Cuban saxophonist and clarinetist Paquito D’Rivera cites as his inspiration musicians who span the gamut from Mozart to Dizzy Gillespie. In both his technical prowess and his keen sense of humor as a musician, D’Rivera pays tribute to his legendary predecessors. On this program, D’Rivera joins Billy Taylor and his Trio for an evening of latin-tinged bop, liquid smooth ballads, and entertaining insights into the status of modern jazz.

Prompted by Dr. Taylor, D’Rivera reflects on his musical beginnings. Through his father, a classical saxophonist who frequently quoted Ellington’s maxim, "there are only two kinds of music, good and bad," the young D’Rivera was exposed to Cuban music, jazz, classical, and just about everything else under the sun. At the tender age of six, D’Rivera began playing his first instrument, a specially designed curve soprano. D’Rivera describes the "enormous impact" of Willis Conover’s "Jazz Hour" broadcast on the Voice of America which enabled him to hear modern innovators like Miles Davis and Herbie Hancock, otherwise inaccessible in Cuba where jazz was a "four-letter word."

Dr. Taylor inquires about the influence of Latin musicians on D’Rivera’s evolution. D’Rivera reminisces about jam sessions with the pianist Chucho Valdez, his association with trumpet player Mario Bauza, and the first time he met Dizzy Gillespie in Havana, playing with the bebop trumpet player and other jazz luminaries for 23 hours straight. D’Rivera and Dr. Taylor’s trio get into the groove of latin-flavored tunes like Machito’s "Mambo Inn" and Dizzy Gillespie’s "Birk’s Works."

Before fielding audience questions, D’Rivera discusses a pivotal point in his life and his musical career – defecting to the United States in 1981. While touring with the Cuban-jazz fusion band, Irakere, D’Rivera remained in Spain where he awaited a visa that would enable him to live in the States, a dream he had nurtured since he heard a recording of Benny Goodman swinging at Carnegie Hall. One audience member asked what changes D’Rivera has noted in jazz music over the years he has been playing in the States. The music is always evolving and re-creating itself as D’Rivera replied optimistically – "I really don’t believe when people come to me and say jazz is over, music is over."

D’Rivera is living proof of his own statement. He speaks excitedly about his latest venue – a group called the Carribean Jazz Project which includes Andy Narell on steel drums and Dave Samuels on vibes and marimba. Returning to his roots and forging ahead, D’Rivera continues to spread the warmth of his inimitable tone, fusing Latin and bebop rhythms with panache. Fittingly, D’Rivera and Dr. Taylor’s trio cap off the evening with a stellar rendition of "Night in Tunisia," a jazz standard composed by D’Rivera’s mentor, Dizzy Gillespie.