Presented in Collaboration with Jazz at Lincoln Center
Saturday July 20 All Day
The National Weather Service has issued an excessive heat warning for this weekend.
Jazz Festival will continue as planned. Water stations will be located at each venue, shade tents are installed on Friends Field and within Food+Drink, and you are welcome to bring your own shade. Umbrellas and personal tents may be set up in designated areas and must be secured. Pop up tents will not be permitted.
If you are experiencing any issues, or notice anyone struggling with the heat, please find a Caramoor staff member who will be able to assist. Paramedics will be stationed on site for emergencies.
Celebrating its 5th year in collaboration with Jazz at Lincoln Center, Caramoor’s Jazz Festival is a highly anticipated highlight of the summer with jazz performed by phenomenal talent amid lush gardens and distinctive venues on our 90 acres of grounds. Treat yourself and stay for a whole day of music leading up to the evening headliner — ten-time Grammy Award winner Eddie Palmieri, one of the finest pianists of the past 60 years and recognized as a true American musical icon.
Evening Artists 8:00pm
Eddie Palmieri Salsa Orchestra
Daytime Artists beginning at noon
Etienne Charles & Creole Soul
Willie Jones III Quintet: Celebrating Roy Hargrove
Sammy Miller and The Congregation
Marquis Hill Quartet
Brianna Thomas & Danny Mixon
Lakecia Benjamin Quartet Plays Coltrane
Andrea Motis Quintet
Michela Marino Lerman’s Love Movement
The Isaiah J. Thompson Quartet
Cedric Easton: Exploring Art Blakey at 100
Andrew Renfroe: Country Time
Molly Miller & Friends
Julian Lee Family Band
Abdias Armenteros Trio
Jazz at Lincoln Center Youth Orchestra
Taking the train? We’ll give you a lift! Free Metro-North Katonah Shuttle beginning at 10:45am. The final shuttle will depart Caramoor at 10:30pm.
For Day-Only admission you can also take advantage of our Metro-North Getaway package offering discounted round-trip rail fare and admission. Purchase at Metro-North kiosks.
Historic House Tours 2:15pm–5:45pm. Every 15 minutes, sign up at the Festival.
Family set 2:30pm on the East Lawn
Jazz Chat Roots and Rhythms of Afro-Cuban Jazz, 6:45pm–7:30pm in the Spanish Courtyard
Join multi-Grammy nominated drummer, percussionist, composer, arranger, bandleader Bobby Sanabria as he breaks down the key elements and history of Afro-Cuban jazz. From its African rooted rhythmic building block, the clave, to it’s birth in New York City with the Machito Afro-Cubans, the first band to fuse jazz arranging technique with Afro-Cuban rhythms.
Family-friendly Sound Art Tours 2:00pm, 3:00pm, 4:00pm, 5:00pm. Meet at Stone Song.
Raffles Win free tickets to upcoming shows
MembersJoin us in the Pavilion for Members’ Covered Picnicking
Shade There will be a large shade tents set up on Friends Field and within Food+Drink. Space is first come, first served. Small tents and umbrellas are permitted in designated areas and must be secured. Pop up tents are not permitted.
There are no events in this month. Please select another month using the links above.
Known as one of the finest pianists of the past 60 years, Eddie Palmieri is a bandleader, arranger, and composer of salsa and Latin jazz. His playing skillfully fuses the rhythm of his Puerto Rican heritage with the complexity of his jazz influences: Thelonious Monk, Herbie Hancock, McCoy Tyner as well as his older brother, Charlie Palmieri.
Palmieri’s parents emigrated from Ponce, Puerto Rico to New York City in 1926. Born in Spanish Harlem and raised in the Bronx, Palmieri learned to play the piano at an early age, and at 13, he joined his uncle’s orchestra, playing timbales.
Palmieri’s professional career as a pianist took off with various bands in the early 1950s including Eddie Forrester, Johnny Segui’s, and the popular Tito Rodriguez Orchestra. In 1961, Palmieri formed his own band, La Perfecta, which featured an unconventional front line of trombones rather than the trumpets customary in Latin orchestras. This created an innovative sound that mixed American jazz into Afro-Caribbean rhythms, surprising critics and fans alike. Palmieri disbanded La Perfecta in 1968 to pursue different musical endeavors, though he would return to the band’s music in the 2000s.
