A city that lived by night
And wouldn't go to bed without dancing.
Atlantic Jazz Lab Orchestrawith Natanael Ramos
and Alain Pérez
#NOWINTERMUSICFEST
2026 · 3–8 Dec · Canary Islands
Supported by
Havana, 1957
Once upon a time
The city played through its windows
Son, mambo, bolero: the radio was never off. And since 1953, a new rhythm everyone wanted to learn: the cha-cha-chá.
At night, the dancing moved up to Tropicana
An open-air cabaret among the trees that Havana called "paradise under the stars".
And that Havana had a voice
Bartolomé Moré, from Santa Isabel de las Lajas. In Mexico they warned him that donkeys were called "bartolos" there, so he became Benny.
They called him the Wild Man of Rhythm
He couldn't read music. He hummed the tunes to his Banda Gigante and conducted with his whole body, like someone dancing in front of the band.
Almost seventy years on, someone is singing Benny again
Alain Pérez, with the Atlantic Jazz Lab Orchestra behind him. Four nights, four islands.
Pick your night3 to 6 December
The four nights
Your island not on sale yet? Tap the button on your night and leave us your email. The mailing list hears first: we'll write to you as soon as your island opens.
On the other islands
What you'll hear
The concert
Havana, 1957. Saturday night, the club is packed and the band launches into a brand-new bolero. Out front, Benny Moré, and nobody in the room knows whether to dance, clap or just listen.
We're bringing that night to the Canary Islands this December. Habana 1957 is the new programme by the Atlantic Jazz Lab Orchestra, led by trumpeter Natanael Ramos, with Alain Pérez on vocals.
The concert is, above all, a journey through Benny Moré's songbook, from the original arrangements of his Banda Gigante to the ones Tito Puente wrote in tribute to him, plus Alain's own music. All with the power and shine of the Atlantic Jazz Lab Orchestra. The one thing we can't promise is that you'll stay still in your seat.
On the music stand
By Benny Moré
- Bonito y sabroso
- Qué bueno baila usted
- Cómo fue
- Mata siguaraya
- La múcura
- Francisco Guayabal
- Camarera del amor
- Elige tú, que canto yo
- Ni amor fugaz
- Oh, vida
- Fiebre de ti
- Batanga n.º 2
- ¿Dónde estabas tú?
By Alain Pérez
- Celosa no
- Son con moña
- El son sigue ahí
The order and the odd title may change before the concert.
Who's who
On stage
Alain Pérez
The voice and the son
One of Cuba's most respected musicians: singer, bassist, composer and producer. Chucho Valdés brought him into Irakere when he was very young and, once in Spain, he became Paco de Lucía's bass player. Along the way he produced Estrella Morente and Miguel Poveda, and was musical director of Issac Delgado's orchestra.
In 2021 he won a Latin Grammy for “Cha cha chá: homenaje a lo tradicional”, with Issac Delgado and Orquesta Aragón. In 2025 he released “Bingo”, his latest album, and today he tours the world with his own orchestra. This December he puts on the bow tie to sing with ours.
Atlantic Jazz Lab Orchestra
One sound
Atlantic Jazz Lab's orchestra, founded in 2017 and made up of some of the most outstanding and respected jazz musicians in Spain. It has toured all seven Canary Islands and other parts of Spain, and has played the Festival Internacional de Música de Canarias and the Festival Internacional de Jazz de Canarias.
Every season it takes the music of the great jazz masters (Ellington, Basie, Sinatra, Ella) to each and every one of the Canary Islands and to mainland Spain, and it has played alongside pianist Peter Beets, trumpeter Chris Kase and singer Esther van Hees. It has one album, “Garajonay Suite”, and in Habana 1957 it turns to mambo, son and bolero.
Natanael Ramos
Trumpet and artistic direction
Trumpeter and one of the most outstanding musicians of his generation. As well as leading the orchestra, he is a composer, arranger and educator, and has received several awards and distinctions, among them first prize for Big Band Composition from the Asociación de Jazz de Granada and Fundación SGAE in 2015.
He is the founder and director of Atlantic Jazz Lab and the artistic director of the Atlantic Jazz Lab Orchestra and the Atlantic Jazz Ensemble.
Line-up
Before you come
How to get there, where to park and what access is like at each venue. If you can, come by bus or tram, or share a car.
A festival for everyone
There's room for everyone at these concerts. We don't accept discrimination of any kind.
- Accessible venuesEvery venue is accessible for people with reduced mobility. If you need anything specific, write to info@atlanticjazzlab.org and we will sort it out.
- A safe placeWe don't accept discrimination or harassment on grounds of gender, origin, age, disability, orientation, identity or social situation. If you see something or something happens to you, tell the venue staff.
- Better by busCome by bus or tram, or share a car. Right here you can see how to get to each venue and where to park.
- Everything in its binHelp us at every venue by putting each thing in the containers provided.
- People from here and beyondMore than half of the artistic and technical staff on this project are from the Canary Islands, and we also have artists and professionals joining from elsewhere. At least half of our suppliers are local.
- Next generationWe have discounts for students and for children. The project also involves The Jazz Influencers, where young musicians from the Canary Islands learn jazz guided by the musicians of the orchestra.
Supported by
In collaboration with
