy LiPuma, who worked with Pérez on PanaMonk. Pérez arranged the ensemble of bassists John Patitucci and John Benitez, and drummer Jeff "Tain" Watts. The songs were done in one take, except for "Panama Blues". For this song, Pérez recorded Raul Vital, a Panamanian folk singer, and a chorus of mejorana singers in Panama, then returned with the recording to New York City, where the ensemble contributed. Mejorana is an improvisational style of singing. Pérez told Graybow of Billboard, "[I heard] the blues in their voices, much like the blues down in Mississippi", and instantly wanted to record them.
In 2015 Pérez recorded Children of the Light,[51][52][53] which is also the name of the trio of Pérez with bassist John Patitucci and drummer Brian Blade, all rhythm section members of Wayne Shorter's "Footprints Quartet".
Awards
Year
Award
Organization/institution
1998
Best Artist/ Band in Performance
New York Jazz Awards
1998
Grammy Nomination for Best Latin Jazz Performance: Central Avenue
Luciana Souza (Vocals), Claudia Acuna (Vocals), Regina Carter (Violin), Chris Potter (Sax), Diego Urcola (Trumpet), Carlos Henriquez (Acoustic bass), John Patitucci (Acoustic Bass), Richard Bona (Lead Vocal and Electric Bass), Kurt Rosenwinkel (Electric guitar), Aquiles Baez (Cuatro, Acoustic guitar), Brian Blade (Drums), Antonio Sanchez (Drums), Greg Askew (Bata itotele and Response Chant), Louis Bauzo (Bata iya and Lead Chant), Richard Byrd ( Bata Konkolo and Response Chant), Luisito Quintero (Congas), and Ricaurte Villarreal (Tambor Repicador)
Vocals: Natalia Bernal, Eleonora Bianchini, Mitzi Dorbu, Patricia Zarate and Paola Vergara. Reeds: Soprano Sax - Daniel Blake, Also Sax - Luis "El Chupa" Rosa and Patricia Zarate. Tenor Sax- Sean Berry, Sean Best, Petr Cancura. Baritone Sax- Michael Duke. Trumpet- Gordon Au, Gilberto Cervantes, Danny Fratina and John Replogle. Trombone- Daniel Blacksberg, Jason Camelio, Jeff Galindo and Angel Subero. Piano- Gabriel Guerrero. Electric Bass- Aldemar Valentín. Drums- Francisco Molina. Percussion- Ernesto Diaz and Paulo Stagnaro
Alex Hargreaves (Violin), Sachi Patitucci (Cello), John Patitucci (Electric and Acoustic Bass), Ben Street (Bass), Brian Blade (Drums), Adam Cruz (Drums, Roman Diaz (Percussion and Chant) Rogerio Boccato (Percussion), Milagros Blades (Repicador, Caja and Pujador) and Ricaurte Villarreal (Caja and Guiro), José Angel Colman (Vocals), Eulogio Olaideginia Benítez (Gala, Bissu), José Antonio Hayans (Gammuburwi), Marden Paniza (Director and coordinator of guna musicians, author of the narration)
Bobby Watson- Soprano and Alto Sax; Bobby Porcelli- Flute; Bobby Porcelli - Alto Sax; Patience Higgins - Clarinet; Bill Saxton, Craig Bailey, Ed Jackson, Jim Hartog, Rich Rothenberg - Saxophone; Patience Higgins - Tenor Saxophone; Tom Varne - French Horn; Jon Faddis, Melton Mustafa, Ryan Kisor, Terell Stafford- Trumpet; Doug Purviance, Frank Lacy, Robin Eubanks, Steve Turre - Trombon; Bob Stewart - Tuba; Danilo Pérez, Eddie Martinez, James Williams, Stephen Scott - Piano; Essiet Essiet - Bass; Paul Socolow - Electric Bass; Steve Berrios, Victor Lewis - Drums; Ray Mantilla - Congas; Victor See-Yuen - Percussion
John Patitucci- Bass, Kalimba; Chris Potter, Mark Turner - Tenor Saxophone; Danilo Pérez, John Beasley - Piano; Jack DeJohnette, Horacio "El Negro" Hernande- Drums, Percussion; Giovanni Hidalgo- Congas, Percussion
Wynton Marsalis - Trumpet, Conductor; Cassandra Wilson - Vocals, Sequina DuBose - Soprano (Vocal), Kevin McAllister - Baritone (Vocal), Kay Bowen - Vocals, Elliott Jackson - Baritone (Vocal), Shirley Caesar - Vocals, Valerie Williams - Vocals, Bobette Jamison-Harrison - Vocals, Kenneithia Redden-Mitchell - Soprano (Vocal), Miriam Richardson - Mezzo-Soprano (Vocal), Issachah Savage - Tenor (Vocal), Kenneth Alston- Soloist, Tenor (Vocal), Byron J. Smith - Choir Conductor; Wessell Anderson - Clarinet, Sax (Alto), Sax (Sopranino); Walter Blanding - Sax (Tenor)
Walter Blanding Jr - Clarinet, Sax (Alto), Sax (Soprano), Sax (Tenor); Andrew Farber - Clarinet, Sax (Alto); Gideon Feldstein - Clarinet, Clarinet (Bass), Sax (Baritone); Victor Goines - Clarinet, Clarinet (Bass), Primary Artist, Sax (Alto), Sax (Soprano), Sax (Tenor),
Sherman Irby - Clarinet, Sax (Alto); Sam Karam - Clarinet; Ted Nash - Clarinet, Clarinet (Bass), Flute, Piccolo, Alto and Soprano Sax; Joe Temperley - Clarinet (Bass), Sax (Baritone), Sax (Soprano); Todd Williams - Clarinet, Soprano and Tenor Sax; Seneca Black, Bob Findley, Oscar Brashear, Russell Gunn, Roger Ingram, Ryan Kisor, Riley Mullins, Marcus Printup, Jamil Sharif - Trumpet; Delfeayo Marsalis, Vincent Gardner, Lucien Barbarin, Wayne Goodman, David Taylor, Bob Trowers, Ron Westray - Trombone; Reginald Veal - Bass Trombone; Norman Pearson - Tuba; Karen Briggs, Ida Kavafian, Todd Phillips, Daniel Phillips, Mark O'Connor - Mandolin - Violin, Steve Tenenbom - Viola; Timothy Eddy - Cello; Chamber Music Society of Lincoln Center; Russell Malone - Guitar; Don Vappie, Doug Wamble- Banjo, Guitar; Danilo Pérez, Marcus Roberts, Harry Connick Jr, Cyrus Chestnut, Peter Martin, Eric Reed, Farid Barron -Piano; Carlito Henriquez, Edgar Meyer, Rodney Whitaker, Ben Wolfe - Bass; Jason Marsalis, Herlin Riley, Jaz Sawyer - Drums; Stefon Harris - Assistant Conductor, Bass Marimba, Drums (Snare), Marimba, Percussion, Vibraphone; Kimati Dinizulu - Percussion, Washboard; Pernell Saturnino - Congas, Latin Percussion.