Palmieri perfected his arranging skills in the 1970’s releasing several impressive recordings that reflected his unorthodox approach to music. His unconventional style would once again surprise critics and fans with the 1970 release entitled Harlem River Drive. This recording was the first to merge what were categorized as “Black” and “Latin” music into a free-form sound that encompassed elements of salsa, funk, soul, and jazz. In 1975, Palmieri won the first-ever Grammy for Best Latin Recording for The Sun of Latin Music (he’s won ten Grammys altogether to date), including two for his influential recording with Tito Puente, Obra Maestra/Masterpiece.
Recognizing Palmieri as an American icon, the Smithsonian’s National Museum of American History in Washington, DC, recorded two of Palmieri’s performances for its archives in 1988. Because of Palmieri’s proclivity for creating music in funk Latin style, Little Louie Vega invited him to record on Nuyorican Soul (1997), a release that became very popular in the house and underground music scenes.
In addition to the Grammys, Palmieri has received numerous honors: Eubie Blake Award (1991); Most Exciting Latin Performance, presented by the BBC in London (2002); Yale University’s Chubb Fellowship, usually reserved for international heads of state, but given to Palmieri in recognition of his work building communities through music (2002); Harlem Renaissance Award (2005); Jay McShann Lifetime Achievement Award (2008), induction into the Oklahoma Jazz Hall of Fame (2008). A year later, the Library of Congress added Palmieri’s composition “Azucar Pa’ Ti” to the National Recording Registry, which at the time only included 300 compositions documenting the history of all of recorded music history in the U.S. With his widely popular eight-and-a-half minute “Azucar Pa’ Ti” Palmieri changed the format of the recording industry, breaking the three-and-a-half minute barrier imposed by the recording industry.
In 2012, Palmieri continued to innovate, celebrating 75 years with new music included in the original score for a documentary co-directed by Bobbito Garcia called Doin it in the Park that explores the cultural influence of playground basketball on sports and music.
Palmieri’s music recorded for the documentary was released as a soundtrack in November of 2013. This was Eddie’s first time recording his own new music since winning back-to-back Grammys in 2005 and 2006. The songs featured in the documentary are part of Eddie’s next full-length album, Sabiduria, which was released in 2017. Sabiduria is a fusion of Jazz, funk, and Latin fused with Afro-world rhythms.
In 2013, Eddie Palmieri was awarded the coveted Jazz Master award by the National Endowment of the Arts (NEA). The NEA Jazz Master award is the highest honor an American Jazz artist can receive.
With an unparalleled style of rhythmic expression, drummer Willie Jones III is one of the world’s leading jazz drummers. In addition to honoring his monumental influences — the late greats Philly Joe Jones, Art Blakey, and Billy Higgins — Jones’ bold articulation and constantly innovative sense of swing are results of his life-long musical experience.
Born in Los Angeles, California on June 8, 1968, Jones’ earliest exposure to music was through his father, Willie Jones II, an accomplished and notable jazz pianist, who offered guidance and inspiration to his gifted son. Dedicated to the further development of his skills, the younger Jones spent the next few years working diligently with acclaimed drummers and music instructors and began performing with distinguished musicians by the time he was in his teens. He completed his academic training after receiving a full scholarship to the California Institute of the Arts where he studied under the tutelage of the legendary Albert “Tootie” Heath. Before he was a semifinalist in the 1992 Thelonious Monk Jazz Drum Competition, Jones co-founded jazz band Black Note. Influenced by the rich soulful energy of the West Coast bop movement, Black Note’s hard-swing sound propelled them to first place in the prestigious John Coltrane Young Artist Competition in 1991. Jones contributed his skillfulness as both musician and producer on all four Black Note recordings: 43rd & Degnan and L.A. Underground (World Stage Records), Jungle Music (Columbia), and Nothin’ But the Swing (Impulse!). By 1994, the band had toured Europe and across the U.S. and was the opening act for Wynton Marsalis.
Near the end of 1994, while Jones was reaching for a higher level of drumming dexterity, he gained the privilege of playing sideman to the renowned vibist Milt Jackson, where Jones learned the importance of pacing and sensitivity. Meanwhile, his musical career continued to unfold. From 1995 through 1998, he was a member of Arturo Sandoval’s band and is featured on Sandoval’s GRAMMY® award winning release Hot House (N2K). Subsequently, Jones recorded with Horace Silver on Jazz Has a Sense of Humor (Impulse!).
