Artist Bio
José Valentino
"José has a fire and plays with his heart."
- Hubert Laws
"I have never heard a 17 year old flutist playing like a 54 year old. I know that if I die José will keep up Latin Jazz flute music. I can hear his heart in his music."
- Dave Valentin, Grammy Award Winner
Before reaching the age required to obtain a Florida driver’s permit, José Valentino Ruiz, was playing flute with passion and dexterity. José was born in Silver Spring, Maryland, and lived with his family in Laurel, Maryland during the first eight years of his life prior to moving to Tampa, Florida. Frequent trips with his family to Puerto Rico infused fervor in his soul for his Hispanic heritage and excitement for Latin rhythms. José Valentino values his heritage and refers to Puerto Rico as a place where music is like water; it’s a necessity. As a toddler, while visiting his grandparents, he was very impressed by some of the Island distinctive sounds, particularly: “el gallo” (rooster) and “el coquí” (singing frog). No question that his young ear was detecting nature’s musical notes.
Diligently practicing for hours a day, José honed his skills. He performs as a multi-instrumentalist and vocalist in his concerts bringing art music from around the world to his audiences. José Valentino's primary instrument is the flute. In addition, he plays saxophone, EWI, bass and piano. In his freshman year of high school, José was introduced by his band director to the African-American art form: Jazz, the essence of freedom. The complexity fused with communicative virtuosity is what compelled him to get deep within this music, thus changing his life forever. José is inspired from the innovators such as John Coltrane, Charlie Parker, Miles Davis, Dizzy Gillespie, Thelonious Monk, and Wayne Shorter to the more recent innovators: Richard Bona, Victor Wooten, Herbie Hancock, Chris Potter, Chris Botti, Terrence Blanchard, Gonzalo Rubalcaba, Michael Brecker, etc.
In his performances, José captures the audience’s attention bringing music from all parts of the world and fusing it all together. José has different bands which vary on what the setting is and the musical genres he is asked to perform. "Overall I just want to bring people together with music... it's something that all people of all ages seem to agree on and if I have made someone's day better, I know I'm doing something right.” Some awards and accolades José Valentino has received include: NFAA Merit Award winner, Downbeat Magazine Jazz Soloist Outstanding Performance Award, 1st place award for Film Scoring "Breaking Point", etc. José Valentino has shared the stage and/or opened up for Chick Corea, Aaron Neville, Larry King, Eddie James, Giovanni Hidalgo, John Clayton, Bobby Valentin, Andy Montanez, Domingo Quinones, Roberto Roena, Willi Rosario, Limite 21, Juan Velez, Eric Alexander, Ed Calle, Hubert Laws, Danny Gottlieb, Kenny Drew Jr., John Lamb, Slide Hampton, Rickard Drexler, Akira Tana, Dave Steinmeyer, Pancho Irizarry, Dayve Stewart, Ken Navarro, Jim Walker, Eric Darius, David y Abraham, Voices of Lee, and many more.
Artist Interview
José Valentino
We had the opportunity to ask José a few questions. Check out his thoughts on developing stage presence, learning to improvise, as well as advice for upcoming flutists.
1. You’ve performed with many legendary musicians such as Chick Corea, Aaron Neville, Hubert Laws, and Spyro Gyra. How did you establish these connections?
Well, I would have to say that when it comes to connections, there are many factors that come into play. Nonetheless, these opportunities began to materialize when I was 14 years old. I was already performing professionally and in the process of recording my first album, "Flute On Fire.” My father, who is an accomplished bassist and percussionist, already knew many musicians in the Tampa Bay area who were passionate and skilled in their craft. His plan was to gather some of these fine and versatile musicians to accompany me for many of my live performances.
Being exposed to so many different genres of music (Latin-Jazz, Funk, Smooth-Jazz, Classical, and Ballads), my father and I formed a band that I would be able to interact with while playing songs that everyone loves. This formula proved to be a success as many doors began to open for us as we played in larger venues such as high profile concerts, jazz festivals, and others. It was not long until the word spread about our music and how much fun people were having. Eventually, the event coordinators and Directors for some of the bigger concerts began asking me to open for many of the headliners and legends of Jazz to set the mood for these exciting events. This would then lead to having some of these main artists invite me back to play alongside with them as a "guest artist!” I have to say it was pretty nerve racking for me. Nevertheless, I knew what needed to be done. I would always give it my all, be open to any direction the music would go, and have fun!
2. At such a young age, how did you develop such great stage presence?
To be honest with you, it just came naturally. My personality is very care-free, open, and daring. I guess when you implement these qualities on stage you've got a real shot at captivating audiences. Every time I set foot on a platform I consider what my main objectives are: 1) How to interact with the audience. 2) How to play at a high level and still make it comprehensive for the audience. 3) Have contingency plans in the event a factor affecting my control rears in. What seems to happen with most musicians is that they prepare so much that it becomes too much. The result of this is that the musician develops only one way of playing their pieces and end up getting so nervous. They drill themselves saying "it's got to be the right way, and there's only one way." These types of musicians stress themselves to a point in which they can't be free to make a personal statement in music. Many times they become focused only on themselves or just one interpretation of a recording they've heard. The danger in this is losing your audience because they are unable to relate to anything performed. Thus, all the hard work becomes vein.
