PHOTO BY WINNIE AU
Originally published in Jersey Jazz - Reprinted by permission of the New Jersey Jazz Society
Donald Vega is one of the most gifted pianists and composers on the jazz scene today, with a personality as effervescent as his playing. From his early roots in Nicaragua to mentorship by some of jazz's greatest stars, Vega continues to uphold the jazz tradition through his performances, recordings, and teaching. I caught up with him during a recent Zoom conversation. He was introspective, attentive, and entertaining. Vega is currently promoting two new recordings: All Is Merry and Bright (Imagery Records), a Christmas album, and the Grammy-nominated As I Travel (Imagery Records) , which features his original compositions.
He explained his reasons for recording a Christmas album. "All my heroes, like Oscar Peterson and many others I admire, have done Christmas albums. Over the years, I’ve been approached by different labels to do one, too. But I always felt like, 'Man, I don’t think I can add anything new. Later on, I started working with Jim Anderson, the engineer. By then, I felt ready. I decided to bring two friends (Clovis Nicolas, bass, and Pete Van Nostrand, drums) to record with me. It was almost a last-minute project. I started putting together a list of tunes in my head, but I only finalized the arrangements about two days before the session. Everything came together beautifully, and I’m so happy with how it turned out." (In the last JazzWeek chart of 2024, Merry and Bright debuted at Number 32).
As I Travel garnered significant attention, earning a Best Latin Jazz Album Grammy nomination. As the Grammys approach, Vega was delighted to discuss the album and its journey to critical acclaim. "I put a lot of thought into this project because it meant so much to me. The day before the recording, I had been pulling all-nighters. I was so busy working with Ron Carter and juggling other commitments, but I stayed up late to ensure everything was exactly how I wanted it to be. Even up to the day before, I was still writing and revising, thinking, "I usually start with the groove. That’s what I love, just finding the right feel. Sometimes, I write the entire song, including the melody, from beginning to end. Other times, I only have fragments to build on. I worked with (bassist) John Patitucci, (drummer) Lewis Nash, and (percussionist) Luisito Quintero for this recording. Lewis Nash has played on all my recordings and is a dear friend of mine. But this was my first time working with John Patitucci. I’ve listened to many of his recordings and thought, 'He’s perfect for this.' Luisito Quintero is from Venezuela, and we’ve worked together before. The winners will be announced on February 2nd. I’m excited about it. I always tell my students that we do this because we love it --our passion. Getting recognized is just a bonus, a bit of encouragement. All the tunes on this album are my originals, so it’s incredibly fulfilling to be in this position. To even be mentioned alongside some of my heroes, like Chucho Valdés, Gonzalo Rubalcaba, and Eliane Elias, is a tremendous honor."
Shifting gears, Vega spoke candidly about his Nicaraguan birthplace, reflecting on its music's beauty and the challenges he faced growing up. "I was born in Masaya, Nicaragua," he said, "and my grandfather was the musician in the family. He played almost every instrument and taught all his kids, including my mother. My mother played five instruments but treated music more as a hobby. I grew up in that environment, constantly surrounded by music. They tell me I started playing when I was about three years old, beginning with percussion. That might explain why I’m so rhythmically inclined—you can probably hear it in my playing. I played piano by ear at first, and then my grandfather began teaching me how to read music when I was around five. I grew up in a very musical household and eventually studied classical music. I attended a conservatory in Nicaragua to further my training.
"The music of Nicaragua is very festive," he continued, "and rooted in a style called Palo de Mayo. It reflects the country's unique blend of indigenous, African, and Spanish influences. There’s a strong African connection, evident in the rhythms, which often have a 6/8 feel. The marimba is a very popular instrument in Nicaraguan music. One of my goals is to dive deeper into my cultural roots—to learn more about the music, talk to the people, and understand the history. Nicaraguan music is a true melting pot, though harmonically, it tends to be more simplistic.
"Due to the political climate at the time, once you turned 15 or 16, you were required to serve in the military. The government would stop buses, and if you were a boy of 15 or older, they’d take you. I remember hearing stories of young men being taken away and their families never seeing them again. In my neighborhood, I went to a lot of funerals. I was so young, but I vividly remember my mother's wailing and crying. It was heartbreaking. What left a mark on me was that the families weren’t even able to bury their loved ones properly. Instead, they mourned over their boots or helmets. The bodies were so mutilated that they were unrecognizable. That experience had a profound impact on me. I knew I had to leave. My mother immigrated to the U.S. first, and later I followed, crossing the border to Los Angeles."
