PAQUITO D’RIVERA ON MUSIC, COLLABORATION, AND CREATIVITY
By Benjamin Lerner Photos Courtesy of Paquito D’Rivera
On Saturday, April 5, acclaimed saxophonist, clarinetist, and composer Paquito D’Rivera will bring his virtuosity to the Mahaiwe Performing Arts Center in Great Barrington. The evening promises a journey through the sounds of the Cuban-born master musician’s jazz, classical, and Latin influences, performed by the Paquito D’Rivera Quintet. Known for his ability to bridge genres and cultures, D’Rivera has a career that stretches across decades and continents.
As a child prodigy who performed with the National Theater Orchestra in Havana at just 10 years old, D’Rivera has gone on to become one of the most decorated and versatile musicians of his generation. He co-founded the groundbreaking Cuban band Irakere, which fused Afro-Cuban ritual music, popular Cuban music styles, jazz, and rock, earning a Grammy® in 1979. His work with Dizzy Gillespie’s United Nation Orchestra garnered another Grammy®, showcasing D’Rivera’s ability to blend Latin and Caribbean influences with jazz.
His dedication to a broad spectrum of musical genres is played out in more than 30 solo albums. As a composer, D’Rivera’s works have been performed by the London Philharmonic, Yo-Yo Ma, and the National Symphony Orchestra, among others. In addition to his 16 Grammy® and Latin Grammy® awards, D’Rivera has received the NEA Jazz Masters Award and the National Medal of Arts, as well as multiple honorary doctorates. Beyond the accolades, D’Rivera is known for his kindness, his humility, and his ability to use music to unite people across borders and genres—a true cultural ambassador. His smooth saxophone tone and his frequent combination of Latin jazz and classical music have become his enduring trademarks.
A Father’s Influence: The Roots of Musical Passion
D’Rivera’s love for music was ignited by his father, Tito D’Rivera, a classical saxophonist with a profound passion for the art.
“My father played his tenor saxophone for hours a day,” D’Rivera recalls. “He saw my interest in music and ordered me a small saxophone. That was the beginning of my musical journey.” Tito’s influence extended beyond technique; he imparted a philosophy that shaped Paquito’s multifaceted approach to music and life.
“I grew up understanding that what mattered was whether or not the music moved you.”
Despite being a classical saxophonist, Tito embraced jazz, fostering a fluid duality in his son’s musical education. “He would bring home Benny Goodman records and play Mozart concertos. I’d ask him, ‘What is this?’ And he’d say, ‘It’s all music.’ That stuck with me,” D’Rivera says. “Even now, I don’t see a line between jazz and classical. They’re just different ways to tell a story. I’ve never been interested in sticking to one thing.”
D’Rivera remembers that his father had a “magic touch” as a teacher. Today, D’Rivera channels his father’s musical mentorship into his role as artistic director of the Latin Jazz Program at Berklee College of Music, as well as his YouTube masterclasses, where he shares his skills and insights with a broader audience. “Teaching isn’t about being a great musician,” shares D’Rivera. “It’s about being able to communicate your knowledge.”
This integrative philosophy will be on full display at the Mahaiwe, where D’Rivera plans to open his performance with a jazz arrangement of Chopin’s Fantaisie-Impromptu. “Chopin’s melodies are so beautiful,” he says. “I’ve added a jazz and blues feel to them. It’s my way of blending classical music with the improvisational freedom I’ve always loved.”
High-Profile Collaborations: Lessons in Listening
D’Rivera has worked with some of the most celebrated names in music, including Ma, Wynton Marsalis, Arturo Sandoval, and the Turtle Island String Quartet, among many others. Among these, his time with Gillespie stands out as particularly formative. “Dizzy was not just a phenomenal musician; he was a generous leader,” D’Rivera recalls. “He had a way of using
his passion to help others grow. He taught me the importance of listening—not just to the music, but to the people around you.”
D’Rivera wholeheartedly believes that listening is the cornerstone of meaningful collaboration. This core truth has been echoed by his colleagues over the course of his career. “Carmen McRae, an incredible jazz singer, once told me, ‘It’s more important to listen than to play.’ That stuck with me,” he adds. “In any group, you have to adapt to the abilities and limitations of others. Music is an art composed of gangs. It’s a creative war against ourselves to create the best sound, and we all move together as one.”
D'Rivera’s time with Gillespie’s United Nation Orchestra also exemplified this principle. The ensemble, which fused Latin and Caribbean influences with jazz, was a melting pot of talent and culture. “It was like a musical United Nations,” he says.