From 1998–2005, Jones was a member of Roy Hargrove’s Quintet and is featured on Roy Hargrove’s CD releases on Verve: Moment To Moment, Hard Groove, Nothing Serious, and RH Factor’s Distractions. Jones can be heard on a host of recordings including Kurt Elling’s GRAMMY® nominated Night Moves (Concord) and Eric Reed’s Here (Max Jazz). Jones has worked with Sonny Rollins, Ernestine Anderson, Bobby Hutcherson, Wynton Marsalis, Cedar Walton, Frank Wess, the Dizzy Gillespie All-Star Big Band, Houston Person, Billy Childs, Eric Reed, Ryan Kisor, Eric Alexander, Bill Charlap, Michael Brecker, Herbie Hancock, and Hank Jones. In 2000, Jones’ released his debut CD, Vol 1 … Straight Swingin’ on his own label, WJ3 Records. He continues to reveal his proficiency as a composer as well as a producer on Vol II … Don’t Knock The Swing (2002); Volume III (2007); WE 2 (2008), a trombone and piano recording featuring Wycliffe Gordon and Eric Reed; and Jones’ latest release The Next Phase (2010).
Over its century-plus history, jazz has forged its shape-shifting identity by encompassing a rainbow of musical dialects in an improvisation-infused setting. While jazz’s potency launched into popular appeal based on the integration of the European classical music sensibility and the grassroots of African-American cultural heritage, it has not remained a static idiom. Indeed, jazz has become organically enlarged, expanded and revitalized by cultivating new influences into the tradition, from the Afro-Cuban movement of the ’40s to today’s artists embracing their ethnic heritage.
One of the most compelling and exciting young jazz artists ushering the genre into groundbreaking new territory is trumpeter/bandleader Etienne Charles, who, still in his 20s, has already recorded three impressive and well-received albums for his own Culture Shock Music imprint. His most recent album, Creole Soul, is a captivating journey of new jazz expression. It buoyantly taps into a myriad of styles rooted in his Afro-Caribbean background and plumbs the musical depths of the islands, from calypso to Haitian voodoo music. Also in the jazz amalgam mix are rock steady, reggae, belair, kongo, and rock as well as the influence of Motown and R&B music Charles listened to on his parents’ record player when he was growing up.
“Jazz is Creole music,” says Charles who was born in Trinidad, relocated first to Florida and then New York to further his jazz studies (graduating, respectively, from Florida State’s and Juilliard’s jazz programs) and today teaches jazz trumpet at Michigan State University. “As a person in the new world, I’ve been influenced by so much music. And my family has a mixed background, with French Caribbean, Spanish and African roots as well as Venezuelan influences. I come from a fusion of rhythms, a fusion of cultures. That’s what this album is all about: focusing on soul music that is Creole at heart.”
As befitting an artist who excels with such a diversity of musical styles, Charles has performed with a range of musicians, from Roberta Flack, Rene Marie, and David Rudder to Wynton Marsalis, Johnny Mandel, the Count Basie Orchestra, and Maria Schneider. He also worked with steel pan all-star Len “Boogsie” Sharpe as well as jazz masters Frank Foster and Benny Golson.
The New York Times calls Charles an auteur who is “one of [jazz’s] more ambitious soloists and composers,” JazzTimes applauds him as a “daring improviser” and DownBeat celebrates his tone as “melodically captivating” and “rhythmically agile” that makes his music “immediately pleasing.” After three albums, released on Culture Shock, Charles has garnered a welcomed response to his Caribbean roots-informed jazz. Creole Soul, his most accomplished recording so far in his young career, holds great promise to a future of more ebullient and intimate artistry.
Sammy Miller and The Congregation are on a mission to put the generosity back into jazz and bring art back to the people.
We play joyful jazz — music that feels good. It’s a style that entertains, enriches, but most of all uplifts.
A native of Los Angeles, Grammy®-nominated drummer Sammy Miller has become known for his relentless focus on making music that feels good as a drummer, singer, and bandleader. Upon completing his Master’s at The Juilliard School, Sammy formed his ensemble, The Congregation. As a band, they share the power of community through their music — joyful jazz.
