Dick Holland: Builder of Omaha’s Arts, Culture and Human Services Landscape (1921-2016)
©by Leo Adam Biga
Appearing in the September 2016 issue of The Reader (www.thereader.com)
A force of nature named Dick Holland died at 95 on August 9. The philanthropist’s passing triggered warm, appreciative tributes from leaders of organizations he supported as well as individuals who worked with him or just admired his frank manner and good heart.
Many say this plain-talking old lion of charitable giving changed the face of Omaha by funding major brick-and-mortar projects, some bearing the Holland name. Before the term social entrepreneurship came in vogue, he applied his wealth to humanistic causes in his hometown reflecting his broad interests.
Fellow Omaha philanthropist Todd Simon said, “Dick was a builder. He helped build and then supported many cultural, arts and human services organizations we take for granted today. He and my father (the late Fred Simon) had a kind of cultural brain-trust. As a kid, I remember going over to the Hollands’ house with my dad. They made plans to support the opera or symphony while listening to their favorite records. Today, I realize the seeds that grew into the foundation of Omaha’s cultural scene were planted in Dick Holland’s living room.”
As an adult, Simon said, “I learned so much about tenacity and determination from Dick, who accomplished so much in such an informal way. He was easy to approach and generous with his time – for seven decades.”
The accessible philanthropist kept a publicly listed phone number and often fielded calls himself from people seeking help. After listening to a plea, he’d tell personal assistant Deb Love, “We need to find a way to help them.” He usually did.
Holland’s various youthful escapades – Fuller Brush salesman, ice house laborer, drover, bookie – didn’t hint at his future except for his brass and hustle. The Omaha Central High graduate and World War II veteran found his calling at his father’s advertising agency. He then made his own way partnering in the Holland, Dreves, Reilly agency (later Swanson, Rollheiser, Holland) in the Mad Men era – its wild success rivaled only by Bozell and Jacobs. The devoted husband and father was all business but kew how to have fun, too. Valmont Industries became a breakthrough client that made him a player in the business-civic community.
In an interview, Holland said, “Some of the great lessons I learned in advertising, like how to talk to people to try and convince them of an idea, have served me well.”
He did things on his own terms. He once said, “I found out kind of early I didn’t want to work for somebody – I wanted to be my own boss.” He said a personality test developed by his brother Jack Holland pegged him “investigative, artistic and entrepreneurial.” His independent, outlier sensibilities found harbor in the Unitarian Church. Achieving wealth provided autonomy to follow his passions. He wealth came as an early investor in friend Warren Buffett’s Berkshire Hathaway. He took credit for introducing Buffett to BH’s No. 2 man, Charlie Munger.
His real entry into circles of influence came after he and wife Mary formed a foundation that was the conduit for their giving the rest of their lives together. She died in 2006 (he earlier lost a son). He went right on giving and in his last decade he sought ever more opportunities to make a difference and leave a mark.
In a typical year, 2014, the Holland Foundation reported total giving as $19 million and total assets as $158 million.
His largesse can be seen downtown and midtown in the Holland Performing Arts Center, the Child Saving Institute and University of Nebraska Medical Center. In North Omaha his helping hand is seen at North Star Foundation and Jesuit Middle School. After breaking with Building Bright Futures, he formed the Holland Children’s Movement and Holland Children’s Institute to prepare and support at-risk youth for success from birth through college.
Virtually every Omaha arts organization of size benefited from his generosity and belief the arts enrich a community and attract new talent and business.
“The whole cultural scene is a big, big part of a community,” he told a reporter.
Arts leaders were present at a private celebration of his life held August 15 at the Holland Center – a favorite venue where he was a familiar presence. Members of the Omaha Symphony Orchestra accompanied singers performing operatic selections.
Omaha Performing Arts president Joan Squires said, “He well understood the impact the arts have on all of us. In the Holland Center’s 10th Anniversary video, he said ‘I don’t know of anything I’ve done that satisfies me more. We made a difference for the happiness of the people of the town. We opened the door to new feelings of all kinds of beauty.’ That was Dick. I know it’s not ever going to be the same without hearing Dick’s bird calls at the conclusion of a performance.”
Holland was a Omaha University graduate who became a mega contributor to his alma mater. He made key gifts to the University of Nebraska at Omaha’s Holland Computing Center and the Baxter Arena, whose Community Ice Center is dedicated to him. His support of UNMC played a significant role in that institution’s physical growth, including the Durham Research Centers, the Fred & Pamela Buffett Cancer Center and the College of Public Health.
