Modern composers writing for a Latin Jazz big band have a variety of models to call upon, but creating a bold new ensemble sound demands an outside vision. At this point in history, the use of a big band in Latin Jazz has been quite established, from the mambo bands of the Palladium to the modern stylings of Arturo O’Farrill’s Afro-Latin Jazz Orchestra. The groups all along this spectrum follow a certain lineage that has clearly defined the connections between South American music, Caribbean traditions, and jazz. With such a rich history providing a starting point, modern composers need to take drastic measures in order to create a distinct sound. It’s a delicate balance though, because they can’t sacrifice the strong cultural connections for the sake of being different. Breaking away from the mold presents a clear challenge, but once a composer finds their way, they can create some of the genre’s most exciting music.
Bassist and composer Pedro Giraudo has become one of those bold new voices in Latin Jazz, drawing upon a lifetime immersed in music. Giraudo was born in Cordoba, Argentina, and he spent his childhood exposed to music through his father, a conductor. He moved through several different instruments, experimenting with piano and violin before the appeal of rock drew him to the electric bass. Fusion soon became a focus for Giraudo, inspiring him to apply for collegiate studies in the United States. Looking for a deeper understanding of jazz, Giraudo traveled to New York, where he attended The Manhattan School Of Music. He played extensively with his peers at the school, which included Miguel Zenon, Luis Perdomo, Hans Glawischnig, and more. Composing entered his life near the end of his time at The Manhattan Shool Of Music, immediately revealing a distinct approach to writing. Giraudo pursued his Master’s Degree in music, where he studied jazz performance and bass with Ron Carter. In 2002, Giraudo released the stunning Mr. Vivo, an outstanding recording that showed his unique mixtures of Argentinean music with jazz and modern writing techniques. The recording garnered quite a bit of recognition, inspiring Giraudo to return to the studio with an expanded concept that involved a 13 piece big band. The resultant album, Desconsuelo, emerged in 2005, delivering Giraudo’s complex compositions in a thick sea of beautiful arrangements. With a unique sound anchoring his work, Giraudo created an amazing suite of music based upon his journey into fatherhood. The music on El Viaje relied upon a mature writing approach and the vibrant qualities of his orchestra, a potent mixture that exploded with electricity. Giraudo continues his inspiring string of compositional explorations with Cordoba, a painting of his hometown through his unique musical perspective. With a string of strong statements behind him, Giraudo has established himself as a bold and distinct composer that shares his views on the world through a highly individual Latin Jazz approach.
The upcoming release of Giraudo’s latest statement, Cordoba, promises another look at one of today’s most exciting writers for Latin Jazz big band. In anticipation of Cordoba, today’s Weeky Latin Jazz Video Fix is dedicted to the work of Giraduo and his big band. Each of the four videos were filmed at the Macau International Jazz Festival in 2008, capturing a high quality performance of some of Giraudo’s best work. Giraudo is featured extensively on “Punto De Partida,” while “La Arenosa” brings vocalist Sofia Tosello to the front of the band. “A Dario Iscaro” displays the modern side of Giraudo’s work, while “Desconsuelo Suite” reveals Giraudo’s ability to write extended works full of power and depth. Giraudo certainly is forging a new path for the Latin Jazz big band, and it’s one filled with excitement and originality – enjoy!
———- Pedro Giraudo Jazz Orchestra Performing “Punto De Partida”
Pedro Giraudo Jazz Orchestra Performing “La Arenosa”
Pedro Giraudo Jazz Orchestra Performing “A Dario Iscaro”
Pedro Giraudo Jazz Orchestra Performing “Desconsuelo Suite”
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Want more from Guraudo? Check out these recordings below! Mr. Vivo
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Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in – it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans – let’s share some of our memorable videos! Get my contact info HERE.
Tito Puente Masterworks, Live!!!
Bobby Sanabria Conducting The Manhattan School Of Music Afro-Cuban Jazz Orchestra Jazzheads
Any music education involves a study of the masters; the quality of the education depends upon the depth of the study. Even the most casual listener can become familiar with prominent names and faces in the Latin Jazz world, knowing little beyond the artist’s reputation. Amateur musicians will most likely know a bit more about these artists, getting to know an artist’s popular songs and renown albums. As a musician gets deeper into their art form, they start to learn the performance details of a master musician’s repertoire, seeing the artist from a different perspective. At this point, their academic relationship with the master musician becomes more involved and leaves them with a refined musical insight. This depth of knowledge will help them move towards a professional career, but it leaves them far from the specialization needed to truly understand a master musician’s work. In order to really absorb the power of a master musician’s work, an artist needs to listen to their obscure work, nail the classic compositions at a high level, and find an improvisational style that relates authentically to the tradition. This type of depth involves focused study, intense practice, and generally requires some guidance from an established expert – a tall order that makes this expertise rare. Drummer and band leader Bobby Sanabria shares his intimate knowledge of Tito Puente’s music with The Manhattan School Of Music’s Afro-Cuban Jazz Orchestra on Tito Puente Masterworks, Live!!!, an exemplary presentation of El Rey’s music.
