Conversando con Soundwear – Alain Pérez (Parte 1/3)

Summary

Dans cet entretien passionnant, Alain Pérez partage ses expériences de musique cubaine, de ses racines à Manaca Iznaga jusqu'à sa carrière internationale. Né en 1977, il a été influencé par la musique traditionnelle et a commencé à jouer de la guitare à l'âge de huit ans. Son père, un chanteur et compositeur, a joué un rôle clé dans son développement musical. Alain a intégré le groupe 'Cielito Lindo' à l'âge de neuf ans, puis a poursuivi ses études au Conservatoire 'Manuel Saumell'. Il a fondé 'Alain Pérez y su Síncopa' et a été appelé par Chucho Valdés pour rejoindre Irakere, une expérience qui l'a mené à des tours internationaux. Après, il a joué avec Isaac Delgado avant d'être sollicité par Juan Formell pour 'Los Van Van', témoignant de sa croissance et de sa reconnaissance dans la scène musicale cubaine.

Takeaways

• 🎶 Alain Pérez est un musicien cubain né à Trinidad le 20 avril 1977, influencé par la musique traditionnelle de son enfance à Manaca Iznaga.
• 👨‍👦 Le père d'Alain, Gradelio Perez, était un chanteur et compositeur qui a joué un rôle important dans son développement musical et a écrit de nombreuses chansons pour lui.
• 🎸 Dès l'âge de huit ans, Alain a commencé à jouer de la guitare et a été enseigné par son cousin Rewar, qui l'a introduit aux styles musicaux guajiro.
• 🏫 À l'âge de neuf ans, Alain a rejoint un groupe de musique pour enfants à Cienfuegos appelé 'Cielito Lindo', démarrant ainsi sa carrière professionnelle précoce.
• 👨‍🏫 Alain a été formé au Conservatoire de musique classique 'Manuel Saumell' à Cienfuegos, étudiant la théorie musicale et le violon classique.
• 🎵 Durant ses études à l'ENA (École Nationale des Arts), il a créé le groupe 'Alain Perez y su Síncopa', où il a commencé à écrire ses premiers arrangements et compositions.
• 👨‍🏫 Il a été influencé et enseigné par plusieurs professeurs tels que Julio Elizarde, Rachid Moreno et Francisco Sanchez, qui l'ont aidé à progresser dans sa carrière musicale.
• 🎼 Alain a été invité par le célèbre musicien Chucho Valdes à rejoindre son groupe 'Irakere' en tant que chanteur et claveur, ce qui a été une expérience formidable pour lui.
• 🎤 Après avoir travaillé avec Irakere, Alain a rejoint l'orchestre d'Isaac Delgado en tant que bassiste, améliorant ainsi ses compétences sur le baby bass.
• 🎷 Il a également reçu une offre de Juan Formell pour rejoindre son groupe 'Van Van', témoignant de sa reconnaissance dans la musique cubaine.
• 🌟 La carrière d'Alain Perez est un mélange de talent, d'opportunité et de persévérance, illustrant son voyage de la petite ville de Manaca Iznaga à la scène internationale.

Q & A

Quel est le contexte de l'entretien avec Alain Perez et Tomas Perez?

L'entretien a lieu dans le cadre d'une série sur la musique latine, en particulier à Cuba, à La Havane, où ils conversent avec des musiciens ayant fait l'histoire de la musique cubaine.

D'où vient Alain Perez et comment a-t-il été influencé par son environnement d'enfance?

Alain Perez est originaire de Manaca Iznaga, un village près de Trinidad au Cuba. Son environnement d'enfance était riche en musique, avec la présence constante de la guitare 'tres cubano' et les chants des paysans, influençant grandement sa passion pour la musique.

Quel est le lien entre Alain Perez et le groupe 'Cielito Lindo'?

Alain Perez a rejoint le groupe 'Cielito Lindo' à l'âge de 9 ans, après avoir été auditionné par Enrique Perez, le directeur du groupe, et a déménagé à Cienfuegos pour y vivre avec la famille d'Enrique.

Comment Alain Perez a-t-il commencé à jouer de la guitare?

Alain Perez a commencé à jouer de la guitare à l'âge de 7 ou 8 ans, enseigné par son cousin Rewar, qui jouait lors des fêtes campagnardes et lui a appris à jouer des genres musicaux tels que le 'guajiro point' et la 'guaracha'.

Quel est le rôle d'Enrique Perez dans la vie d'Alain Perez?

Enrique Perez, le directeur du groupe 'Cielito Lindo', a non seulement découvert le talent d'Alain Perez mais l'a également accueilli chez lui, lui offrant ainsi une opportunité unique de poursuivre sa passion pour la musique à un jeune âge.

