LJC Community Conversation: What Should We Do Now?


LJC Community Conversations are designed to explore major ideas in the Latin Jazz world together as a community and inspire conversation through comments. My main motivator here is my belief that LJC readers hold a great deal of knowledge and passion around Latin Jazz, and I think that we can learn something from everyone. Whether you’re a seasoned Latin Jazz performer or a newcomer to the music, leave a comment and let your voice be heard!

This week’s Community Conversation picks up where last week’s conversation left off . . .

I wanted to start by thanking everyone for the thoughtful comments on last week’s post; it was inspiring to hear your thoughts about the state of Latin Jazz. It certainly provided some food for thought throughout the week. In addition, I’m enjoying the opportunity to become familiar with people reading the blog. If you’re a friend of Latin Jazz, you’re a friend of mine! I’m hoping that we can continue more conversations so that I can get to know all of you.

Looking back upon last week’s comments, I think that we all centered our ideas around three main points:

1. Latin Jazz Does Not Garner Significant Respect in the Greater Jazz World

2. Latin Jazz Should Be Considered as an Independent Entity, Not a Sub-Species of Jazz

3. Latin Jazz is a Complex Genre Itself With Many Sub-Sections

With all this in mind, I move onto this week’s topic . . .

What Should We Do Now?

If Latin Jazz doesn’t garner enough respect despite a rich history, something should be done to change the situation. The greater public needs to get behind the style and support it. That may mean attending more performances, encouraging a local scene, or buying recordings. The music community, especially the jazz community, needs to build create a space for Latin Jazz. The industry could encourage more avid promotion, build Latin Jazz festivals, or support community events. Enough people enjoy Latin Jazz, but a large-scale support system just doesn’t exist for the music.

I look at the traditional jazz world as a model for the acknowledgement of a genre. For many years jazz lived in the shadows, an outsider’s music separated from the general public by issues of race and style. Yet, it moved into a place of public awareness and as a result, it has prospered as a music. This didn’t happen overnight and it certainly didn’t happen on it’s own. There were specific moves by the press, music industry, and jazz supporters that pushed jazz into the art music limelight. Although I don’t think that jazz gets all the credit that it deserves (by a long shot), most people accept it as a significant piece of the musical world.

With that in mind, I’ve been thinking about a few issues -

1. How Could Latin Jazz Be Better Promoted?
What would be the best sources for Latin Jazz to be shared with the public? Ramsey Lewis recently hosted his Legends of Jazz television series (which featured a Latin Jazz episode); maybe a variation on this idea? Do we need a Latin Jazz focused publication – something like a Downbeat for Latin Jazz? Would this be relevant in the internet age? Keep in mind our ever-changing music industry as well. Traditional radio doesn’t provide the powerful voice that it once did, and internet radio exists in a state of flux.

2. Who Should Act as a Spokesperson for Latin Jazz?
Jazz gained acceptance with the greater public through the unique personalities that it promoted – while the greater part of the world doesn’t listen to jazz, many people could name Miles, Monk, Dizzy, or Coltrane. Yet these musicians were never really spokespeople to the greater public; jazz didn’t have that connection until Wynton Marsalis became THE face of jazz in the 1980s. I haven’t always agreed with Wynton’s views about jazz, but I do need to give him credit for spreading the word.

Latin Jazz is overflowing with the same unique personalities – Tito Puente, Eddie Palmieri, Paquito D’Rivera, and more. Who can make the connection with the greater public and spread the word about these fantastic artists and their work?

3. What Sort of General Educational Resources Could Hit the Community?
The traditional jazz world has done an incredible job of educating the public about jazz. Although most people couldn’t go into significant depth about the music, they certainly could point out a name or two and perhaps talk about improvisation. People understand that musicians consider it to be art music, and it demands a certain amount of respect. I believe that this general understanding comes from years of localized community events, documentaries, radio programs, and more. What types of avenues could the Latin Jazz world use to reach a broader public?

