Paquito D’Rivera’s musical prowess allows him to contribute creative ideas to any performing situation he encounters. His vast knowledge of Cuban music history enables him to develop traditional tipico phrases or emphasize polyrhythmic sounds over an intensive rumba. His technical facility on both alto sax and clarinet frees him fully express beautifully lyrical lines or bebop inflected blurs of speed. A thorough study of traditional jazz has left him with the ability to navigate through the most complex harmonies at breakneck speeds or sing passionately over a heart-wrenching ballad. A lifetime spent immersed in classical music has given him a full knowledge of the most intricate compositional structures, logical melodic developments, and emotional ranges. D’Rivera truly exists as a musicians’ musician, consistently exuding taste and artistic excellence.

A track from The Bebo Valdes Trio’s 2001 album El Arte Del Sabor, “Priquitin Pin Pon” places D’Rivera in a quartet setting, accompanied by piano, bass, and congas. D’Rivera provides a rhythmic interpretation of Moises Simon’s classic melody, playing off the steady conga tumbao. The harmony stays consistently within the key of F, colored by some standard jazz progressions. The rhythm section contributes a powerful forward motion through Valdes’ montuno and an aggressive feel from Israel “Cachao” Lopéz on bass and Carlos “Patato” Valdes on congas. D’Rivera’s statement contains his famous lyrical power, but also a strong sense of swing - his rhythmic propulsion is so strong, you could probably take away the rhythm section and feel the groove simply through D’Rivera’s solo. His solo, and the whole track, presents a classic piece of Cuban jazz, played by masters.

Some Points of Interest:
*D’Rivera’s Extensive Use of Quarter Note Triplets
There are several points in the solo where D’Rivera uses quarter note triplets to both “stretch” the time and vary his rhythmic content. He throws short snippets of quarter note triplets within larger phrases at measures 2, 11, and 15. In measures 22 - 23, he emphasizes quarter note triplets to stretch the time for just a minute before locking back into steady time.

*D’Rivera’s Use of His Altissimo Range To Create Emphasis
In measure 17, D’Rivera makes an octave leap into the uppermost reaches of his instrument, signaling a high point in his solo. This note serves as a great way to emphasize the top of the 2nd chorus and create shape within his solo. It creates tension and surprises the listener by jumping into this solo’s unexplored territory. He quickly resolves the note by playing a run back down into a lower range, which provides fluidity to the solo.

As you listen to this recording, focus on both D’Rivera and the way that the rhythm section supports him. The finese dispalyed by Valdes, Cachao, and Patato is only matched by the relentless swing that they create. A lesser musician would get lost within their performance, but D’Rivera matches their strength and creates a worthy statement.

Transposed Parts:
Priquitin Pin Pon, Paquito D’Rivera Solo (Bb)
Priquitin Pin Pon, Paquito D’Rivera Solo (Eb)
Priquitin Pin Pon, Paquito D’Rivera Solo (BC)

For More on Paquito D’Rivera:
Album of the Week - Funk Tango, Paquito D’Rivera Quintet
2 Important Latin Jazz Saxophonists
Paquito D’Rivera Alto Sax Solo on “Freddie Freeloader”

For More Transcriptions:
Generoso Jimenez “Que Bueno Baila Usted” Trombone Solo
Jerry Gonzalez Trumpet Solo on “Obsesion”
Mario Rivera Tenor Sax Solo on “Mambo Diablo”

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