Comment Alain Perez a-t-il intégré l'École Nationale d'Art (ENA) et quel a été son parcours là-bas?

Alain Perez a intégré l'ENA à l'âge de 13 ou 14 ans après avoir terminé le niveau élémentaire à l'École Professionnelle des Arts de Santa Clara. Il y a étudié la guitare classique et d'autres sujets théoriques, tout en étant accompagné par d'autres élèves qui y résidaient.

Quel est l'impact de la musique sur la vie d'Alain Perez pendant son adolescence?

La musique a été une constante dans la vie d'Alain Perez, même face à des difficultés économiques et une pénurie de nourriture pendant son adolescence. Il a utilisé la musique comme une source d'énergie et de motivation, plutôt que de se laisser abattre par les problèmes.

Comment Chucho Valdés a-t-il découvert Alain Perez et comment cela a-t-il influencé sa carrière?

Chucho Valdés a découvert Alain Perez lors d'un événement à l'ENA où il jouait avec 'La Síncopa'. Il l'a invité à jouer avec 'Irakere', offrant ainsi à Alain une opportunité de carrière majeure et le reconnaissant comme chanteur et musicien à 17 ans.

Quel est le rôle de Francisco Sanchez dans la formation d'Alain Perez?

Francisco Sanchez, également connu sous le nom de 'Pancho', a été un enseignant important pour Alain Perez pendant son temps à l'ENA, lui impartant des connaissances sur la guitare et la théorie musicale.

Comment la relation avec son père a influencé la vie et la carrière d'Alain Perez?

Le père d'Alain Perez, un chanteur et compositeur, a joué un rôle crucial dans son développement musical. Il l'a encouragé à danser, à chanter et à jouer de la guitare, et a collaboré avec lui pour écrire des chansons, influençant ainsi profondément sa carrière musicale.

Quelle a été la première expérience professionnelle d'Alain Perez après 'Irakere'?

Après avoir passé un an et demi avec 'Irakere', Alain Perez a rejoint l'orchestre d'Isaac Delgado en tant que bassiste, apprenant à jouer du baby bass et améliorant progressivement ses compétences.

Outlines

00:00

🎼 Rencontre avec les musiciens cubains

Dans ce premier paragraphe, nous sommes à La Havane, Cuba, où l'interview avec Alain Pérez et Tomas Perez démarre. Alain, un musicien ayant fait l'histoire de la musique cubaine, partage ses impressions sur l'importance de la musique et de sa propre enfance à Manaca Iznaga, près de Trinidad. Il évoque son environnement naturel et les influences musicales de son enfance, notamment la 'punto fijo' et les instruments traditionnels comme le tres et la guitare, qui ont façonné sa passion pour la musique.

05:02

👶 Enfance et débuts musicaux d'Alain Pérez

Alain Pérez partage ses premiers souvenirs de musique, commençant par son enfance à Manaca Iznaga où il a été influencé par les chants des paysans et la musique 'punto fijo'. Il commence à jouer de la guitare à l'âge de huit ans, apprenant de son cousin Rewar. Son père, qui chantait de manière empirique, a également joué un rôle important dans son développement musical. À l'âge de neuf ans, Alain déménage seul à Cienfuegos pour rejoindre un groupe de musique enfantine appelé 'Cielito Lindo', dirigé par Enrique Pérez, qui l'a accueilli chez lui et lui a appris la théorie musicale et la discipline nécessaire pour réussir dans la musique.

10:02

🎹 Apprentissage et formation musicale

Alain Pérez poursuit son éducation musicale en intégrant le conservatoire de musique classique 'Manuel Saumell' à Cienfuegos. Il y étudie la guitare classique et d'autres sujets théoriques avec plusieurs professeurs, dont Julio Elizarde, Rachid à Santa Clara, et Francisco Sánchez, qu'il surnomme 'Pancho'. Ce dernier est un guitariste talentueux et un enseignant très influent. Alain décrit son parcours éducatif et comment il a intégré la discipline et le respect des répétitions tout en jonglant avec ses études scolaires ordinaires.

15:04

🎵 Les débuts de carrière d'Alain Pérez

Après avoir passé trois ans dans le groupe 'Cielito Lindo', Alain Pérez termine ses études élémentaires à l'École des Arts de Santa Clara, puis il entre à l'ENA, l'École Nationale des Arts. C'est là qu'il rencontre Francisco Rodriguez, un enseignant dévoué et passionné par la musique. Alain commence à jouer du bass, un instrument qu'il n'a pas étudié formellement mais qu'il apprend à jouer grâce à ses connaissances en guitare. Il participe également aux 'jam sessions' et démontre son talent pour la composition et l'arrangement musical.