Award winning theatre incubator, Ars Nova selected The Congregation for the ‘Makers Lab’ in 2017 to develop their genre-bending show, Great Awakening. While independently the band members have performed and recorded with notable artists including Wynton Marsalis, Lady Gaga, and Queen Latifah at venues including the White House, Lincoln Center, and the Hollywood Bowl, they have opted to stick together to spread joy throughout the world. Get onboard. @smcongregation
“A dauntingly skilled trumpeter.” — The New York Times
Trumpeter and composer Marquis Hill is widely recognized as one of the preeminent voices on the instrument of his generation. Raised in the Chatham neighborhood on Chicago’s South Side, his introduction to music was made by taking up the drum kit in the fourth grade. However, after being inspired by a cousin his focus soon shifted to what was to become his primary instrument, the trumpet.
At 12 years of age, Mr. Hill became a member of the South Shore Youth Jazz Ensemble under the direction of saxophonist and educator Ronald Carter. He has been an active participant in the programs offered at Ravinia including the Ravinia Jazz Scholars and the Ravinia Steans Music Institute, the former of which brought him into contact with mentors Bobby Broom, Tito Carillo, and Willie Pickens. Mr. Hill’s musical education further expanded by attending Northern Illinois University, from which he graduated in 2009 with a Bachelor of Arts in Music Education. While still an undergraduate, Mr. Hill began to be regarded as one of the most in demand trumpeters in Chicago.
Upon finalizing his formal education with a Master of Music degree in Jazz Pedagogy from DePaul University, Marquis Hill began working more frequently both as a sideman and a leader of his own ensemble, the Blacktet, throughout the region; appearing at festivals, clubs, and theaters with increasing frequency. His musical prowess began to garner more recognition after winning such competitions as the International Trumpet Guild jazz competition (2012) and most recently the Thelonious Monk International Jazz Trumpet Competition (2014), widely regarded as the most prestigious in its field.
In addition to performance, Mr. Hill has been an active educator. He has held teaching positions at numerous institutions including the Birch Creek Music Performance Center in Egg Harbor, Wisconsin; The NIU Summer Jazz Camp; The University of Illinois at Chicago where he was a faculty member for two years. He currently resides in New York City and has four albums to his credit: New Gospel (Skiptone 2011), Sounds of the City (Skiptone 2012), The Poet (Skiptone 2013), and Modern Flows vol. 1 (Skiptone 2014).
Charismatic and dynamic saxophonist/bandleader Lakecia Benjamin’s electric stage presence and fiery sax work, has shared stages with Stevie Wonder, Alicia Keys, The Roots, Macy Gray, and many others, brings the soul and funk up to a fever pitch in a show that’s guaranteed to keep crowds dancing day or night. Though her own music with her band Lakecia Benjamin and Soul Squad is immersed in the vintage sounds of James Brown, Maceo Parker, Sly and the Family Stone, and the Meters as well as classic jazz, Benjamin’s soaring, dance floor-friendly grooves take the classic vibe to a whole new level. The constant throughout it all is Benjamin’s summery, sultry alto saxophone, adding something special on every cut — be it a smoldering late-night ambience, an erudite, forceful jazz intensity, or the tight funk multi-horn harmony sections that pepper the proceedings throughout.
A streetwise New York City native born and raised in Washington Heights, Lakecia Benjamin has become one of the most highly sought-after players in soul and funk music. She first picked up the saxophone at Fiorello LaGuardia High School for the Performing Arts, after which she joined the renowned jazz program at New York’s New School University. By that time, she was already playing with renowned jazz figures like Clark Terry and Reggie Workman, which led to gigs and tours with a wide array of artists such as Rashied Ali, the David Murray Big Band, Vanessa Rubin and James “Blood” Ulmer. With her deep jazz roots, she was soon in demand as an arranger and horn section leader, landing stints with such acclaimed artists as Stevie Wonder, Alicia Keys, Macy Gray, the Roots, and Anita Baker.
Currently, Benjamin is a featured musician for Gregory Porter as well as a featured musician and arranger for comedy star Craig Robinson and the Nasty Delicious. (Robinson, best known for his work on TV’s The Office as well as such popular films as Pineapple Express and Hot Tub Time Machine, tours regularly with the Nasty Delicious band serving as the main foil in his popular comedy act). Benjamin has also had the honor of performing at the White House at President Obama’s inaugural ball. She’s performed on four continents and her extensive recording credits include saxophone and arrangements for Santigold, Maurice Brown, the Clark Terry Big Band, Krystle Warren and Talib Kweli, among others.
Love Movement is not your ordinary band. This ensemble, led by tap dancer Michela Marino Lerman, is a hybrid of the highest levels of musicianship and hoofing. This group incorporates original music, spirituals, jazz, traditional and electronic tap boards, which will surely challenge your thoughts, uplift, and send you dancing all the way home.
