When Arturo O’Farrill was 19 years old, playing piano in a bar in upstate New York, he was spotted by Carla Bley—who promptly invited him to join her band. At the time, he was doing everything he could to distance himself from the legacy of his father, the legendary Cuban composer Chico O’Farrill. He avoided anything labeled “Latin” like his life depended on it.

But as he tells it, the real turning point came when bassist Andy Gonzalez sat him down and played him the history of Afro Latin music. Arturo realized that the music he’d rejected might actually be his greatest treasure—and more complex and profound than he’d ever imagined.

Since then, Arturo has built an extraordinary body of work as a composer, bandleader, educator, and activist. From founding the Afro Latin Jazz Orchestra to creating his nonprofit Belongo—now building a major cultural center in Harlem—he’s dedicated his life to music that carries meaning. Not just swing, but sting.

“You can pretend that music is pretty noise,” he says, “or you can think it’s only to soothe. But I don’t believe that’s the purpose of art.”

In our conversation, Arturo opens up about identity, legacy, faith, creativity, and the urgent role of art in a broken world. Sometimes a conversation doesn’t just explore a person’s life—it opens a window into their soul. This was one of those.

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