I see music as a language. When I communicate with an individual I don't think about all the grammar. Do you? I do my preparation first. Next, I internalize what I have prepared. In other words, I try to understand the overall idea of a musical piece and what was the intent of the composer (sometimes that composer being you). Understanding is the application of wisdom at the right time. Finally, I select out of this toolbox (theory, dexterity, timbre, dynamics, etc.) what I want to use in that very moment. One thing that I consider imperative is what the audience has in mind when they come to see you, the artist. When the audience pays money to see a performer, they are not wanting to hear the instrument. They want to hear the individual behind the instrument and what he/she has to say. For example, most people know what a flute sounds like and what capabilities it has. If you, the artist, are only worried about making sure you get all the technique down, then essentially you are only playing for yourself and maybe a couple of other people who are ready to critique your style. Nonetheless, the vast majority of listeners want the artist to take them to another world. Once we (the artists) tap into that reality, we have now unleashed a world of possibilities within the music, which then translates into a beautiful effect outside mere notes.
3. How would you recommend someone wanting to learn how to improvise when all that is offered in their school is classical music programs?
This is simple. Have you ever thought about how it is that young children can create and imagine new worlds in their minds? How is it that they can have so much fun just by simply believing and being open to their surroundings? Furthermore, think about this... Why is it that as we get older, we seem to lose the ability to believe? A great improviser understands that in order to flow naturally and make it relevant for the listener, one must be able to imagine and execute what they hear in real time. One musician that I admire is saxophonist Dave Liebman. He explained in an interview his concept of "Triple H", Head-Hands-Heart. Liebman explained that all the technique, theory, initial objectives, and creativity start in the head. Then we must be able to execute these things exteriorly; this is using our hands. Finally, in order to play with conviction, one must play from the heart. In other words, find out what the piece means to you and project it out to the audience.
I love Classical music. I've been studying it since I was eight years old. Though, something that I have noticed about the classical curriculum (and unfortunately, even the jazz curriculum at some schools) is that teachers will focus only on the reading (or transcribing for jazz) aspect of music. In turn, students never truly learn how to develop their own approach to music. Instead, they spend years learning the approach of other musicians. I understand that in order for us to know where we are going we first must understand where we came from. I believe also, that if we stay in the past for too long we run the risk of becoming stagnant. We must try new things & be innovative so that years from now people will have something else to feed upon; aside from the greats who have inspired us for hundreds of years.
If an individual wants to learn how to improvise they should first listen to the artists they feel improvise the best. That way they can have a reference in which they love going back to for ideas. Next, try to execute the ideas of others and of your own. Finally, develop confidence, be open and do not be arrogant. No one likes to work with a "Know it all". If you want to have the most fun improvising, you are going to want to involve other people. We are all forever students of this phenomenon called Music! It’s also important to have fun! If you are not having fun when you improvise, then you can be sure others won't be either. Remember, the idea of improvisation is to compose in the moment. That's exciting! If you are able to perform these steps, you are off to an excellent start! Galileo once said, "You cannot teach a person anything, you can only help him/her find it within him/herself."
4. How did you come to choose Miyazawa as your flute of choice?
I think one of the most difficult times a flutist faces is the decision of investing in one flute that will meet all their needs. Before I came across Miyazawa, I played on an intermediate flute, and naturally outgrew the instrument. Now at the age of 21 and performing professionally, nationally and internationally, I wanted to look for a flute that could assist me in playing at a much higher level. I also wanted to be part of a company that would believe in me as much as I believed in them. Thus, I came across this fascinating company called Miyazawa! Something I should note is that at flute conventions I never spend much time trying different flutes. There are so many companies and so many models, that there was just not enough time for me to narrow down which one would fit me best. On the other hand, Miyazawa flutes were one of the most memorable flutes companies I remembered trying out. I even remember saying to my manager, "That...That...is a flute!"
After playing on the flutes I had sent to me for a trial, I was completely sold. I couldn't stop playing for days! In my humble opinion, Miyazawa designs the best flutes in the world! Miyazawa makes unequaled handmade flutes which allow me to go far beyond any ordinary flute sounds. Ever since then, I have been able to execute ideas, colors, and textures which I believed were only possible in my imagination! The only real way to describe the flute is that it naturally becomes an extension of your body, thus making it all possible to sing your heart out like never before! This flute makes a serious flutist sound outstanding! The resonance is sonorous! I would compare these flutes to a sonic painter with the ability to create a sheet of sound waves that hypnotize the ears! They are incredibly vibrant, flexible in the changes of tone, and most of all...POWERFUL! I feel that the flutes I used to play on had to keep up with me. Now, with a Miyazawa, I certainly have to keep up with it!
5. If you had one piece of advice to give an upcoming flutist, what would you tell them?
You are a special individual with something to say! Embrace the gift that God has given you and don't forget to love; love others and love the music you create. If you do this, you will find yourself on the narrow and glorious road that will lead towards greatness!