LJC Community Conversation: The Return of Big Bands
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!
Today’s conversation looks at big bands in Latin Jazz . . .
———
Latin Jazz shared an early history rich in big bands that transitioned slowly into a preference for combos. Cuban groups followed the musical trends from the United States before the 1960s, and many musicians got experience performing in big bands. Musicians traveling between the United States and Cuba maintained a familiarity with the stylistic norms of big bands. When Cuban musicians found themselves in the midst of New York’s jazz scene, they not only got work in established jazz big bands, they were able to blend Cuban music and big band instrumentation. Machito and his Afro-Cubans and the Tito Puente Orchestra incorporated big band approaches into their music, and Dizzy Gillespie brought Cuban rhythms into his be-bop big band. Latin Jazz established its roots through big bands; these groups created many of the conventions that we value today. As the music world evolved, these groups faced the same economic issues as traditional jazz big bands, and they fought the audience’s desire for more commercially oriented salsa. Their battles also led to small groups outnumbering big bands in the Latin Jazz world. Yet Latin Jazz didn’t find a sanctuary in academic institutions; instead, colleges shunned it as the jazz world’s less serious cousin. Focused Latin Jazz education has only recently found its way into colleges - previously the Latin Jazz big band needed to be self-funded, a rare occurrence.
The tides are turning though - the Latin Jazz world has recently seen a revival of the big band instrumentation with a string of strong releases and performances. In the past month, big band Latin Jazz releases have included Arturo O’Farrill & the Afro-Latin Jazz Orchestra’s Song For Chico, Marooned/Aislado
I’m personally thrilled to see Latin Jazz big bands becoming a reality again, but honestly, the reason for this sudden resurgence escapes me. The financial realities of the jazz world haven’t improved significantly, making the struggle to pay strong musicians in a large ensemble difficult. Some colleges have included Latin Jazz into their programs, but very few dedicated Latin Jazz big bands exist. As far as I can see, musicians are being driven artistically to bring Latin Jazz big bands to life - an effort I support whole heartedly!
I’d be curious to hear your thoughts on the reappearance of Latin Jazz big bands - I’ve asked some questions on some specific topics, but feel free to direct your comment anywhere around the topic!
Here’s some food for thought:
* Have you Heard Any of The Latin Jazz Big Band releases Mentioned Above and What Do You Think About Them?
*What Do You Think Is Triggering This Move Back Towards Big Bands?
*Would You Like to Hear More Latin Jazz Big Band Albums or Attend More Performances?
*Do You Have A Preference Between Latin Jazz Big Band or Small Group Combo Work?
LEAVE A COMMENT below with your thoughts. I’d love to hear from every LJC reader! Your comment will be appreciated!
———
Do you have an idea for a future Community Conversation? As much as I enjoy exploring my own interests with this weekly post, I’d prefer to have this forum address the overall interests of the entire community. Do you have an issue that effects Latin Jazz? Do you have an idea for a fun topic? Let me know so that we can throw it out to the whole community - Leave a Comment or e-mail me.
———
Click here to have these posts delivered via email. Or, click here to subscribe to the full text RSS feed and never miss another post!
Stumble it!
Loading ...
.jpg)
.jpg)
.jpg)
It’s a great thing that Big Band Latin Jazz,at least in a recording studio.The CD’S I have heard (Arturo O’Farrill/Bobby Sanabria)are outstanding pieces of work and i can’t wait fot the Papo Vazquex to make it’s way up here
Bring Latin Jazz back,big,medium & small
I agree Luis - the Arturo O’Farrill and Bobby Sanabria CDs are just fantastic works. I think that you’ll enjoy the Papo Vazquez CD, its very, very good. I’ll be posting a review soon.
You know, I would like to see these groups tour a bit. I know that the finances of moving that many people around is pretty overwhelming, but I do wish this would happen. I see live listings for these groups playing around New York sometimes - that is where most of them are based. But what about jazz festival dates? There’s generally a bigger budget there. Maybe some sort of arts grant? That could finanace at least a couple of appearances. If anyone has any ideas or contacts, I’d sure be interested in hearing them.
I have to say, I sure am enjoying the big band sound right now - I’d love to hear a lot more! I agree though, I like it all - Latin Jazz big, medium, and small!