4. Should Latin Jazz Be Institutionalized?
Jazz used to be learned onstage in all night jam sessions, but that process has shifted onto the university campus. Almost every college with a music department offers a jazz major, and many of them hire important jazz musicians as faculty. This has again developed seriousness about the music and has created a continuous output of trained and proficient jazz performers. In many ways, it guarantees the continuation of jazz world.

Many universities maintain a Latin Jazz group, but in many schools, that is the extent of Latin Jazz studies. Should colleges offer a Latin Jazz major? A student could study jazz harmony and become immersed in rhythms from Cuba, Brazil, Peru, Argentina, and more. Perhaps jazz majors should be required to study a significant amount of Latin music? The possibilities are endless, but the connection would definitely help establish Latin Jazz as a major artform.

JOIN THE CONVERSATION!
Leave a comment below with your thoughts – what do you think we should do to spread the word about Latin Jazz? Maybe you think that we don’t need to do anything? Maybe you agree with my ideas or think I’m way off base. I want every voice to be heard – your comment will be appreciated!

——-
Remember, I’m offering two Latin Jazz CDs to a reader that leaves an inspiring post. Winner will be announced next Monday.

In order to win the CDs, you need to comment on both the Community Conversation posts from this week and last week. If you left a comment last week, leave another one this week. If you didn’t comment on last week’s post and leave one now; then come back and leave your thoughts here.

Try to leave a substantial thought – avoid one or two word comments. Add to the conversation and let’s decide how to move forward!


 Stumble it!
4 Comments


4 Comments

  1. Chazro, January 14, 2008:

    Wazzup Chip! I’ll try to get the ball rolling but Igottatellya, this is one very tough subject. The solution lies with today’s youth. I believe this to be true of all music, if the younger generation don’t dig it, it ain’t goin’ nowhere. That said, a specific plan targeting colleges, perhaps donating a 1-2 hour Latin Jazz broadcast, of either one artist or (my preference), a compilation offering a taste of the whole spectrum to the college radio stations might be a starting point. I’d be happy to donate the compilation(s)! Of course, someone with experience and knowledge would have to do the voice-overs (that’s be YOU;). Something I’d love to see is a Latin Jazz tour done in the old Motown style, throw a band and some stars on a bus and tour the colleges! I realize that modern-day logistics and finance might make this idea a little too old-fashioned but The Latin Jazz artist of today MUST understand the absoute neccesity of recruiting the youth of today. Simply put, without them there might not be a tomorrow. While I feel that the music is better than ever, it’s not the best TIME to be a Latin Jazz musician. The most succesful musicians of ANY genre know what I’m saying to be true, you gotta get the kids! Wynton knows it, and I know Bobby Sanabria and John Santos do a lot of work at the schools, it needs to become a movement or cause amongst Latin Jazz musicians and promoters! I read an article, I think in Latin Beat, that said Salsa’s being refered to as the new “Hip Hop” to the kids in high schools, while the idea sounds kinda simplistic I definetly think it’s a step in the right direction. Maybe send compilations to the music depts. of high schools? Hell, maybe we oughtta pipe in some smokin’ Paquito into the baby nurseries at hospitals!!!;)

  2. chip, January 15, 2008:

    Chazro, I agree with you, this is a tough subject. I think that you’ve got a great point about educating the youth on Latin Jazz; getting tomorrow’s audience involved in the music will guarantee its continued survival. I teach high school music during the day, and our jazz big band is a latin jazz group; the kids really dig it. When I made that change, I saw a whole lot of enthusiasm pop up around the band. The kids started enjoying it more and our concerts are always jam packed now. After working with the music a while too, they really get it. I know that John Calloway runs a similar group in San Francisco; they are really happening.

    Working on college students is a pretty inspired idea. While a compilation would reach issues of copyright and such, a radio broadcast would work well. Maybe a weekly series that showed the basics of Latin Jazz – kind of a ‘Latin Jazz Appreciation’ series. It would also be good to instill a series of Latin Jazz concerts on college campuses; maybe find a grant to bring some important groups to college campuses and build some excitement around the music. This could be done on the local level too using various groups from the area. The area would need to have a Latin music scene, but in areas like New York, San Francisco, and Los Angeles (as well as their surrounding suburbs), this could be quite effective.