20:07

🎤 Expériences de groupe avec 'Alain Pérez y su Síncopa'

Alain Pérez fonde un groupe de musique appelé 'Alain Pérez y su Síncopa' avec des élèves de l'ENA. Ce groupe lui permet d'écrire ses premiers arrangements et compositions, y compris des chansons écrites avec son père, Gradelio Perez. Le groupe attire l'attention de musiciens talentueux comme Adel Gonzalez, Dairong Oney, et d'autres qui deviennent des figures importantes dans le monde de la musique. Alain décrit cette expérience comme un exercice formidable pour lui, lui permettant de mettre en pratique son imagination et son créativité musicale.

25:08

👨‍👦 Influence du père d'Alain Pérez

Le père d'Alain, Gradelio Perez, est un compositeur et un artiste qui a un impact significatif sur la vie d'Alain. Il a écrit la majeure partie de ses chansons et a toujours été un soutien pour lui. Alain se souvient de son père qui chantait chaque jour, ce qui a aidé à affiner son oreille musicale. Ils ont créé ensemble des chansons dès son enfance, et cette influence est restée avec lui tout au long de sa carrière. Son père lui a également inculqué l'importance de l'expression artistique et de la confiance en soi.

30:10

🎹 Les opportunités et les défis de la carrière musicale

Alain Pérez parle de son expérience à l'ENA, où il a appris à jouer du piano, des drums, du bass et de la guitare, malgré les difficultés économiques et la pénurie de nourriture. Il mentionne également une opportunité exceptionnelle de jouer avec le groupe Irakere, dirigé par Chucho Valdes, qui l'a invité après l'avoir vu jouer avec 'La Síncopa'. Il partage également son émotion à rejoindre le groupe professionnel Irakere en tant que chanteur et claviériste à l'âge de 17 ans, ce qui a été une confirmation importante de son talent et de ses aspirations musicales.

🎷 Transition vers la carrière professionnelle

Après avoir passé un an et demi dans Irakere, Alain est approché par Isaac Delgado pour jouer de la basse dans son orchestre. Il reçoit également une offre de Juan Formell pour rejoindre son groupe 'Los Van Van', mais choisit de travailler avec Isaac en raison de son expérience et de son statut en tant que bassiste. Il partage son processus d'apprentissage et d'adaptation au baby bass, un instrument qu'il n'avait jamais joué auparavant, et comment il a réussi à s'adapter et à exceller dans ce rôle, tout en remerciant Isaac pour l'opportunité qui l'a aidé à éviter le service militaire et à poursuivre sa carrière musicale.

Keywords

💡Cuba

Cuba est un pays situé dans les Caraïbes, connu pour sa riche culture musicale. Dans le script, Cuba est mentionné comme le berceau de la musique latine et le point de départ de la série. Cela met en évidence l'importance de la culture cubaine dans le développement de la musique latine et la contribution des musiciens cubains à l'histoire de cette musique.

💡Havana

Havana, ou La Havane en français, est la capitale de Cuba et un centre culturel majeur pour la musique cubaine. Dans le script, la rencontre avec les musiciens a lieu à La Havane, soulignant son rôle central dans la scène musicale cubaine et son importance pour les discussions sur la musique latine.

💡Alain Perez

Alain Perez est un musicien cubain mentionné dans le script. Il représente l'un des nombreux artistes talentueux qui ont contribué à l'histoire de la musique cubaine. Son parcours et sa passion pour la musique sont au cœur de l'entretien, reflétant l'enthousiasme et la détermination des artistes pour leur art.

💡Musique cubaine

La 'musique cubaine' est un terme qui englobe une variété de styles musicaux originaires de Cuba, tels que le son cubain, le salsa et le rumba. Le script explore l'histoire et l'impact de la musique cubaine, en particulier à travers les expériences de Alain Perez et d'autres musiciens qui ont marqué l'histoire de cette scène musicale.

💡Punto guajiro

Le 'punto guajiro' fait référence à un style musical traditionnel de la région rurale de Cuba, caractérisé par l'improvisation et la participation des chanteurs et des musiciens. Dans le script, Alain Perez évoque son enfance et l'influence du punto guajiro sur son développement musical, montrant comment les traditions culturelles ont façonné son approche de la musique.

💡Tres cubano

Le 'tres cubano' est un instrument à cordes cubain, similaire à la guitare, mais avec seulement trois cordes. Il est souvent utilisé dans la musique cubaine pour son son distinctif. Le script mentionne l'importance du tres cubano dans l'environnement musical de l'enfance d'Alain Perez, indiquant son rôle dans la formation de son style musical.