Wazzup Chip! When it comes to Big Band Latin Jazz I couldn’t agree with you more, it’s fantastic music! I own ALL the records you mentioned except for the O’Farrill and the CJP and play them often. Latin music is inherently an exciting music to listen to, in all it’s different forms but hot damn, add a full set of brass and woodwinds and it just amplifies the excitement. There is nothing, I repeat, nothing, like the sound of a Big Band up close and personal. Back in the 70’s, I used to dance Salsa regularly. Me and a girlfriend used to follow Tito Puentes’ Big Band on the cuchifrito circuit. We’d catch them in restaurant/nightclubs and I recall seeing them on a weeknight at a Holiday Inn in Long Island and the place was practically empty!! Imagine, the Tito Puente Big Band and an empty dancefloor, it was a dancer’s paradise!;) I’ll never forget twirling my girlfriend and Tito doing an accent roll and rimshot and then pointing his stick at us, all in perfect sync, man, it still makes me grin to think about it. To feel the power, coordination, groove, and volume live and in person is simply unforgettable. I went to see the Buddy Rich Big Band at his old club, Buddy’s Place, talk about mind-blowing!! As a young man I came to the realization that you didn’t need walls of amplifiers for volume that you could feel physically. It really was a turning point in my music-loving education.
Your point about the economics of maintaining a Big Band are unfortunately all too true. Which makes it all the more important to go out and see these bands whenever you can because chances are you won’t be able to in the future. Big/Large bands are always feeling the crunch, John Santos decision to disband the legendary Machete band bing a perfect case in point.
The Papo Vazquez record is a monsta!! Maybe a topic for the future can be about Bomba-Jazz as practiced by Vazquez and William Cepeda. Vazquez makes the valid point about most Latin Jazz being based on Afro-Cuban and he wanted to make an Afro-RICAN Big Band record. I could keep on rambling but I’ll let it go for now!!;) Thanks for the forum Chip! The thought just occured to me for another topic; the bassists that are currently playing latin are long overdue for some props, wouldn’t you agree?
You’re so right Chazro - a live big band just can’t be beat! That’s why I wish that someone could find a way to fund a tour for some of these groups. We’ve got some great Latin Jazz out here in the Bay Area, but there’s so much great big band stuff coming out of the East Coast right now. I’d love to hear it live. Your story about Tito Puente makes me jealous! Sounds like so much fun, that’s the sort of thing that I love to hear about! Buddy Rich was leading a big band at the San Jose Jazz Festival last year, and its amazing, that guy still plays like a young man! Amazing stuff - its a great point about the huge sound being equal to a wall of amps; I find that young people connect to the big band sound, but I never thought about this relationship. Food for thought!
It seems liek there should be some sort of funding from state or county funds to keep big bands alive. Maybe some sort of affiliation with a college would help. I don’t really have a great solution, but its something that I’d love to pursue.
I love that Papo Vazquez recording too, its a massive statement. I’ll definitely be writing about bomba-jazz more soon. I’ve never quite understood why artists shy away from traditional Puerto Rican styles, I see just as much potential for exciting music there. Thank goodness for people like Vazquez and Cepeda!
Yes, bassist deserve a spotlight . . . you hit a note with me, more on this coming soon!
“…I’ve never quite understood why artists shy away from traditional Puerto Rican styles…”
I think it has a lot to do with accessibility. Afro-Cuban is easier to dijest than Afro-Rican. I KNOW of the various complex rhythms and styles within the Afro-Cuban genre but the average mambo-ish style is very listenable and sexy to the AVERAGE listener. Just as Smooth Jazz is easier to digest to the AVERAGE listener and Brazilean/Samba/Bossa Nova is MUCH more popular than Latin Jazz and Salsa. Puerto Rican Bomba is a music best experienced live, on record I think unless you’re already into it, it’s not the easiest of genres to appreciate (although, once you DO get it, I challenge anyone to sit still!;)
Since you’ve posted a new subject I wonder if this’ll be read!?
what is most important to me and all in our music is the following;’’support us when we come to your city to perform,buy our cd’s,support the radio stations in your area that play our music”,in this way the great music of the master’s can continue to be heard and appreciated by all.thank you,so very much…….