“You had to listen deeply to bring it all together. Dizzy had this incredible ability to make everyone feel heard.” And that is something D’Rivera has carried with him. The Paquito D’Rivera Quintet, composed of longtime collaborators like Mark Walker and Diego Urcola, thrives on a shared musical language developed over decades. “We’ve been playing together for so long that we almost read each other’s minds,” D’Rivera says, “but there’s always room for surprises. That’s the beauty of improvisation—you never know what’s going to happen next.”
Even in one-off collaborations, D’Rivera emphasizes the importance of mutual respect and adaptability. “When you play with someone new, it’s like going on a first date,” he says. “You’re feeling each other out, finding common ground. It’s a dance of listening and responding.”
One memorable collaboration involved Ma, with whom D’Rivera performed his chamber work Merengue, joined by classical pianist Kathryn Stott. “Yo-Yo has this incredible openness,” he says. “He approaches every piece with fresh ears, and that’s something I admire deeply.”
D’Rivera’s experiences have taught him that collaboration isn’t just about making music; it’s about creating a space where everyone can thrive. “When you listen, really listen, you create something bigger than yourself,” he says. “That’s the magic of music—it’s never just about one person.”
Composing Across Boundaries
D’Rivera has earned widespread acclaim as a composer, celebrated for his ability to weave Afro-Cuban rhythms, jazz, and classical structures into innovative soundscapes. His compositional process is as diverse and dynamic as his musical repertoire. “I don’t have a set routine for composing,” he admits. “Sometimes inspiration strikes, and other times you have to work hard to bring the ideas to life. It’s about showing up and doing the work, even when you’re not feeling inspired.”
This balance between inspiration and discipline came to life during the creation of Kites Over Havana, a piece commissioned by the Grammy®-winning American woodwind quintet Imani Winds. “I wasn’t feeling inspired at first, and I struggled with the second movement,” D’Rivera recalls, “but I pushed through, and it turned out to be one of my favorite pieces. It came together through sheer perseverance and trust in the process.”
His process often begins with small, spontaneous moments of creativity. “Sometimes, I’ll be improvising or playing around on an instrument, and a melody will appear,” he says. “Other times, I’ll hear something in my head, and I have to figure out how to get it onto paper. You never know where it’s going to lead, but you have to follow it.”
D’Rivera explains that when he is composing for a group ensemble, he is not just writing music; he is creating a dialogue. “You have to think about the personalities and strengths of the musicians you’re writing for,” he says. “It’s about finding a balance between giving them structure and letting them shine.”
One example of this is Conversations with Cachao, a concerto paying tribute to Cuban bassist Israel “Cachao” López. “It’s a piece that’s deeply personal to me,” D’Rivera shares. “Cachao was a giant in Cuban music, and I wanted to capture his spirit while giving the musicians room to interpret and bring their own voices to the piece.”
The Power of Music and a Look Ahead
In 1980, while on tour in Spain, D'Rivera sought asylum in the U.S. embassy. Since then, he has toured the world with his ensembles—the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, and the Chamber Jazz Ensemble. “The United States is a country of immigrants,” he reflects. “Jazz, in particular, reflects the multicultural fabric of America. It’s a testament to the power of collaboration and creativity.”
D’Rivera’s global perspective is deeply rooted in his experiences as a touring musician. He fondly recalls performances in Spain, where he engaged audiences with playful nods to their cultural touchstones. “There were these famous clowns, Los Payasos de la Tele,” he shares. “They had a signature line, ‘¿Cómo están ustedes?’ I’d use it to open a show, and the crowd would erupt in laughter and applause. It’s moments like those that remind you how music and a bit of humor can create an instant bond.”
His international tours have also offered insight into the universal nature of music. During a three-month tour of the Soviet Union in 1968, D’Rivera kept a diary documenting his experiences. “It was a completely different world,” he says, “but the music transcended the political and cultural barriers. People connected with it on a human level.” This journey forms the basis of his upcoming book, Saludo Cubano. D’Rivera has also authored several previous books, including My Sax Life, Oh! La Habana, Paisajes y Retratos, and, more recently, Letters to Yeyito. “The new book captures that sense of connection and the unique moments that can only happen when cultures collide and resonate through music,” says D’Rivera.
These experiences underscore the enduring power of live performance. “There’s nothing like the energy of an audience,” he says. “Whether I’m in Spain, the Soviet Union, or in the Berkshires, it’s always about finding that common thread that unites us. Music is about respect, understanding, and joy. It reminds us that we’re not so different after all.”
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