The self-described “liberal Democrat” used the platform his fortune and status afforded by voicing opinions about social causes, railing against policies he opposed and throwing his weight behind bills and candidates he supported. He decried local, state, federal government not working together for the country’s betterment. He criticized Omaha’s failure to uplift a large segment of its minority population who experience poverty. “To me, that’s the worst thing Omaha does,” he said. Though he felt Omaha did public education well from elementary school through college, he bemoaned early childhood gaps and disparities between what inner city children receive and what suburban kids receive.
“I don’t see this so much as an intellectual problem but as a community problem,” he said. “We have all kinds of government programs designed to grab these people as they fall off the cliff. The failure is to raise them so they can climb cliffs.”
Someone privy to his most intimate deliberations was Deb Love, his personal assistant and a Holland Foundation staffer.
Love recalled the many op eds he submitted to the Omaha World-Herald and New York Times. “Sometimes his words were so frank, I would cringe and ask if maybe we should soften them a bit. He usually didn’t take my advice. He would stand up for what he believed.”
She said Holland was the same in private and public when speaking his mind, asking probing questions and seeking ways to remedy problems or meet needs.
“We worked side-by-side in his small home office,” she said, “and I heard every phone conversation, every meeting plan, every decision – personal and business. He would share his innermost feelings and thoughts and would ask my opinion. There are so many things I will miss about Dick: his humor, his advice, his wealth of knowledge. But most of all I will miss our private conversations. He was not only a boss, but a mentor, friend and father-figure.”
Similarly, Joan Squires of Omaha Performing Arts developed a fondness for Holland.
“Each of us has a chance to meet a few very special people in our lives. People that touch us and who we feel privileged to know. For me, one of those people was Dick Holland. He was so much more than a board member and donor – he was one of my closest friends.,” Squires said. “He was so widely read and intelligent, you found yourself scrambling to keep up. He was fun, he was funny and most of all, he cared for others.”
Love said despite grants totaling many millions of dollars over the foundation’s life, Holland never felt he did enough.
“He always wanted to help people in any way he could, whether financially, helping find a job or giving moral support. He was a man of such generosity and humor and very observant of people’s needs. Not long before he passed, he said, ‘I wish I was a magician and had more money to give to all Omaha organizations.’ His joy of giving was contagious. He always said there was nothing that made him feel better than helping someone else. He believed if you have the means, you should share with those who don’t.”
Love said she marveled at his magnanimous spirit.
“Dick treated everyone with the utmost respect. He thoroughly loved children and watching them learn and giving them opportunities to do so. When in public, he would always talk to children. He enjoyed giving his time and money to organizations that help underprivileged children. He wanted them to be able to experience Omaha as any other child would. Some of his donations provide educational opportunities as well as transportation to events at the Holland Center.”
His contributions were well recognized in his lifetime, including by the national Horatio Alger Association. But even someone so accomplished needed assurance in what he’d leave behind.
“He told me he didn’t want to be forgotten after he passed and wanted his foundation and legacy to go on for many years,” Love said. “I am so thankful I will continue to work for the Holland Foundation to carry on Dick’s legacy.”
Holland’s survivors include three daughters, five grandchildren and a great-grandchild.
A public memorial for Holland is pending.
Like any city of any size Omaha’s had all manner of presenting arts organizations, some small, some large, some financially well-endowed, some financially-strapped. There have been organizations with sizable staff and there have been one-man bands. Some have cast a wide net across the performing arts spectrum and others have been more narrowly focused on a particular niche or segment. Most presenters have come and gone, never to be seen or heard from again, and a few disappear for a time, only to resurface again. The following story for Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/) is about today’s major Omaha Player in this arena, Omaha Performing Arts, the organization that both books and maintains the two principal performing arts venues in the city, the Holland Performing Arts Center and the Orpheum Theatre. Befitting its well-heeled status, the organization is celebrating 10 years in a big way this fall with an October 16 gala and an October 17 Holland Stages festival. These will be boffo, bring-the-house-down blow-outs that are as much a recognition of the rich programming that enhances the cultural fabric here as they are opportunities for OPA to say thank you to its patrons for the community to return the gratitude for all the great shows that come here on a year-round basis.
Omaha Performing Arts at 10: Rhapsody
Presenting organization serves as steward of major halls and brings Broadway and other world-class shows to town
©by Leo Adam Biga
Appearing in the August-September-October 2015 issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)
What a difference a decade makes.