Love Movement reflects a journey through the seven levels of love we experience throughout life starting with familial love, self-love and realization, protest, prayer, spiritual love, and finally romantic love. Love Movement is an immersive musical experience that will leave the audience feeling moved and empowered.
If the little world of jazz wasn’t exactly slow to pick up on the outstanding talent of Andrea Motis — the great Quincy Jones in person told us all about her in 2012 when she was 17 (he’d invited her on stage at the Barcelona Festival) — there’s no question that the 2017 release of Emotional Dance, her first real album as a leader on the prestigious Impulse! label, suddenly took the career of this young Catalan singer-trumpeter into another dimension altogether.
A whole new audience, much larger than the “happy few” of the early days, realized how much of a phenomenon she really was: she was playing the trumpet at seven; her teacher, the bassist Joan Chamorro, spotted her in the big band at music class in Sant Andreu; and by the age of fourteen she was in the spotlight, thanks to the release of Juan Chamarro presents Andrea Motis, her first recording and a charm-filled outing complete with a freshness and musicality that were stunning. That fertile collaboration gave rise to five more albums in just a few years, among them Feeling Good (2012), and then Emotional Dance gave Andrea the opportunity to show, with great brio, a much more personal universe that formed a synthesis of her years of apprenticeship while opening up new perspectives.
Still surrounded by Joan Chamorro and the same loyal musicians — pianist Ignasi Terraza, drummer Esteve Pi, guitarist Josep Traver — Andrea Motis allowed the public a glimpse of her new face: she brought American musicians into her band (players of the calibre of Warren Wolf, Gil Goldstein, Scott Robinson, or Joel Frahm), but most of all she refined and enhanced the richness of her customary repertoire of great jazz standards, adding a handful of original compositions in order to explore territory — both imaginary and everyday — that for the first time alluded directly to her Mediterranean roots.
And it is precisely that tropism that Andrea Motis pursues and cultivates today with this new Do Outro Lado Do Azul, unquestionably the most accomplished, most ambitious and personal offering of her young career. Continuing to mature outside of the path taken by traditional jazz, the young musician innovates here not only in orchestration, but also in the material, with rhythms and scents that mark a definite break with the Great American Songbook, venturing principally into Brazil, whose music is a major reference that lends unity and consistency to the whole album.
Decorating her record with beautifully sensitive original compositions — Brisa, a mischievous little samba, or again Sensa Pressa, a sumptuous and lazy sun-filled ballad — in addition to a masterful new interpretation of Mediterraneo, the anthem by the great Catalan singer Joan Manuel Serrat, Andrea succeeds in making Do Outro Lado Do Azul an eminently personal opus that can be seen as an expression of authentic creative emancipation, presented here in the form of an aesthetic manifesto.
Because while Joan Chamarro and his companions once again constitute the heart of this group — they provide a certain continuity with previous recordings anchored in jazz, and at times an expression through arrangements that subliminally conjure up the jam sessions of New Orleans, — here Andrea Motis (and you can feel this constantly) asserts a new-found authority, in both her artistic choices and her own musicianship. Her singing, also, has unarguably gained in depth and emotion, and her voice, confronting Portuguese, Catalan and Spanish lyrics, preserves all the youthful freshness and spontaneity of her phrasing while losing none of the extremely precise rhythms.
Motis, whether playing trumpet, bugle, or the soprano saxophone for two titles, makes an immense impression here thanks to her innate sense of melody and the sparing use of her minimalistic, subtly effortless style. Do Outro Lado Do Azul marks a turning point: the emerging young prodigy has definitively given way to great artist.
Isaiah J. Thompson is a jazz pianist, bandleader, and composer. He began studying classical piano at the age of five and quickly branched out to other styles. He was admitted to The Juilliard School at the age of 18 and since has performed with major artists, including Christian McBride, Joe Farnsworth, Rodney Whitaker, and was featured on Handful of Keys with the Jazz at Lincoln Center Orchestra with Wynton Marsalis.
Isaiah believes that artistry is a direct channel into the mind and soul of an artist, and as such, feels that it is important to not lose sight of one’s individuality or that of others. This had led to his ardent advocacy for diversity both in and outside of his field. As a performer, he tries to emit a feeling of joy and convey his personal experiences through music, and through his everlasting love of jazz.