💡Cielito Lindo

Cielito Lindo est le nom d'un groupe musical d'enfants avec lequel Alain Perez a chanté à l'âge de neuf ans. Le script décrit comment ce groupe a joué un rôle significatif dans le développement de sa carrière musicale, offrant un exemple concret de la manière dont les jeunes talents sont découverts et formés dans le monde de la musique cubaine.

💡ENA

L'ENA (Escuela Nacional de Arte) est une école d'art nationale à Cuba, qui a formé de nombreux artistes et musiciens talentueux. Dans le script, Alain Perez parle de son expérience à l'ENA, où il a approfondi ses connaissances en théorie musicale et en a développé ses compétences en tant que musicien, mettant en lumière l'importance de l'éducation artistique dans la formation des talents.

💡Irakere

Irakere est un groupe de musique cubain très influent, connu pour son style fusionnant des éléments de la musique traditionnelle cubaine avec des influences modernes. Le script mentionne que Chucho Valdés, un membre fondateur d'Irakere, a invité Alain Perez à rejoindre le groupe, ce qui a été une étape importante dans sa carrière et une reconnaissance de son talent.

💡Isaac Delgado

Isaac Delgado est un chanteur et compositeur cubain célèbre. Dans le script, il est mentionné comme ayant offert à Alain Perez l'opportunité de jouer de la contrebasse dans son orchestre. Cela montre comment les collaborations et les opportunités avec d'autres artistes établis peuvent jouer un rôle crucial dans le développement d'une carrière musicale.

Highlights

Alain Perez shares his experience as a musician in Cuban music history.

Born in a small town near Trinidad, Alain was influenced by traditional Cuban music from a young age.

Alain's father named him after the popular actor Alain Delon, foreseeing his future in the arts.

At nine years old, Alain moved to Cienfuegos to join a children's musical group, 'Cielito Lindo'.

Enrique Perez, the director of 'Cielito Lindo', provided Alain with a home and musical opportunities.

Alain's parents were supportive of his musical journey, even at a young age.

Alain began his formal musical education at the 'Manuel Saumell' conservatory.

He studied classical guitar and advanced in musical theory at the conservatory.

Alain's father, Gradelio Perez, was a significant influence and collaborator in his musical career.

Alain formed 'Alain Perez y su Síncopa', a group that allowed him to explore composition and arrangement.

ENA (National School of Art) was a pivotal period in Alain's life for musical growth and discipline.

Alain was invited by Chucho Valdes to play in Irakere, a significant milestone in his career.

Chucho Valdes recognized Alain's talent and offered him a role as a singer and keyboardist in Irakere.

Alain's time with Irakere included international tours and playing alongside legendary musicians.

After leaving Irakere, Alain was called by Isaac Delgado to join his orchestra as a bass player.

Alain had to quickly adapt to playing the baby bass for Isaac Delgado's orchestra.

Juan Formell of 'Los Van Van' showed interest in Alain, indicating his rising reputation in the music scene.

Transcripts

Friends of Soundwear

Today, as part of the series we have been doing in Latin music

and in this case, we begin in Cuba. We are in Havana, Cuba.

to converse with musicians who have made history in Cuban music,

especially, with musicians who are doing history in Cuban music.

Two "Pérez" have met in Havana

Mr. Alain Perez and Tomas Perez.

Alain, it's a pleasure to talk with you.

Welcome to Soundwear channel. How do you feel?

- Thanks for the invitation and it's nice to meet you,

and share a moment talking about music.

You are a great connoisseur

and well,

I appreciate that there are people interested in showing what we do,

the musicians.

-As the time is short and I know you're busy

Roughly speaking, tell us about your childhood and your musical education.

Starting from the experience, please.

- I'm a "Guajiro" (field worker), - Oh, sorry! Where were you born?

-Well, I'm from Manaca Iznaga, a village near Trinidad, 14 kilometers from Trinidad.

I am from Manaca Iznaga

and I could not be born in Manaca because there is no hospital. It is a very small town, humble

where we have one family doctor,

but we do not have any hospital.

So, my mum gave birth to a baby boy in Trinidad.

I was born on 20th April 1977, in Trinidad.

That boy was called Alain

My dad said "I'll put Alain name for Alain Delon". Alain Delon was a very popular actor in Cuba.

"He will be an artist", my dad said, he is a little prophet,

a little witch.

"He will be an artist like Alain Delon. I do not know if he will sing, dance or act ..."

