Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto's high artistic standards. In this series, we'll be exploring the different facets of Prieto's outstanding career that led to this honor. Yesterday we examined Prieto's work as a bandleader; today we're getting into his performances as a sideman.
Dafnis Prieto As Sideman
Once Prieto hit the shores of the United States, musicians across the country recognized his massive abilities and called upon him as a sideman. His skills as a drummer alone would cause any bandleader to hire Prieto immediately. He has an awe inspiring technical control over the instrument that he renders with complete musicality and taste. He understands Cuban music intimately, but he's not limited to it—he swings like a madman and can easily fall into modern styles. At the same time, Prieto is much more than a simple beat machine; he plays with a compositional perspective and an urgency that completely changes the music. He always fulfills the bandleader's vision completely, but he's not afraid to push the limit at the same time. Prieto is a musician that can support but also push his peers into new territory, a fact that has made him an invaluable sideman.
De La Habana A Nueva York
2010
Bobby Carcasses
Prieto sits among friends on this album, as he reunites with several top Cuban musicians of his generation to support the legendary vocalist and trumpet player Bobby Carcasses. The group's playing moves somewhere between traditional Latin dance music, contemporary timba, and improvisatory jazz, keeping the proceedings fiery. Playing behind Carcasses' well-known vocal approach, Prieto grooves with a powerful feel, flawlessly executes jaw dropping breaks, and turns the album into an unforgettable blur of energy. Behind the soloists, Prieto cuts loose, pushing and prodding them into unending fits of tension and release, imbuing the recording with an undeniable jazz sensibility. When Prieto gets the rare drum solo, he explodes into a display of personality and virtuosity, stealing the show. There's a loose and joyful foundation to the album, making De La Habana A Nueva York a fantastic place to get a full sense of Prieto's value as a sideman.
Spirit Of The Moment
2007
Michel Camilo
Pianist Michel Camilo can capture the attention of any audience with his massive musicality, addictive passion, and mind-boggling virtuosity; in other words, he's the perfect musical foil for Prieto. Playing in a trio with Camilo is not a task for the meager, but Prieto proves to be up to the task at every level. His towering groove pushes the pianist to new heights at every turn, adding another layer to the music. Prieto plows through the complexity of Camilo's compositions without blinking an eye, matching the ease shown by the pianist. With these two pieces in place, Prieto keeps his sights clearly focused upon interaction with Camilo, engaging in a lively conversation. Whether playing over the medium swing of “My Secret Place," the Cuban flavored odd time signature of “Hurry Up And Wait," or the Coltrane-esqe fire of “Repercussions," Prieto communicates with Camilo at every turn, giving the music color and life.
The Source In Between 2007 Elio Villafranca
One of Prieto's contemporaries from Cuba, pianist Villafranca uses this album to explore the territory between jazz and Cuban music, a task specifically suited to Prieto's skills. The set sounds more like modern jazz, stemming from Villafranca's rich harmonic palette and contemporary improvisatory approach as well Prieto's Tony Williams influenced drive. It's the fine details of the language that both Prieto and Villafranca speak that makes this combination unforgettable. The nuances of Villafranca's phrasing—even over a distinctly jazz setting—speak volumes about his relationship to Cuban music. A drummer raised on a menu of North American jazz wouldn't catch the subtleties of Villafranca's playing, but Prieto is all over it. The improvisational conversation between the two musicians is amazing, breathing an engaging vibrancy into an already strong collection of music.
La Perfecta II
2002
Eddie Palmieri
Legendary pianist Eddie Palmieri has long walked the line between dance music and jazz, a balancing act that he continues on La Perfecta II with Prieto's help. There are two distinct repertoires on the album—a salsa set that calls upon classic Palmieri compositions from the sixties and new jazz oriented pieces. The rhythm section duties on the salsa piece fall upon Palmieri's traditional group while Prieto fill the drum chair on the jazz tunes. Palmieri's New York edge is a different musical approach than we generally associate with Prieto, so it's fascinating to hear him playing drum kit in this context. On most pieces, he fits in perfectly among the percussion, complementing the edgy groove with a strong presence and occasional burst of improvisation. The trio piece “Apeiron" calls upon Prieto's avant-grade background and his artistic personality brings out different sides of Palmieri's renown musicianship. It's a strong meeting of the minds where Prieto shows the flexibility and musicality to support a clearly defined sound.
