Zoom in

The 32 Festival Jazz Plaza, celebrated between the 15 and the 18 of December of 2016, was one of the best editions of this event. For more than three decades, the Cuban jazz festival has become a recurring space for interaction between the musicians and the genre.
No single scholar of the Cuban music during the last years could ignore the good moment the jazz made by our compatriots lives. Both in the country and in the bosom of the diaspora, to which it has contributed in a special way to he celebration of the Jazz Plaza Festival.
During the 1980s, the festival lived a particular imprint, given the intervention of both professional musicians and numerous students of the music schools, an atmosphere that has been recovered in the Jo-Jazz competitions, a competitive event for Young jazz.
The roads that our jazz players bet on are being diversified in an ostensible way. There are two major groups: those who start from the Cuban to jazz, and those who act in the opposite direction.
Among the many festivals of the genre celebrated in the world, few have the luxury of having a programming as intense as the one unfolded in ours. Both the quality and the quantity of musicians and the number of concerts is something simply amazing and unthinkable in other places of the world. To this, we add the academic reflection in a colloquium that has been celebrated in twelve opportunities.
The authenticity of the work like the one of the Cuban jazz players is found within the most authentic and genuine of our music, endorsed by the hybridization of the global and the national. The work of the current jazz bands from our country, whether in Cuba or abroad, shows that an authentic cultural vision has to go beyond constraining both a narrow nationalism and the imperial effluvium. They are inconsistencies from which we have to flee, in favor of a type of musical creation that remains Cuban, but conceived from a universal language.