Well, Manaca Iznaga is the place where I was born and raised with a pretty environment, you know,

in the field, with my humble, merrymaking and cheerful family,

we were accompanied by the tres, the guitar and the singing of the peasants;

The music in those regions, mainly the 'punto fijo',

where the reciters, the improvisers and the singers participate in the musical procession.

the "improvisers" and the field singers,

and that they do this in a natural and spontaneous way, where "the tenth" is the center.

It's the centre of the genre, the holidays and the song. "El Tres Cubano" (guitar) , the musical procession and

the child running through the woods. Being with my cousins and my family.

The stream and the river was the enviroment where I grew up .

But it happens that I was a short time in Manaca. - How long were you in Manaca?

- I was in Manaca Iznaga until I was nine years old.

So, I started to sing when I was a child. I liked music, the rhythm, the dance.

My father was the most interested

and he saw in me all those intentions,

related with the call of the music, and he encouraged someone

who was beginning to feel

and live the music, dancing, singing.

Since childhood, when I was eight, I started to play the guitar.

- Was there any relative with musical tendencies in your family ?

- Well, yes, my dad sang. I mean, he still sings

in an empirical way.

My cousin, Rewar, played the guitar,

in these revels, in these peasant parties.

My cousin is the person who taught me to play the "Guajiro point",

the "guaracha" and another musical genres. - What instrument did you play?

- The guitar. When I was 7 or 8 years old, I learnt to play the guitar,

I played the guajiro point. I played in the revels; in that enviroment, in the yard,

in those cute parties.

And that true energy accompanies me everywhere. Wherever I go, either to the theater,

a street concert or a jazz festival.

Music, more cultured or less cultured,

it is a blessing that one receives

from that great nature of music, folklore, sincerity, closeness among people.

And well, as I said before I was short time in Manaca, because then, I went to sing to Cienfuegos.

I sang in a group called "Cielito Lindo", when I was 9 years old.

- Did all the family move?

- No, I moved alone. I was only 9 years old, my parents took me just like in the movies.

My parents took me to Cienfuegos, because a group was looking for a singer.

It was a chilhood musical group.

The director had done a promotion on the radio saying that wherever a singer appeared,

he was going to try the singer.

And if the singer had nowhere to live, this person could stayed there at home.

They were going to take in the person like a son, a musician or whatever.

- ¿Was it your dad's idea?

- It was the idea of the group's director of "Cielito Lindo". He was Enrique Pérez.

- But, Who had the idea of taking you there?

- My parents took me there, both of them took me.

My parents took me, and well, I felt really motivated. I felt motivated because of music,

and they noticed that music made me happy. - But, Were you so motivated to decide

leaving your parents house and moving to another city when you were nine years old?

- Yes, I think that it was the hand of God or the nature.

A sacred thing, as the music itself.

Something beyond.

Because, nowadays, I couldn't do the same with my daughters.

I am not able to do that.

I can not leave my daughters so far at that age,

in a house, whatever it is. With an unknown family, etc., etc.,

and your child starts living there.

So, I went to Cienfuegos in the morning and they tried me.

And they told me "Sing here, sing there, improvise".

Enrique Perez said "This is the man, this is the 'guajiro', this is a 'mockingbird'. This guajiro is a mockingbird"

"Look as he sings, he has to stay here!".

And that same day, I stayed there. My parents returned and then, they brought me clothes

and the things; and I stayed at Enrique's house.

- What was the distance from there to your parents' house ?

Cienfuegos is 150 km away from Manaca.

That's too much distance here, maybe it's not in Germany.

- Yes, but, at that age, one hundred meters can be a lot. A hundred or more than 150 kilometers.

So, what happened next with someone at that age?

- Tomás, the day after, I started the rehearsals with Enrique, in the orchestra.

Enrique had a children's orchestra. It had four brasses, two trumpets, trombone, saxophone, drums, everything.

The format of the popular dance music orchestra that is currently in Cuba.

And, at that time,

I enjoyed the experience, and I submitted myself to experience it,

taking on the challenge of singing in an orchestra, and with that energy.

All musicians read, knew their scores, because Enrique was very demanding.

Enrique was a great teacher.

He showed me the book "Solfeo de los Solfeos" (musical theory) by Eslava.

At the age of 9, I started,

I engaged with music, but with discipline and respect for rehearsals, studying lessons and musical theory.

and this has always juggled with the normal school. - I want to know about that, the school.

- And the regular school.

Well, when I entered the conservatory, the classical music conservatory "Manuel Saumell",

located in Cienfuegos.