When Vega finally made it to the States, a new world of music became available, and he began studying and discovering jazz. "I had an uncle who once saw Duke Ellington when he performed in Nicaragua. My uncle used to listen to Ellington’s music, but when I grew up, jazz wasn’t widely allowed or accessible in the country. I remember hearing Mongo Santamaría, and he had a piano player who sounded different. It was the harmonies—they stood out. Later, I found out the pianist was Chick Corea. That was probably my first real exposure to jazz. It wasn’t until I came to the U.S. that I truly began listening to jazz. That’s when I discovered Bud Powell, Charlie Parker, and Art Tatum."
As with most great jazz musicians, much of their training came from the mentorship of the great, established musicians active on the scene, and Vega had many mentors. One of his earliest teachers was bassist and composer John Clayton, a man he spoke about fondly. “John Clayton was an incredible mentor to me. He taught at the University of Southern California in Los Angeles and was the head of the jazz program. I had the privilege of studying under him, and he became like family to me. I used to go to his house. I was one of the original members of the Clayton-Hamilton group, along with Jeff Clayton (late saxophonist who was John Clayton's brother). I learned so much from John Clayton. One memory that stands out is when he brought a new bossa nova tune he had written. We played through it, and I thought, 'Oh, this is cool.' But when it was time to perform, he took my music away—his original tune—and I was like, 'Alright, let's go!' That was how much he believed in me. I’m forever grateful for his mentorship and advice. He was an incredible influence in my life.”
Another notable person who helped shape Vega’s playing style was the drum legend Billy Higgins. "I didn’t take formal lessons from Billy Higgins," he said, "but I met him at the World Stage in Los Angeles, and he was incredibly encouraging to me and the other musicians I was playing with at the time. He had a spiritual presence about him, and when he played, this joy radiated from him. His personality came through so strongly in his drumming.
"Vega also mentioned the influence of Benny Golson, the legendary saxophonist/composer who passed away earlier this year. “Benny Golson came to Juilliard to do a masterclass, and he heard me play. We connected, and I had the opportunity to play with him. He asked me to perform with him on the jazz cruise. Also, I spent the whole week hanging out with Benny when Ron Carter had a birthday. I carried his horn and listened to all his stories. From time to time, Benny would give me advice, and he wrote me these incredible letters with words that were so profound I had to look them up in the dictionary. Russell Malone and I often talked about what we learned from him—not just musically, but about how he lived and carried himself. His influence was immense.
”The one musician with whom the pianist has been most associated lately is Carter, who has featured Vega in his Golden Striker Trio. This association began 15 years ago. "The first time I heard Ron Carter play was at the Jazz Bakery in Los Angeles," he recalled. "He performed with a trio alongside Mulgrew Miller and Russell Malone. At that time, I was working with another legendary bassist, Al McKibbon. Al wasn’t doing well healthwise, but when I mentioned I was going to see Ron, he said, 'Please say hello to Ron for me.' Al McKibbon was Ron’s hero, and they had so much mutual respect.
"Years later," he continued, "I moved to New York and pursued my master’s degree at the Manhattan School of Music before continuing my studies at Juilliard. Around that time, Mulgrew Miller decided to focus on his projects, which meant Ron Carter was looking for a new pianist. Jason Stewart, a friend from Juilliard, a New Orleans bassist, had a lesson with Ron. Jason and I had recorded an album together, and during the lesson, he played the recording for Ron and asked for feedback. Ron asked about the pianist on the album—me.
"My first gig with Ron was at the Regatta Bar in Boston. I was so nervous, and after the first set, he said, 'Mr. Vega, I know you can do better than that.' That feedback stayed with me, and I decided just to be myself. After that, Ron said, 'Okay, this is going to work,' and I became the pianist for his Golden Striker Trio. It’s been an incredible journey ever since."
In the same ways that Vega learned from Clayton, Higgins, Golson, Carter, and many others, he gives back and mentors others as a teacher at the Juilliard School. “As a professor at The Juilliard School, it's been an incredible experience. I’m an alumnus who graduated from there and used to sub for Kenny Barron. It felt like a natural transition, which eventually led to me having more classes and opportunities to teach. I’m having a blast, honestly. I love working with the students and feel very lucky and blessed to share my knowledge and spend time with them. My parents taught me the importance of giving back, and I truly enjoy that. I always tell my students I am here for whatever they need.”
The New Jersey Jazz Society is a non-profit organization of business and professional people, musicians, teachers, students and listeners working together for the purpose of advancing jazz music. Their mission is to promote and preserve America’s original art form – jazz. The Society seeks to ensure continuity of the jazz art form through its commitment to nurture and champion local talent, along with showcasing outstanding national and international artists providing for the younger generation via arts education programs.
