Arturo O'Farrill (pianist, educator and musical director of the Jazz at Lincoln Center's Afro-Latin Jazz Orchestra) was born in Mexico and grew up in New York City. Educated at the Manhattan School of Music and the Brooklyn College Conservatory, Arturo played piano with the Carla Bley Big Band from 1979 through 1983. He then went on to develop as a solo performer with a wide spectrum of artists including Wynton Marsalis, Dizzy Gillespie, Steve Turre, Papo Vazquez, The Fort Apache Band, Lester Bowie, and Harry Belafonte.

In 1995, Arturo agreed to direct the band that preserved much of his father's music, Chico O'Farrill's Afro Cuban Jazz Orchestra, which has been in residence at New York City's Birdland for the past few years as well as performing throughout the world.

Besides recording three albums as a leader for Milestone Records, 32 Jazz, and M & I (Bloodlines, A Night in Tunisia, and Cumana Bop), Arturo has appeared on numerous records including Habanera with Alberto Shiroma, and the soundtrack to the critically-acclaimed movie Calle 54. Arturo was a special guest soloist at three landmark Jazz at Lincoln Center concerts: Afro-Cuban Jazz: Chico O'Farrill's Afro-Cuban Jazz Orchestra, November 1995; Con Alma: The Latin Tinge in Big Band Jazz, September 1998; and the 2001 Jazz at Lincoln Center Gala: The Spirit of Tito Puente, November 2001.

In March 2002, he was also the featured artist in Jazz at Lincoln Center's Jazz in the Schools Tour, when he led a Latin jazz quintet for 24 educational performances that reached over 5,000 people throughout NYC metropolitan schools. He also participated in this educational tour again from October 21 through November 1, 2002.

Interview by Bobby Ramirez (3-26-03)

When did you first realize that you wanted to follow in your father's footsteps and become a musician? I must 've been about 12 years old and I found a record in my fathers collection. I think it was "Miles Davis's Greatest Hits" and the first track was "Seven steps to Heaven". I was immediately drawn to Herbie Hancock's solo and the nimble way that he plays with the time on it. It wasn't so much that I wanted to be a "professional musician" as it was that I wanted to learn to be able to play like that (which is really a continually evolving, lifelong pursuit and consequently a "profession" as well).

Can you offer personal reflections on the impact and influence that your father had on your music as a child? My father was constantly playing great music in the house. He had a "set" music listening time in which he would sit in the living room with a cocktail, turn down the lights, and listen to his records. Everything from Brahms to Oscar Peterson to Messiaen. This ritual impressed me because of the commitment he made to concentrating on what he was listening to. My father exhorted me to be an active listener and to be the highest quality musician I could be. Consequently, I worked very hard and practiced daily.

As a musician and educator, how do you describe your father's musical legacy to music fans and students? My fathers legacy is about integrity. He did not compromise (for the most part) when asked to do artistic music. He did not try satisfying the status quo of his peers. He took chances and followed his inner artistic vision. As an educator and as an artist, I strive to teach and performer from my deepest internal instincts and not try to sound or teach like anyone else, this was Chico's lesson to all of us.

You're obviously an accomplished musician having performed on some of your father's last recordings as well as your own projects. How would you describe your own musical style? My style is more modern, more jazz oriented than my father. I grew up musically In a post-Coltrane period and consequently my playing and writing has a different edge. My influences include Jimi Hendrix, Sun Ra, Pharaoh Sanders, Carla Bley and many others who my father just wasn't into.

Tell us about your most recent recording project? I have a new trio date for a Japanese Label (M&I) called "Cumana". It features Andy Gonzalez on bass (a veteran of over 800 records and one of the greatest Latin Jazz players of all time) and Dafnis Prieto, a young Cuban drummer who is fast becoming the most sought after drummer for Latin jazz. The CD has been nominated for a Golden Disk award in Japan and is coming out in the states soon. It is available as an import.

You are currently involved as part of the Jazz At Lincoln Center leading the new Afro-Latin Jazz Orchestra. How did this project evolve? Many years ago the Chico O'Farrill Orchestra did a concert with Wynton Marsalis at Alice Tully Hall in Lincoln Center and I remember at the time mentioning to Wynton's assistant that I'd like to ask Wynton for his guidance in establishing a Latin Jazz repertory orchestra modeled on his own Lincoln Center Jazz Orchestra. We kept trying to schedule meetings about it, but he's a very busy person and after a while we both kind of stopped mentioning it. Than two Christmases ago we were playing together at the tree lighting ceremony at the fountain in Lincoln Center and he said "I'd like to do your idea". As a matter of fact that conversation resulted in the creation of this orchestra of which I am the musical director. It just goes to show you, you never know what's gonna happen with the "seeds" you plant.

By the way, just to reiterate, we will be performing April 5th at 9pm at the Copacabana in New York (it will be a dance party called "Mambo Madness") and May 9th and 10th at Alice Tully Hall with Wynton as a special guest. We will also be touring next season as well as performing fall and spring concerts in Alice Tully Hall.

Tell us about the repertoire perform by the Afro-Latin Jazz Orchestra, its principal mission, its current roster of musicians and featured soloists? The repertoire is culled from the classic literature of the Afro Cuban big band genre. Machito, Rene Hernandez, Perez Prado, Mario Bauza, Ray Santos and of course Chico O'Farrill as well as others. We also will continuously commission new works. On our first concert we premiered a work written for us by the great Jazz composer and trumpetist Tom Harrell. I believe you have the roster of musicians but I will mention some of our great soloists. They include Papo Vazquez on trombone, Mario Rivera on tenor sax, Bobby Porcelli on Alto sax, Ray Vega on trumpet, Michael Mossman on trumpet, Andy Gonzalez on bass, Milton Cardona on congas and many others.

What is your opinion on the state of Latin Jazz in the world today? That is a hell of a question. There are two categories, fake Latin jazz which is usually just careless jazz standards with a conga slapped on for effect, usually played (though not always) by non "specialists" in this genre and music that is more thoughtful. Music that honor the folkloric roots and functions of this artform and truly is played by musicians who understand the harmonic framework of contemporary jazz. These days all I'm willing to say is way too much of the former, way too little of the latter.

Some would argue that musically speaking, most has been said and done in Latin Jazz. Where do you see this music going in the next 20 years? Those who say that are pretty much ignorant of music in general. Jazz in and of itself has yet to explore so much of where contemporary classical music has gone that we have an unlimited wealth of resources from which to glean future sounds and concepts. When you add the possibility of synthesizing African and Latino based rhythms the possibilities become almost infinite. Shame on those people.

Obviously, by leading the Afro-Latin Jazz Orchestra one can deduce that you are following in your father's footsteps of continuing to explore this music. How important is this? And within this framework, have you found that Latin Jazz has enabled you to showcase your own musical voice as a musician? The Afro Latin Jazz Orchestra reflects the best of my fathers mission. He would've loved to have seen this day. This ensemble is committed to the canon of our music, the commissioning of new works and to the furtherance of this hereforeto dying craft. My own personal voice is part and parcel of this genre though in no ways limited any. For me Latin Jazz symbolizes the best aspects of modern music, the cultural synthesis of Europe and Africa, the ultimate meeting of mind and heart, passion and intellect and in this sense is a perfect vehicle for a musician/composer like me.

When you're performing, what is the most important thing that you like fans to understand about your music? That it comes from my commitment to honest, integrity and devotion to my craft. It also comes from a healthy respect for the listener and the power that music has to change peoples lives.

Tell us about some upcoming projects? I am working on a septet record which we should begin recording in the fall.