He continued to compose and play but, despite the fact that his son, Chucho Valdés had become an internationally known jazz musician, it was not until the late 90s that he was brought back into a recording studio. Encouraged by Paquito D'Rivera, whose father was a friend of Valdés and who was also an associate of Chucho Valdés from their time together in Irakere, a session was arranged and took place in Germany. Valdés composed most of the music played on the session, much of it written in haste the day before, and his playing was in remarkably good shape considering the decades-long lay-off from full-time performing. Also on the session, with Valdés and D'Rivera, were Juan-Pablo Torres (trombone), Diego Urcola (trumpet), Amadito Valdés (percussion), and Carlos Emilio Morales (guitar; ex-Irakere).
This was the start of a resurgence for Valdés. His follow-up album was a trio set with Israel “Cachao” Lopez and Carlos “Patato” Valdés, although D'Rivera guested on some tracks. Then came other recordings through to the end of the century and beyond. Valdés can be seen in the documentary film, Calle 54 (2000), in which he appears alongside numerous Latin jazz exponents, including his son, Chucho, Gato Barbieri, Eliane Elias, Chico O'Farrill, and Tito Puente. The coincidental rise of interest in traditional Cuban music, prompted in part by the Buena Vista Social Club albums, played a role in Valdés' twilight career success. Nevertheless, it is clear that as a composer he is playing an important part in the music of Latin America in general, and Afro-Cuban jazz in particular.
Bebo Valdés Videos:
Bebo Valdés - Lágrimas Negras
Diego el Cigala & Bebo Valdés - Lágrimas Negras
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