In that relatively short period the Omaha arts and entertainment scene has blown up thanks to a critical mass of new organizations, venues and events. Together with the treasures already here, this cultural synergy’s transformed Omaha from sleepy flyover spot into dynamic destination place.
Leading the new arrivals is Omaha Performing Arts. The organization books world-class artists at the venerable Orpheum Theater and its state-of-the-art companion, the Holland Performing Arts Center. As the steward of these spaces, OPA’s charged with caring for them and filling their halls with high quality events that appeal to all demographics.
Growing the performing arts scene
Great halls are only truly alive when people inhabit them. OPA schedules year-round offerings that keep its spaces hopping to the tune of 3 million-plus patrons since 2005. All those folks, many from out of town, pump $40 million into the local economy each year.
By bringing the best of performing arts to town, OPA adds to the rich stew of the Blue Barn Theatre, the Rose, the Omaha Community Playhouse, the Great Plains Theatre Conference, the Omaha Symphony, Opera Omaha – all of which are thriving.
OPA president Joan Squires says, “Across the board the arts community has elevated attention and we’re seeing a lot of our colleagues doing well at the same time. So there’s been renewed energy downtown and in our community for people wanting to come to performances and there’s more options to select from than ever before. I do believe we contributed to had a lot to do with that sea change.”
Dick Holland, who with his late wife Mary made the lead gift for the Holland, has no doubt of OPA’s impact. “It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”
That’s on top of popular attractions such as the Old Market, College World Series, Omaha Storm Chasers, Joslyn Art Museum, Durham Museum, Lauritzen Gardens and Henry Doorly Zoo and Aquarium.
Celebrating a decade but looking ahead
OPA board chairman John Gottschalk says the public’s reception to the programming has “vastly” exceeded expectations and quelled any doubts Omaha could sustain two major performing arts centers.
This organization that never rests is pausing long enough this fall to commemorate its boffo first decade run. The October 16 Celebrate 10 Gala will feature Broadway star Kristin Chenoweth in a Holland spectacular. The October 17 Holland Stages will be a free daylong festival highlighted by diverse performing artists at the Holland.
“We’ve had a lot of milestones in a short period of time,” Squires says, “and we really want to use our anniversary to celebrate what everybody has done for the institution and to start looking forward to the next decade. I think it’s something Omaha as a community should really celebrate. It’s an extraordinary story and opportunity for us.”
“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways,” Gottschalk says. “We’re a very healthy arts organization.”
OPA grew out of an initiative Gottschalk, Dick Holland, Walter Scott and others led to renovate the Orpheum and build the Holland. Gottschalk says much effort was made recruiting Squires from the Phoenix Symphony to oversee the Omaha facilities and “she’s done a wonderful job,'” Holland says, “I don’t think we’d have the same success without her. Joan is a perpetual motion machine looking after every single detail you can think of. She’s just plain marvelous.”
Investing in the community
Squires deflects accolades to others.
“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.
“The people involved in this organization are highly committed and passionate and that starts with our board of directors. John Gottschalk, who’s been our chairman since inception, certainly Dick Holland, and the entire board have been tremendously committed, generous and great stewards. Their leadership has been everything.”
The public’s done its share, too.
“The response by the Omaha community buying tickets and showing up at performances has been incredible. We can continue to get better and better shows because producers look at our ticket sales and results. Broadway shows come in here and report this is one of the best opening night audiences they have.”
She says the fall anniversary events are “our way to say thank you to everybody who’s a part of this,” adding, “The folks that started this institution made an extraordinary investment and you just have to stand back for a moment and say, ‘Bravo.'”
Getting to this point required a remarkable growth spurt for an organization that began with Squires, an assistant production manager, a desk and a computer in 2002. The Orpheum renovation was underway. The Holland was still in the planning stages. Heritage Services raised more than $100 million in private giving to complete the two projects and to help get OPA up and running.
That level of community buy-in is what attracted Squires to take the job and she continues to be impressed by the ongoing support that feeds her organization and to make enhancements at its venues.
“Omaha is known for the deep roots of its philanthropic community. The leadership behind this project was extraordinary. They were invested in its success.”
Then there’s the fact OPA filled a void left by arts impresarios and presenting organizations no longer around.
“There were no other major presenters in town, so I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”
She says the support that coalesced around all this “is really about
a commitment to quality of life and making Omaha better for current and future generations.” She adds, “We couldn’t have done this without the partnership of Heritage Services raising the money to get the Holland up and open at the same time we were getting things started here. It’s another key why we were successful from the beginning. That partnership gave us an advantage coming out of the chute.”
