Born in Camaguey
(Cuba), music was a pervasive presence in his
upbringing. Ernesto's father is an accomplished
trumpet player and
band leader and his mother's love of music instilled
in him the
impetus to commence his musical studies at the
Camaguey Conservatory
of Music and pursue his degree at the National
School of Instructors
of Art in Havana.
Ernesto Simpson began his musical
career at an early age and had his
first paying gig with his father's band.
His exposure to a variety of styles,
rhythms, combined with African
and Afro-Cuban, South American styles has allowed
him to develop a
powerful and innovative concept fitting perfectly
the needs of the new
collective music.
His musical sophistication is
matched only by his ability to play on a
very high level with great consistency, freshness
and unique taste. He
is known for his furious commitment that soloists
playing with him had
to exert all their might to keep along with him.
Ernesto performs in a myriad of
arenas from Jazz to R&B, Latin, ethnic
and more. Because of his commitment to excel,
he constantly develops
new ideas with technique to spare. His love for
music and respect for
his instrument and peers lead him to play everything
with incisive,
deep, soulful perfection.
Active on the New York jazz scene
swiftly is establishing a high
reputation among his peers that his incendiary
riffs ignite anyone's
imagination.
Touring with recognized international
bands Ernesto Simpson's name has
become much better known in the music world.
He has performed and/or shared
stage with personalities like Carmen
McRae, Dizzy Guillespie, Winton Marsalis, Mike
Stern, Michael Legrand,
Herbie Hancock, Michael Brecker, George Benson,
Salif Keita, Tito
Puente, Giovanni Hidalgo, Arturo Sandoval, Paquito
D' Rivera, Ray
Barreto, Brian Lynch and Gonzalo Rubalcaba, just
to name a few. He
also plays for the famous Cameroonian song-writter,
singer and bass
player, Richard Bona.
Workshop description:
1- Importance of
warming up and posture.
2- Routines (Rudiments and Stick
control)
3- Cuban, African and Afrocuban
12/8 groove approaches.
4- Popular and International Grooves
(interaction with the students)
