Dayramir González | |
---|---|
Birth name | Dayramir González Vicet |
Born | Havana, Cuba |
Genres | Afro-Cuban jazz, jazz, contemporary Cuban |
Occupation(s) | Musician, composer, arranger, producer |
Instrument(s) | Piano |
Labels | Colibrí |
Website |
dayramirgonzalez |
Dayramir González Vicet is a Cuban pianist, composer, arranger, and producer.
In 2004 he formed his own project Dayramir & Habana enTRANCe, which has performed internationally since its inception. [1] [2]
While still attending Berklee College of Music, in 2012, he was selected by Chucho Valdés, a mentor to González, to be part of Carnegie Hall's Voices of Latin America series, where he represented, along with Aldo López-Gavilán the young generation of Afro-Cuban jazz pianists. [3] According to his website, he now lives in the South Bronx.
Featured in the award-winning book Danzón: Circum-Caribbean Dialogues in Music and Dance, he is considered a main proponent of continuing the tradition of Cuban music as he combines "formal elements of standard jazz practice...with elements of the danzón." [4] He is among the few Cuban jazz artists rescuing the danzón and "reinventing the genre on the basis of diverse constructions of identity." [5]
Dayramir González | |
---|---|
Birth name | Dayramir González Vicet |
Born | Havana, Cuba |
Genres | Afro-Cuban jazz, jazz, contemporary Cuban |
Occupation(s) | Musician, composer, arranger, producer |
Instrument(s) | Piano |
Labels | Colibrí |
Website |
dayramirgonzalez |
Dayramir González Vicet is a Cuban pianist, composer, arranger, and producer.
In 2004 he formed his own project Dayramir & Habana enTRANCe, which has performed internationally since its inception. [1] [2]
While still attending Berklee College of Music, in 2012, he was selected by Chucho Valdés, a mentor to González, to be part of Carnegie Hall's Voices of Latin America series, where he represented, along with Aldo López-Gavilán the young generation of Afro-Cuban jazz pianists. [3] According to his website, he now lives in the South Bronx.
Featured in the award-winning book Danzón: Circum-Caribbean Dialogues in Music and Dance, he is considered a main proponent of continuing the tradition of Cuban music as he combines "formal elements of standard jazz practice...with elements of the danzón." [4] He is among the few Cuban jazz artists rescuing the danzón and "reinventing the genre on the basis of diverse constructions of identity." [5]