ALFREDO RODRIGUEZ TRIO TAKES LATIN JAZZ TO THE BLUE NOTE TOKYO, JAPAN on MARCH 18-20, 2025 Interview by Alma Reyes

April 3, 2025
International Interviews
by All Music Magazine Contributor

Featured image by Jun Ishibashi

Interview by Alma Reyes

ALFREDO RODRIGUEZ TRIO TAKES LATIN JAZZ TO TOKYO
MARCH 18-20, 2025

Image by Gabriela Gabrielaa

The pulse of Latin tunes is a guaranteed remedy for anyone’s heartache. With troubled waters
flowing across the globe due to political conflicts, deprivation of civic and social rights, economic
downfall, rampant crimes, and natural disasters, what better way to shroud the confusion and
chaos than a night of soothing and energetic rhythm from Cuban composer, jazz pianist, and
Grammy nominee Alfredo Rodriguez.

Alfredo’s remarkable breakthrough in the American, and eventually global music scene from his
humble home in Havana is not only a momentous testament of arduous labor and determination
to succeed as a native of Latin America, but also as an immigrant in the U.S.

After studying classical piano at the Manuel Saumell Conservatory, Amadeo Roldán Conservatory
of Music, and the Instituto Superior de Arte in Havana, Alfredo was drawn to jazz after learning
about the annual JoJazz competition in Cuba for young musicians. At the ripe age of 19, he was
invited to represent Cuba at the Montreux Jazz Festival in 2006. This pivotal moment altered his
life when he met the legendary Quincy Jones at the festival. Alfredo is best acclaimed for his
2015 Grammy nomination for his unique rendition of Guantanamera.

Last March 18 to 20 at the Blue Note Tokyo, Alfredo and his trio (Swaeli Mbappé, bass and Michael
Olivera, drums) staged six incredible performances. The hall electrified with gyrating rhythms,
melancholic melodies, and upbeat improvisation that included Alfredo’s unique jazz version of
Beethoven’s “Für Elise” and Michael Jackson’s “Thriller”. Sliding so comfortably from slow tempo to
Latin jazz and back speaks of the musician’s skillful versatility to surprise the audience.
Alfredo fulfilled his ninth live performance in Japan last March. Each visit to the Asian country
reminds the artist of the unwavering discipline and attainment of perfection embedded in the
Japanese culture that he gladly takes with him back home.

Image by Anna Webber

Alfredo: I’ve been very fortunate to keep coming back to play in Japan. I first came in 2011,
and since then, I have come with my quintet, my trio, with Richard Bona, and Quincy Jones, and
also played with trumpetist Eric Miyashiro and the Blue Note Tokyo All-Star Jazz Orchestra.
I had done shows not just in Tokyo, but also in Yokohama and Kawasaki.
I think Japanese people are so intelligent, very polite and focused, and always on time
(which is hard to find in other places today). They focus so much on their craft every day to
be better. Nowadays, we are surrounded by so much information on social media that we
don’t focus on what we can be really good at, or what we can offer to the whole world. I think
that is very important.

Alma Reyes: It has always been Alfredo’s dream to be a perfectionist in his work, and his trips to Japan bring
him closer to pursuing this mission.

Alfredo: I want to create something extremely professional, so when I go on stage, the
audience can see that so much effort was exerted behind my shows. My experiences in
Japan helped me to be organized as a musician. Other things in my life I might do more
loosely, but when it comes to work, I want to be as professional as I can. This is perfection,
and Japan is the best in this aspect.

I remember my first trip to Japan. I instantly saw how the country is so rich in the sense of
organization. Japanese make smart decisions and they think about others. Each time I
return, this constancy never changes. It’s part of their culture. I like my music to be this
way—to be a culture that is consistent in professionalism. I have been learning so much from
this Japanese way and try to incorporate it into my life as a human being and as a musician.

Alma Reyes: “I play what I live.” This mantra has guided Alfredo-like an angel throughout his life. What does it
truly mean for him?

Alfredo: My music has so much improvisation and character. Sometimes, the actual show
might have some mistakes. But, those mistakes can sometimes make the performance better
or transform it into something new. I believe life is this way, too. Improvisation is very
important for humanity in general. In my country, we are not so organized and don’t have
things that are structured or secure, and so we need to invent and improvise a lot. In my
shows, I have to find this balance that reflects my roots, and my blood. At the same time, I
travel a lot and meet so many different kinds of people and cultures. I live in different
places, so I want to incorporate what I feel from each country into my music, making it
borderless. I am no longer just Cuban, but a global musician.

Alma Reyes: As a young boy, Alfredo, in fact, wanted to be a percussionist more than a pianist. But, the end
result has certainly answered his calling.