Gottschalk says donors made substantial gifts “because they thought it would be good for Omaha and it was, and that’s really been the legacy of the community – we’ve been able to sustain that view – if it’s good for our community, let’s do it.”
The Orpheum renovations have allowed the theater to host the biggest Broadway touring shows (The Lion King, Wicked, Once) whose wildly popular runs make the venue one of America’s best draws. The Holland is home to the Omaha Symphony Orchestra and to a diverse slate of jazz, dance and specials that range from the Omaha Louder Than a Bomb poetry slam to the Hear Nebraska indie music showcase to the Salem Baptist Church holiday concert to Film Streams’ annual Feature event.
The buildings are rich in patron and guest amenities, the latest being the addition of Zinc restaurant just off the Holland courtyard.
Squires spent her first three years putting in place OPA’s infrastructure and branding, including the Ticket Omaha service it operates. She now has a full-time staff of 50 with another 50 part-time staff, plus a volunteer corps of more than 500.
“I’m really delighted with the administrative team here. They are passionate, committed, and talented. They drive so much of this business. We’re lucky to have our volunteer Ambassadors and Presenters. There are hundreds of people involved who are passionate and committed about Omaha Performing Arts.”
With its $18 million operating budget OPA is the state’s largest arts organization. It’s growth, even programmatically, has been gradual.
“You can’t be everything to everybody the day you open the doors,
so you phase it in in stages,” Squires says. “Also by the nature of presenting we’re continuously experimenting in what works or what doesn’t. One of the challenges our very first year is that the Orpheum schedule didn’t allow for much touring Broadway productions. When the symphony moved to the Holland the schedule opened up to allow us to build that Broadway market. That took time and now we’re having tremendous success. This next year is probably going to be our most successful yet. We’re having a wonderful response with subscriptions.”
The mixing and matching OPA does to serve different tastes is always a work in progress but Squires says, “We really have hit our stride in the series we offer. Broadway is one of the biggest draws but we get great responses to our jazz, dance, family and showcase series. New last year was the National Geographic Live Series. The 1200 Club has a following.
“Our mission is to bring in breadth, so we want to really provide a good cross-section to reach lots of segments and to grow audiences.”
The search for new headliners never ends.
“We always have opportunities to bring new shows in but sometimes when they’re touring we may not have availability, so we’re always juggling the schedule. It’s a complex and complicated process to book every year. It’s one of the biggest jigsaw puzzles you can imagine. It takes a lot of coordination to get it all put together.”
More than numbers
She says while OPA depends on earned revenue for 75 percent of its budget, ticket sales are not the only barometer for success.
“For some types of performances, a thousand people is just great because that’s what we expected and budgeted.”
The experience people have is more important than anything.
“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience,” she says. “You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.
“The arts have that capacity to move people in ways I think nothing else does.”
In addition to the performances it books OPA has a growing education and community engagement mission piece that brings school-age students together with visiting artists and recognizes area youth arts.
“It’s a real important initiative for us,” Squires says. “It’s a chance to reach the community in new ways and have them connect to the arts in ways they may not have a chance to otherwise.”
OPA’s implemented anti-bullying and social justice programs around certain shows and organized master classes with top artists. Its Nebraska High School Theater Awards program is going statewide.
She appreciates how OPA is increasingly seen as an arts leader.
“We’re becoming more and more respected nationally because of the success we’ve had, the quality of the programs and the quality of the buildings. Omaha’s on the map for the kind of work we’re doing.
Artist management companies recognize this is an important tour stop. We’ve been asked to be on some national symposiums and organizations, where we didn’t have that seat at the table in the past.”
Mario Garcia Durham, president and CEO of the Association of Performing Arts Presenters (APAP), says, “Running a large arts program and arts center is extremely challenging. The best nationally recognized arts organizations have the equally daunting tasks of presenting the very best artists available and truly engaging with their respective communities. These endeavors take years of dedicated commitment and experience. Kudos to Omaha Performing Arts and the Holland Performing Arts Center for their well-deserved success.”
A solid foundation and a bright future
Squires says OPA will continue building on what it’s done.
“There’s always more to do and more money to raise. That never stops. We never rest on our laurels. There’s always new opportunities for people to make a difference by giving to our institution. The philanthropic side, we’re always working. Nothing is ever a given.
“For the future we have set up the planned giving Marquee Society. Those gifts will go into a permanent endowment.”