I knew musical theory, I was doing lessons 70-80 from "Solfeo de los solfeos"

I was already very advanced, so I entered to the conservatory,

to study classical guitar and the other theoretical subjects.

- With Mr. Francisco. - No, he was not.

When I was in elementary level, my first teacher, was Julio Elizarde.

Then, my teacher was Rachid, in Santa Clara, Moreno;

and then, when I studied at ENA and I had an average level,

my teacher was Francisco Sánchez. What is his name? I always call him Pancho.

Francisco Sanchez is the master 'Paco de Lucía'.

That's why I mistook.

Pancho, everyone calls him 'Pancho'. In fact, the group

- That group, we will speak about this later.

- Let's go on with the story of this nine years old boy,

Alain Pérez, who was alone and away from his family that had accompanied him until that age.

And, what happened in that first year you were in the orchestra of this man?

- Cielito Lindo. -Exact.

Well, the first year was terrible for me.

Because I was like the attraction of the orchestra.

I was like a showman

I danced and sang. - Did you sing alone?

No, we were two singers. No,sorry, we were three.

Viridiana , Jogi and me.

but I was almost the lead singer and I had a show around the orchestra.

I sang and I danced break dance, like Michael Jackson but with rumba, with "guaguancó".

- You haven't changed. - I have not changed. In real life, people who know me

who have always been with me,

they claim that I haven't changed.

And well, I always talk about the lack of physical contact with my family,

but spiritually, I always received my family support. My parents visited me every week,

they brought me food. My mom worked hard to give me a little money

It has been very difficult all this first stage. It is always difficult and it is still too difficult.

- Was"Cielito Lindo" the name of the group? - Yes, it was "Cielito lindo".

- How long were you in "Cielito Lindo"? - In "Cielito Lindo" I was about three years.

- And, then?

- And then, I finished the elementary level at the Vocational School of Art in Santa Clara;

and then I started studying at ENA, the National School of Art.

- How old were you? - When I started at ENA I was 13 or 14.

- Were you alone again? - No, in this school, ENA,

you are hosted with another students who live there

, and they are at school too.

I say I have never been alone, I've always been with music.

Music is so strong and so beautiful.

- And this is the place where you find Francisco Rodriguez.

- Francisco, my teacher

Pancho, Francisco is a very important person too.

A tireless educator,

with a pedagogy, an interest, with love for music and teaching.

Currently, he is still teaching at ENA.

We thank him.

We are a generation of guitarists and musicians. Because I consider myself a guitarist,

although I'm not playing guitar. My main instrument is the guitar.

- Ok.

- I say my main instrument, because it was the instrument I studied since school.

I pursued the career, it took me 8 years. Elementary level and middle level. Then I received a degree , and so on.

All the preparation that you have to pass.

All these years, technically,

musically, a demanding repertoire. All things, all parts.

That's my instrument. And then I started playing bass. Do you understand?

But the bass, I had to take it and play it. - Without studying it.

- Practically without studying; because I had studied guitar.

Occasionally, I played informal things at school.

Every time when there was a jam session, or whatever, I said "Hey, I play bass"

and I picked up my bass and played the electric bass.

Then, the baby bass, that is widely used to play salsa, and there, the work I did with Isaac

and it was definitive. - Speaking of those 'jam sessions',

tell me about 'Alain Perez y su Síncopa', please. - ok, that's also at ENA.

"Alain Perez and his Síncopa" it was its name.

Well, this is a group of midlevel musicians,

here at this school, at ENA.

So, they met and proposed me "Alain, why don't we form a band, or 'timba'? Because the group has no orchestra.

There is not a group for activities, for representing or going out.

and we're making, we're making your arrangements, your music"

and it was tremendous because it was an exercise for me.

In this orchestra, I started to write, to try my first arrangements,

compositions, songs of my father, who in that time, he even did the duo.

He starts to write songs with me, my father Gradelio Perez.

So, from this group emerged musicians as Adel Gonzalez, "Los Pututi" and

people who are devoted to music throughout the world.

Dairon Oney, who was a teacher for me, who is a teacher for me, he is a trumpet player.

And now, he is working with his family in Morón.

But one of the great musicians who also helped me to set in the orchestra

the chorus and the tessituras of the instruments.

It was a tremendous group practice for me.

Having the band, and then, start testing all that imagination that I had going around

- And related to your studies, do you focused in the composition or it was innate?

- Yes, this is born in a spontaneous way, I think; and I had the need to express what I felt,

with the background of all the music that I had always listened since I was a child;

and with the help of my father.

He always wrote the songs,

but creating melodies, these kinds of things.

Giving life to a song or a letter is something that it is innate.

Something that was born in me, and influences me a lot.