Alfredo: In classical music schools in Cuba, from seven years old, you have to choose
between piano and violin. Then, from ten years old, you can choose other instruments. I
always wanted to be a musician, so my parents brought me to music school when I was six. I
chose piano in the beginning, but in my mind, I thought when I turned ten, I would shift to
percussion. But later, after three years of studying piano, I didn’t want to change
instruments anymore. I loved the piano, I built a bond with it. Growing up as an adult, I
learned that the piano can be anything we want it to be. It is my tool to express, to talk to
people, to move them. We can cry, laugh, dance with the piano. Like a therapist, it heals. It
can make you a better person. It is also borderless. I sometimes play the drums with the
piano. I believe music is always there waiting to be played. That’s something very beautiful for
people to experiment with. It’s also good for the brain; and helps kids with their creativity.
Whether you’re a professional or not, that doesn’t matter. The most important thing is to
enjoy music and other things in life—to make yourself happy, and healthy, to feel alive.

Alma Reyes: For many musicians, music has been a daily menu at home from childhood. Alfredo, too, acquired
this inspiration from his family.

Alfredo: My father was a famous pop singer and television presenter in Cuba. We always
had music at home. I used to go to his rehearsals and sit next to the drummer as I wanted to
be a percussionist when I was a kid. I also started performing with him when I was fourteen.

Alma Reyes: Like a heavenly star falling from the sky, Alfredo meets the man who will change his life
forever.

Image By Jun Ishibashi

Alfredo: When I was about 19, I was chosen to play at the Montreux Jazz Festival. The
festival wanted to have a Cuban kid play there. That was my first time to ever go out of
Cuba to play my music. The founder of the festival had a big house where jazz sessions took
place. I was there, and they said Quincy Jones was coming, and if we wanted to play for
him. I was so excited. Many of my idols were also there—Michel Legrand, Herbie Hancock,
George Benson…Then, I played for Quincy. I believe one of the songs was Cole Porter’s “I
Love You.” Later, Quincy came up to me and said, “Kid, I want to help you.” That
completely changed my life. I gave him my e-mail address. Then, I went back to Cuba. I
didn’t even think I would hear from him again. But, after a month, I got a contact from his
manager. Quincy was on tour in Europe at that time. When he got back to L.A., he told the
manager, “Find this kid.” Later, Quincy told me that he actually thought I was a Cuban
living somewhere outside of Cuba. That’s why it took about three years for us to see each
other again, because of the political conflicts between Cuba and America at that time.
Meanwhile, we have been exchanging e-mails for three years. They couldn’t arrange shows or
record deals for me while I was in Cuba.

That’s when I had to make my hardest decision to leave Cuba for the U.S. While I was in
Mexico playing with my father, I decided to cross the border to enter the U.S. Quincy and his
office told me that if I came to the U.S., they would help me build my career, but for as long as

I am in Cuba, it would be impossible for them to do anything. So, that was it—my most
heartbreaking decision. My family supported my decision to leave.

Alma Reyes: Just like a movie, Alfredo relates his tense entry into the U.S. and what would become the most
vital stepping stone for his career.

Alfredo: I didn’t know that I couldn’t simply enter America with a Cuban passport at that
time. They would have to deport me back to Cuba. So, I got arrested at the Mexican border.
I only had one suitcase filled with music sheets. I told the officers I came to meet Quincy
Jones. They didn’t believe me at first. But after some hours, they allowed me to enter. As
soon as I got out, I called Quincy’s manager. They got me a plane ticket to L.A. I was alone
and didn’t know anyone in L.A. It was crazy.

I have been very lucky. Quincy’s team was very welcoming since the beginning. They told me,
“You are family now.” Immediately, we started working together. They looked for a label
for me, and helped me get my first album out in the U.S. I started touring and laying in
festivals. I got my U.S. citizenship and my whole family is in the U.S. now, too.

Alma Reyes: From Alfredo’s first album Sounds of Space released in 2012, seven more followed. His latest,
Coral Way, out in 2023, remains closest to his heart as it captures sounds and visions of his home
in Miami.

Alfredo: Coral Way is inspired by Miami because it’s the name of the street where I live.
Miami has opened the doors for me, and it has been a good place for my music. Many Cubans
and Latinos who follow my music live there. The songs in the album echo Latin-Caribbean,
tropical sounds with a mix of timba, salsa, bachata, tango, reggaeton, and bolero. Singers
Cimafunk and Alana Sinkëy are also in the album, so that brings some diversity into the
project.

Alma Reyes: Being labeled as a Latin jazz pianist or Cuban musician is not crucial for Alfredo. The key is the
music and his persona as a musician.

Alfredo: I don’t feel I should label myself as anything. My music doesn’t identify with just
one genre but absorbs so many influences, even African and classical rhythms. My style
changes every day as my path moves in various directions. I also listen to all kinds of
music. So, style is not so important. I believe it is the artist who creates the music. The only
unfortunate thing is when the mainstream is influenced by monetization and creativity is
sacrificed.

Alma Reyes: Whether jazz, pop, American, Latin, or European, Alfredo looks up to many music legends that
have shaped his repertoire.

Alfredo: Among those that have strongly influenced my passion for music, I would mention
first Keith Jarrett because his album was the first that I heard when it comes to
improvisation. But, there is also Bach, Michael Jackson, and Quincy Jones, of course. From
Cuba, I love Benny More’s music from the ‘50s. I feel very connected to folkloric music from
any country. But, in truth, I don’t really have favorites. These people were just all related
to my life. As I mentioned, “I play what I live.”

Indeed, Alfredo’s music continues to live and inspire for generations to come.