She feels OPA’s proven itself a worthy recipient of planned gifts.
“We had to attract people in large numbers and financially we had to show we’re responsible by meeting our budget numbers every year, which we have done. If people have confidence in the organization then you can start to talk about the future so they can leave legacies that will continue to sustain these programs and facilities. These legacy gifts will ensure the longer term future of this institution.”
“We’ve started down that road and I think it’s going to be well-supported,” Gottschalk says of the endowment.
With a decade under its belt, Squires says OPA is squarely focused now on “where do we go from here, how do we build on our success and how do we continue to evolve and grow to continue to touch the community.”
Gottschalk says, “I think there’s more growth ahead for us in terms of amenities and facilities and programming.”
“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.”
“…I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”
“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience. You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.”
“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways. We’re a very healthy arts organization.“
“It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”
Don’t miss this must-see concert!
GRAMMY-WINNING JAZZ VOCALIST CASSANDRA WILSON TO CELEBRATE BILLIE HOLIDAY AT HOLLAND CENTER
Omaha Performing Arts presents jazz vocalist Cassandra Wilson performing Coming Forth By Day: A Celebration of Billie Holiday at the Holland Performing Arts Center on Saturday, March 7, at 8 p.m.
Tickets start at $20, and are available at TicketOmaha.com, 402.345.0606 or at the Ticket Omaha Office inside the Holland Center, 1200 Douglas St. Wilson is part of the 2014/15 Jazz Series.
She is a jazz musician, vocalist, songwriter and producer from Jackson, Miss. Critic Gary Giddins describes her as “a singer blessed with an unmistakable timbre and attack who has expanded the playing field” by incorporating blues, country and folk music into her work. Her performance in Omaha celebrates legendary jazz vocalist Billie Holiday (born Eleanora Fagan on April 7, 1915) on the 100th anniversary of the singer’s birth. The album, Coming Forth By Day: A Celebration of Billie Holiday, is slated to be released in April. While in Omaha, Wilson will teach a jazz vocal workshop at the Holland Center.
Wilson began playing piano at 6, guitar by the age of 12 and was working as a vocalist by the mid-’70s, singing a wide variety of material. After moving to New York City in the early ‘80s, she met saxophonist Steve Coleman and became one of the founding members of the M-Base Collective. She signed with Blue Note Records in 1992 and released a landmark album titled Blue Light ‘Til Dawn, which would pave the way for a new generation of jazz singers seeking an approach and repertoire that challenges the supremacy of the American Standard songbook.
Wilson has continued interpreting in fresh and creative ways vintage blues, country and folk music up until the present day. Her awards include: Two Grammys®, the Django D’Or, The Edison Music Award, a marker on the Mississippi Blues Trail and the 2012 Echo Award for Jazz. She also performed one of the leading roles in Wynton Marsalis’ Blood on the Fields, the first jazz work to receive a Pulitzer Prize.
Her Omaha performance is sponsored by Robert H. Storz Foundation and Children’s Hospital. Hospitality sponsor is Hotel Deco XV.
One of the neat things about being a journalist covering arts and cultural happenings is the opportunity it provides to intersect with emerging or rising talents. In the case of this article for El Perico I got to speak with Jorge Gomez, the leader of the breakout Latin band Tiempo Libre, who kick off this season’s Jazz on the Green at Midtown Crossing series in Omaha. The timba-jazz infused, Miami-based group performs July 7, and the series featuring regional and national jazz acts runs through August 11. If you haven’t heard of Tiempo Libre, as I hadn’t, you’ll soon learn why you should take notice in the space of my short article. First of all, the group has only been together 10 years and yet they’ve already earned three Grammy nominations. They’e opened for and collaborated with some world class artists. Their music draws from many different sources and influences. These musicians are highly skilled and steeped in a classical foundation. They are also inventive enough to blend their native Cuban rhythms with all manner of musical styles. And they have a great story of what fired their imaginations in Cuba and of living out their dream now as a headline act around the world.
Tiempo Libre Kicks Off Jazz on the Green at Midtown Crossing in Omaha
by Leo Adam Biga
As soon to be published in El Perico
Growing up in Cuba members of the hot Miami-based Latin band, Tiempo Libre, studied classical music at Havana conservatories. Popular music, especially American, but even their native timba, was deemed subversive and thus forbidden. Hungry for what they were denied, the players clambered atop roofs at night with homemade antennas to pick up faint Miami radio broadcasts.