- You mentioned your father. Let's pause a moment, so, you were still at ENA,

"Alain Pérez y su Síncopa"

How was it ?

How is still your life sharing with someone so dear as your father?

Tell me, because I knew the work, the written inspiration, and your father's compositions.

I met him in Mallorca, with our mutual friend, Juan Antonio Gil, who lives in Mallorca.

Toni, thank you very much for everything, for life, for everything, for your friendship.

He taught me the things he writes and

I thought "Uhh this man is awesome." By chance, was he the composer of "La Sandunguita"?

- Yes, he was, among other things. Dad writes one hundred percent of my songs.

Now, I am also sharing the autohrship with Tony, with Juan Antonio.

But, since childhood, I remember when I learnt three chords on the guitar.

We did a song together in the house,

in Manaca Iznaga's house, where I come from.

We did a song with my melody, my music and with lyrics by my father.

- Sing us a little, if you remember.

- I do not remember the letter, but the melody is "♫ dust of the road ...

paparara vivo va tarariri ererarara ♫"

It was a troubadour thing, "♫ rarararara rararira pararera ♫", you know.

With the influence of Silvio and all those soundtracks that we all remember .

"♫ bon bin ban bon bon bin ♫". You know: first, sixth, fourth, fifth, first.

Those are parts of the popular song.

- And, what do you remember from your childhood with your father, in relation to music, in relation to art?

What do you remember? In my case, my father was a singer, and a composer,

and my memory is that he sang every day in the bathroom

and that's why I refined my ear.

Every day, my father sang and sang. And the neighbors said "Ohh, Tomi is having a shower".

Tell me something like that, about your father, something that comes to your mind and you say "Oh my dad".

- My dad is a special person. First, he has boundless energy.

He is totally alkaline.

He is a person with determination

because, well,

He sang in that traditional group "La parranda Manaca", in the revelry.

Well, he's a big influence on me. And I have some of his gestures on stage.

These come in my DNA. I was born watching my dad singing and dancing.

He was the first artist and the best artist of my house and my eyes.

Then, he instilled in me that "Dance, sing!"

"Play the guitar! You have to incorporate guitar"

Today, he tells me "You have to buy an electric guitar for your concerts and you have to make a single".

- And, do you listen him? - Yes, yes of course.

Because; as he knows I'm medium multi instrumentalist,

he says "You have to incorporate guitar at shows, because the electric guitar and etc., etc."

That view of the scene, he has always had; despite he was born in the field;

without information, without means. I think he is like a producer,

a producer spirit.

He is like a scriptwriter, he creates stories.

He has that innate talent.

And he always gave me a lot of security .

Since childhood, I had him and he told me "You can do this! You're going to do it!".

And I did it , I was never afraid.

- If we are talking about innate, it is related to highlander people.

There is not more innate than highlanders and people who move you.

Let's return to the ENA,

We leave the ENA and continue with your career, please.

- Well, when I studied at ENA, it was a unique time of my life, that it won't return.

And I thank it so much, because I learnt

and I had the sensitivity to take things as they came,

the bad things that we were living.

The need to ask because of a tremendous shortage and the feeling of hungry, too. Because I have to say it.

Many of us survived drinking a glass of water with sugar at night.

When the food was not enough, we were very young,

we needed the energies that we had burned. So, you had to drink a glass of water with sugar.

You had to go to bed, to sleep and, the next day, you had to get up and study.

But I never felt that as a limitation;

like "Throw in the towel, get out of here, run!"

So, I was never diverted. The problems never diverted me

and I have never stopped my desire for music and going forward.

And I tell you this, because many students threw in the towel and they left the school.

Because we had problems internally and economically,

the country was going through a special and narrow period.

But the music was present, present energy, present friends.

ENA gave me that chance,

for example, it gave me the time,

I had the conditions to play the piano, drums, bass and guitar.

I had the things I wanted to experiment and test.

Thanks to ENA , I was called by Chucho Valdes to play in Irakere.

Chucho watched me playing in "La Síncopa"

and he invited me to play with "La Síncopa" and "Irakere" in La casa de la cultura in La plaza.

- And, was Chucho a teacher?

- No, Chucho went to the school because he was giving some lessons

with another great musicians, Changuito, Chucho, Averhoff, rest in peace.

José Luis Conte was there, too. Because there was a course of International and Cuban popular poetry

and they were the teachers.

So, Chucho looked at me, I was playing because in all school events, we represented the school.

So, Chucho came and congratulated me and the other musicians. He said "Wow. What a swing!"

So, he asked me "Would you like to play with Irakere at Casa de la Cultura, in the closing of the event?