Dafnis Prieto As Sideman
Once Prieto hit the shores of the United States, musicians across the country recognized his massive abilities and called upon him as a sideman. His skills as a drummer alone would cause any bandleader to hire Prieto immediately. He has an awe inspiring technical control over the instrument that he renders with complete musicality and taste. He understands Cuban music intimately, but he's not limited to it—he swings like a madman and can easily fall into modern styles. At the same time, Prieto is much more than a simple beat machine; he plays with a compositional perspective and an urgency that completely changes the music. He always fulfills the bandleader's vision completely, but he's not afraid to push the limit at the same time. Prieto is a musician that can support but also push his peers into new territory, a fact that has made him an invaluable sideman.
De La Habana A Nueva York
2010
Bobby Carcasses
Prieto sits among friends on this album, as he reunites with several top Cuban musicians of his generation to support the legendary vocalist and trumpet player Bobby Carcasses. The group's playing moves somewhere between traditional Latin dance music, contemporary timba, and improvisatory jazz, keeping the proceedings fiery. Playing behind Carcasses' well-known vocal approach, Prieto grooves with a powerful feel, flawlessly executes jaw dropping breaks, and turns the album into an unforgettable blur of energy. Behind the soloists, Prieto cuts loose, pushing and prodding them into unending fits of tension and release, imbuing the recording with an undeniable jazz sensibility. When Prieto gets the rare drum solo, he explodes into a display of personality and virtuosity, stealing the show. There's a loose and joyful foundation to the album, making De La Habana A Nueva York a fantastic place to get a full sense of Prieto's value as a sideman.
Spirit Of The Moment
2007
Michel Camilo
Pianist Michel Camilo can capture the attention of any audience with his massive musicality, addictive passion, and mind-boggling virtuosity; in other words, he's the perfect musical foil for Prieto. Playing in a trio with Camilo is not a task for the meager, but Prieto proves to be up to the task at every level. His towering groove pushes the pianist to new heights at every turn, adding another layer to the music. Prieto plows through the complexity of Camilo's compositions without blinking an eye, matching the ease shown by the pianist. With these two pieces in place, Prieto keeps his sights clearly focused upon interaction with Camilo, engaging in a lively conversation. Whether playing over the medium swing of “My Secret Place," the Cuban flavored odd time signature of “Hurry Up And Wait," or the Coltrane-esqe fire of “Repercussions," Prieto communicates with Camilo at every turn, giving the music color and life.
The Source In Between 2007 Elio Villafranca
One of Prieto's contemporaries from Cuba, pianist Villafranca uses this album to explore the territory between jazz and Cuban music, a task specifically suited to Prieto's skills. The set sounds more like modern jazz, stemming from Villafranca's rich harmonic palette and contemporary improvisatory approach as well Prieto's Tony Williams influenced drive. It's the fine details of the language that both Prieto and Villafranca speak that makes this combination unforgettable. The nuances of Villafranca's phrasing—even over a distinctly jazz setting—speak volumes about his relationship to Cuban music. A drummer raised on a menu of North American jazz wouldn't catch the subtleties of Villafranca's playing, but Prieto is all over it. The improvisational conversation between the two musicians is amazing, breathing an engaging vibrancy into an already strong collection of music.
La Perfecta II
2002
Eddie Palmieri
Legendary pianist Eddie Palmieri has long walked the line between dance music and jazz, a balancing act that he continues on La Perfecta II with Prieto's help. There are two distinct repertoires on the album—a salsa set that calls upon classic Palmieri compositions from the sixties and new jazz oriented pieces. The rhythm section duties on the salsa piece fall upon Palmieri's traditional group while Prieto fill the drum chair on the jazz tunes. Palmieri's New York edge is a different musical approach than we generally associate with Prieto, so it's fascinating to hear him playing drum kit in this context. On most pieces, he fits in perfectly among the percussion, complementing the edgy groove with a strong presence and occasional burst of improvisation. The trio piece “Apeiron" calls upon Prieto's avant-grade background and his artistic personality brings out different sides of Palmieri's renown musicianship. It's a strong meeting of the minds where Prieto shows the flexibility and musicality to support a clearly defined sound.