From Jupiter, Florida, and with a Master of Music from Juilliard (2016), Andrew Renfroe credits much of his sound to his development at The Jackie McLean Institute of Jazz in Hartford, CT, where he earned his Bachelor of Music in 2013.
He has performed in the bands of Steve Davis, Nat Reeves, Javon Jackson, Terrace Martin, Mike LeDonne, and J.D. Allen. Currently, he is a member of many working groups including those led by veterans Carmen Lundy, David Weiss, and Ned Goold, as well as groups led by his peers Braxton Cook, Jonathan Barber, Jonathon Pinson, Luke Sellick, Arnold Lee, and countless others.
Renfroe’s own projects reflect his diverse influences and have included a re-imagining of Delta Blues legend and originator Son House’s music through the aesthetic of the John Coltrane Quartet, as well as a project which takes traditional music from Burkina Faso and Mali, West Africa and places it in a modern jazz quartet setting. Both of these projects were presented at Jazz at Lincoln Center. He is currently working on arrangements of French composer Olivier Messiaen’s Organ Works. An accomplished composer, he attended the Betty Carter Jazz Ahead program in 2013, and is a co-writer in the group BONOMO, led by his long-time collaborator Adam Bonomo.
Since Dr. Molly Miller picked up a guitar at age seven, she’s been captivating audiences with her sophisticated and raw style.
She’s one of Los Angeles’s most sought-after musicians, recording and touring with artists such as Jason Mraz and The Black Eyed Peas. She’s played for thousands at the Hollywood Bowl, Telluride Music Festival, and Planeta Atlantida. When she’s not on tour, Miller heads her own trio, featured on NPR’s Fresh Air. Miller is also the Chair of the Guitar Department at Los Angeles College of Music.
Award winning cuatro player, mandolinist, and musical producer, Jorge Glem is without a doubt one of Venezuela’s musical treasures. Originally from Cumaná, Venezuela, Glem, who currently resides in New York City, has set out with a clear and driven purpose of presenting the Venezuelan cuatro as a universal instrument. His amazing talent and purpose have allowed him to share the stage with renown worldwide figures such as Paquito D’Rivera, Jordan Rudess, Rubén Blades, Carlos Vives, Calle 13, Natalia Lafoucarde, Guaco, Desorden Público, Ensamble Gurrufío, Gualberto Ibarreto, Etienne Charles, and many other important music personalities, accomplishing the fuse of this traditional instrument in genres such as jazz, salsa, bluegrass, rock, and pop.
In 2017 Glem, in that continuous effort to introduce the cuatro to the world, initiated a movement called #4CuatroMusic through social media that reached more than 1k posts in only 3 weeks. Without a doubt, the cuatro is more than an instrument to this musical prodigy. It is a part of him and through playing it he is able to attain a global voice.
Also a member of Latin Grammy winner, three times Latin Grammy nominee and most recently 2018 Grammy nominated, acclaimed ensemble C4Trio, Glem has participated in over 200 productions and has traveled extensively throughout the world.
Jorge Glem has been the winner of prestigious awards such as “El Silbón de Oro,” 2014, “Siembra Del Cuatro,” 2015, and three Pepsi music awards for his album “En El Cerrito.” With three productions of his own, Glem is also currently participating in collaborations with folk accordionist Sam Reider, as well as in another project with Cuban-Venezuelan pianist, composer, and arranger, Cesar Orozco, with whom he most recently recorded and is preparing to release an album. Glem continues touring across the U.S., Latin America, and Europe and looks forward to many more collaborations incorporating the iconic Venezuelan cuatro.
8 times Grammy nominated as a leader, drummer,/percussionist, composer, arranger, educator, bandleader, documentary film producer, activist, Bobby Sanabria is a native Nuyorican from the South Bronx. He has performed/recorded with every major figure in the development of what today is known as Latin jazz. From the genre’s acknowledged creator, maestro Mario Bauzá, to Mongo Santamaria, with whom he started his career, to Tito Puente, Chico O’Farrill, Ray Barretto, Candido, Dizzy Gillespie, and many more. He is on the faculty of Manhattan School of Music, NYU, and the New School. He is the Co-Artistic Director of the Bronx Music Heritage Center. His latest CD is the Grammy nominated and Jazz Journalist Association’s Record of the Year for 2019, West Side Story Reimagined. Bobby is a graduate of the Berklee College of Music.