I said "yes of course, master".

So we opened the event as supporting band. - Did you play with La Síncopa?

-Yes, we played with La Síncopa. We were the supporting band for Irakere and Los Van Van

So imagine, two months later, oficially, Chucho convened me in Irakere, as singer and keyboardist.

- Singer and keyboardist.

-Yes, I was 17.

And there, I almost suffered a heart attack because of the emotion.

All the stars, all the lights, all the waters

moved and started to flow in my life and heart.

Because it is a great confirmation. I think it is the greatest confirmation I have received until then.

- You were very young.

-I was very young and they told me "Would you like to be here?

Chucho looked at me while he was sitting.

The master told me "Sing to us. Play the piano" So, he invited me to play the piano

because he wanted to watch me playing the piano

So I told him "Master, I m not a keyboardist. I play harmony, I play songs".

And then I was in Irakere for some time.

- Without underestimate Alain Pérez y su Síncopa, could we say that your first professional group was Irakere?

- Yes, of course. The first professional group was Irakere.

So, imagine, I was going through the main door.

- Door? Tht was an enormous gate. - Yes, it was a big gate.

- And then, you obtained your degree at ENA and you started playing in Irakere.

How much time were you in Irakere?

- No, in Irakere I was almost for two years, one and a half year.

Because it was in second year in the medium level. That time I was in Irakere.

He gave me that opportunity

and I was with him. We made international tours

the first time I went out from Cuba is with Irakere.

and with another great musicians, like Carlos Emilio, rest in peace; Carlos del Puerto,

Angá, who is not anymore.

Living this experience when you are 16 or 17,

to be sitting next to Angá,

that brass sessions. Juan Munguía, the trumpet,

Averhoof, César López, Thompson who entered too.

That energy that Irakere had, the original Irakere.

- I watched them in Germany

- Do you understand me? - Yes

So, this was a master that I lived that year.

And Chucho told me "Do your own arregments, bring them here and we test them and your songs too"

"You do the arrengments because you know how to do them, do as you wish."

So, they are beautiful confirmations, they are really big.

And at the same time, you are more implicated in learning, progressing and maturing.

This is part of the music, that is the life and you have to live it, and through it you can express yourself.

- When you leave Irakere. Where did you go? What did you do then?

After Irakere, Isaac called me. -Isaac Delgado.

-Isaac Delgado. -But before Isaac,

There is a story that the master, Juan Formell, called and proposed you to replace him at "the Van Van".

Tell us about that.

- Well, in this story, I was with Isaac, because I was known as bass player at Isaac's orchestra.

so I started playing the bass with Isaac, and I always thank him for this opportunity.

Because I was finishing medium level, I didn't come from La Habana.

Otherwise, I had to do the compulsory military service

or I had to come back to my town.

Life tests you, it's difficult. And then, it comes music and save your life.

How did the life save me? Thank to Isaac who offered me playing the bass.

And there, I started to play the bass and the baby bass too.

The electric bass was not a problem but the baby bass was a problem.

And when Issac offered me the job, I said

"Look, you have to give me two weeks, because I need to practice with the baby

because I have never played a baby". It's the instrument that comes from the double bass.

So, he asked me "Do you think you can be ready at the end of the month? Because we have some obligations".

So, I told him "Let me try, I think, almost one hundred per cent, I'm going to be ready at the end of the month"

I picked the baby. - the Ampeg?

- Yes, the delicious Ampeg.

I started to play the baby. After one hour, I had blisters on my fingers, that seemed two mountains,

two fried eggs at the tips of the fingers.

So imagine, because I tell you, it's different when you have to play Isaac's music.

You don't use the baby for playing jazz, no. You had to play the orchestra's music

"♫ pum pim pim pum pum pim pim ♫"

That was the music you had to play. I didn't pretend to be a double bass player, either soulist.

I had to play for the orchestra; so, keep the rythm,

keep the basis, the flavour of "tumbao" sounds, and work.

- Who was the orquestra director?

- The master Joaquín Betancourt, and I thank him so much too, the truth.

I thank all musicans in that moment, Ivan Gonzalez, 'Melón' in the piano; Filliú, 'El Bola', rest in peace.

Great musicians,

Jimmy Branly in drums. This band was incredibly.

So, after two weeks, we were practicing Isaac's repertory.

I started to play with him.

and then, it becomes a trend

Call the attention the way I play, my energy, my dedication.

I improved playing the baby,

the musles, the tuning, the sound. I was improving little by little.

And here, it happens this fond and pretty moment of the story;

that it is when Juan Formell call me.

- Let's pause for a moment, and then come back with you.