    Maybe a podcast would be a good idea too . . . I’ve thought about doing that; maybe this summer when I’ve got a bit more time, I’ll get that started.

    I think that it’s a good thing too that you’re pointing out some artists that do work with our younger generation. We really should applaud people like Bobby Sanabria, John Santos, John Calloway, and Oscar Stagnaro, just to name a few – that are really getting in there and passing on the tradition to another generation. That’s important work!

  3. Juan, January 13, 2009:

    The advantage for states such as California and New York is that they are often the states that tend to shocase the big artists more than others. For instance, taking a brief look at Poncho Sanchez’s site last year made it clear he frequently toured and performed on these states. Rebeca mauleon herself has toured at such “big hit” institutions as Berklee–though she is teaching also in the University of California (which might contain a hint of latin jazz). Michel Camilo did tour around the bigger institution names as well. certainly the southern states like Florida concentrate on the latin music solely by itself rather than the latin jazz. Other states like Tenessee tend to adhere more to the rock forms of music, so it would be a matter of getting latin jazz to make its way into these states. It is only educated musicians to whom I have spoken who appear to have heard of latin jazz legendaries and the like. Though I think we should face this in yet a different way. For instance, there’s a smooth jazz station around every city, and the local on here features latin jazz for an hour (though that’s done on Sunday in the afternoon). There have been some Brazilian music concerts around here but not latin jazz ones. I think it’d be better if there would be more local performing groups around then people would catch on or hear something new and decide its something new they might like. In the past most styles have been getting popularity thanks to the increasing number of performances. Jazz started evolving into records and so on because there were a lot of local performances, wehter it’d be on clubs, restaurants or bigger venues. I was also thinking of not only introducing latin jazz to solely the American public but also getting it to broadcast on the latin music stations. Latin jazz is certainly achieving a stronger underground popularity amongst many and I am surprised that muchc of the latino community is still missing on the subject of latin jazz. I am a pianist myself, and even though I am still playing in a group which specializes on such things as charangas and guarachas (and whats commonly today known as salsa, getting ouch such artists as Celia Cruz, Hector Lavoe and concentrating on the Puerto Rican classics) i have never stopped my variations on accompaniment nor the reharmonizations which obviously are not part of a tune. Even if the percussion does not quite mark up that it is latin jazz I am making sure that the piano does. In my opinion it would be too early to institutionalize latin jazz. There must be a greater demand for this to happen, although I think it should be encouraged and be emphasized on the jazz degrees. One can never learn everything there is about a specific kind of music and this is a genre that is certainly still evolving. Therefore, answering this question it is better that the students would go into jazz majors study the latin rhythms. In regards to a spokes person for latin jazz? I am not completely sure. Most of the people have known Tito Puente, since he has achieved reputation besides his musicianship and his scholarship fund. I know that sometimes he appears on such things as comercials and the like. Though many musicians from South America relate to Puente, I htink his major atribution is the well known “oye como va”, which was based on a previous song popularized by Cachao. Regardless, the internet is opening big doors for people to hear different kinds of music and it looks like it’d be better for the internet to do the job, as latin jazz possibly could reach parts of the wourld far more quickly than record and cd sales.

  4. Fino, May 1, 2009:

    Latin jazz is a very rich, sophisticated music. Having said that, we can agree that buzz is what creates excitement and trends. I don’t think you can force buzz, its something that’s done differently, fresh, cool, catchy. and happens naturally. There has to be a different approach, an idea that starts somewhere and builds to a tipping point and then explodes breaking new ground where ever it goes.
    I believe it will happen somewhere out of the blue, someone will start something and it will catch on eventually. History can sometimes help. What was it that excited people about this music in the first place?, how can we expand on that? What is it about this music that causes someone to study and master it. The recipe I believe is in the clothes, the lyrics, the rebellious nature and attitude, luring young people from very young ages. You can determine this from the past decades and it will continue because every generation wants their own expression.

Sorry, comments for this entry are closed at this time.

Music Blogs - Blog Catalog Blog Directory