The staticky sounds of Michael Jackson, Chaka Chan, Stevie Wonder, Gloria Estefan, Manhattan Transfer and Earth Wind and Fire filled the tropical air. “It was fuel for our dreams. It opened a new door for us,” says Jorge Gomez, Tiempo Libre lead vocalist, keyboardist and musical director. “We listened, we recorded and during the day we put the music on and everybody in the neighborhood came to my house. We danced and sang and played dominos, everything. It was a new hope for us.”
Today, Gomez and his Grammy-nominated bandmates are touting their new Afro-Cuban fusion album, My Secret Radio, and its celebration of those clandestine raves. Fresh from performing at an Italian music festival, Tiempo Libre opens the Jazz on the Green at Midtown Crossing season Thursday. Their pulsating rhythms begin at 7 p.m. at Turner Park (31st and Dodge Streets).
The band describes their gigs as parties rather than concerts, says Gomez, “because by the end of the show everybody’s going to be singing and dancing with us. It happens all the time, and that’s the whole idea — to have fun. It’s all about the energy people are going to feel. That’s the best reason to play music .”
The free performance kicks off the weekly series that runs through August 11.
This is Tiempo Libre’s first Omaha show but the group’s well known for breakout recordings on Sony Masterworks and high profile appearances on Dancing with the Stars and the Tonight Show and at Jazz at Lincoln Center. Their genre busting work includes collaborations with classical artists Sir James Galway and Joshua Bell and Venezuelan composer Ricardo Lorenz.
Formed a year before, Tiempo Libre only came together after its seven members separately fled Cuba. Their individual journeys included long stays in other countries before their paths merged again in 2000 in Miami. They were all working with different artists then “and in our free time we came together to make the band, ” says Gomez, hence the name Tiempo Libre or “free time.”
He’s proud the band has disproved predictions timba cannot thrive outside Cuban-centric Miami. “It’s fantastic the way people respond to it,” he says. Playing before enthusiastic audiences around the world, he says, “it’s incredible how beautiful the music can be between people who don’t even speak the same language.” By mixing timba with other styles, Tiempo Libre breaks down artificial barriers, as in the live orchestra work Rumba Sinfonica and the album Bach in Havana.
“Timba style is a mix between jazz and Cuban music. For example, if you put Buena Vista Social Club with Chic Corea, that’s timba style,” he says. “The harmony’s going to be deeper in the jazz roots but the rhythm is going to be, of course, Cuban rhythms, like rumba, ch-cha-cha, bolero. We play a mix of everything — timba, jazz, classical.”
Gomez says as the band’s exposed to ever more diverse musical influences, the more there is to blend with Cuban rhythms, including a new Placido Domingo Jr. album they’re collaborating on.
“We are living our dream playing all the music, all the mix that’s in there, adding a lot of Cuban flavor.”
Noted for their rigorous musicianship, yet free-spirited manner, Gomez says, “the way we’re playing now is so different from the beginning. We feel so secure. Now it’s all about how to enjoy yourself and transmit that energy to everybody around you. It’s unbelievable, the sensation. It’s a beautiful life.”
Now that Cuba’s more free, Gomez expects Tiempo Libre will perform back home.
“That’s part of our dream, too,” he says. “We want to play there in our neighborhood, for our friends.”
And perhaps inspire others to live their dreams. “Exactly, that’s the idea,” he says.
Jazz on the Green features other Latin-style bands this summer, including Incendio on July 14.
- Tiempo Libre’s “My Secret Radio” (theworld.org)
- Cuban Music Icon, Grammy Award Winner Pablo Milanés to Perform in Miami at the American Airlines Arena (thecubanartproject.com)
- The Bay Citizen: A Havana Connection Infuses the Music Scene (nytimes.com)
- Omaha Address by Cuban Archbishop Jaime Ortega Sounds Hopeful Message that Repression in Cuba is Lifting (leoadambiga.wordpress.com)
- A Rich Music History Long Untold is Revealed and Celebrated at the Omaha Black Music Hall of Fame (leoadambiga.wordpress.com)
- Home Girl Karrin Allyson Gets Her Jazz Thing On (leoadambiga.wordpress.com)
- Enchantress “LadyMac” Gets Down (leoadambiga.wordpress.com)
- Camille Metoyer Moten, A Singer for All Seasons (leoadambiga.wordpress.com)
- Luigi’s Legacy, The Late Omaha Jazz Artist Luigi Waites Fondly Remembered (leoadambiga.wordpress.com)