Tackling Puente’s Big Band Mambos
Puente’s legacy will always be associated with high-energy big band mambos, and Sanabria leads the group through several of the legend’s best pieces. A blazing brass introduction sends the band screaming into “Cuban Nightmare,” where pointed percussion figures outline a dizzy saxophone vamp. A stop break opens into a lively exchange of ideas between alto saxophonists Daniel Jamieson and Jonas Ganzemuller until a strong mambo introduces improvisations from tenor saxophonists Alex Lopez and Benjamin Britton. Quick trumpet lines fly through a mambo into a strong statement from baritone saxophonist Michael Sherman, which climaxes into a quick solo from timbalero Christian Rivera. The beating of a lone gong introduces a series of dramatic brass hits on “Mambo Buddha” before the rhythm section flies into a blazing rhythm. Extended notes form open chords beneath a mysterious melody from muted trumpets, until a shift in texture finds the wind sections swapping rhythmic melodies. A short rhythm section interlude burst into a high-energy explosion of sound from all corners of the band for a rousing finish. A catch vamp transfers from the piano to the saxophones on “Mambo Beat,” eventually leading the full group into a screaming up-tempo swing section. Sherman grounds a syncopated vamp with his baritone saxophone before tearing into an attention grabbing solo, followed by some impressive solo work from trumpet players Paul Stodolka, Blake Martin, Justin Walter, and Anthony Stanko. Puente’s spirit rises from the band in full force as Sanabria leaps onto the timbales, delivering a ferocious solo that transitions into a memorable unaccompanied statement from Norman Edwards on drums. Syncopated brass figures sneak between ominous saxophone notes, setting the stage for sharp rhythm section hits before the band goes charging into a high energy exchange of melodic ideas on “Mambo Adonis.” The full saxophone section grabs the furious pace of the song and storms through a heated exchange of eight bar phrases, followed by an equally inspired set of ideas from the trumpet section. Trombonists Tim Vaughn and Luke Malewicz tear through a bold collection of improvisational statements, until a series of blazing mambos outline solos from Obanilu Allende on bongó, Eddy Hackett on timpani, and Christian Rivera on congas. The group tears through these challenging mambos with an impressive zeal, reflective of Puente’s own powerful energy.
Examining Puente As An Arranger
Outside of his work as a composer, Puente was a masterful arranger, and on several tracks, the band examines his versions of classic compositions. Between sharp band hits, Edwards introduces a bluesy melody that leads the band into an up-tempo swing behind the classic melody on Oscar Pettiford’s “Bohemia (Birdland) After Dark.” After the melody, the rhythm section lowers the dynamic for a soulful statement from Lopez, followed by an energetic statement from Edwards. Stanco adds some character to his improvisation with a wah wah mute, building the band into a series of sparse hits that frame a smart and swinging bongó solo from Hackett. An ominous 6/8 groove opens into a driving bolero behind Edwards’ vibes interpretation of the classic “Autumn Leaves.” The spacious arrangements allows plenty of room for Edwards to flex his improvisatory muscles, creating appealing lines that combine the instrument’s best melodic and rhythmic qualities. After a return to the melody, Edwards soars through the 6/8 vamp into an unaccompanied cadenza that not only impresses technically, but also channels Puente’s approach to the vibes. A blazing quick mozambique groove sails beneath saxophone trills until Stodolka introduces the well-known melody to Manuel De Falla’s “Ritual Fire Dance.” The group takes a dramatic turn into a 6/8 feel that commands attention with a diverse movement through dynamic levels and textural changes. Several well-placed percussion interludes set the stage for improvisational flurries from Hackett on timpani, adding weight and sonic interest to the overall arrangement. A dramatic burst of sound fades into a graceful bolero, setting the stage for an elegant vocal from Rachel Kara Pérez on “Me Acuerdo De Ti.” There’s a powerful interplay between the band and Pérez’s vocal that recalls the strong relationship that fueled the classic music from Puente and singer Celia Cruz. The group opens into a repeated coro, allowing Pérez to demonstrate a tasteful ability to develop pregones, leading to the strong finish. These pieces hold an important lesson, not only connecting the students with Puente’s work, but showing them how he viewed music.
Tearing Through Puente’s Well-Known Pieces
Several pieces of Puente’s legacy are well known across the musical world, and Sanabria leads the group through a number of these compositions. Sanabria winds his vibraphone through the big band’s thick sound on “Picadillo,” sharing the melody with a number of band members. The shimmering sound of the vibes alternates with a distinctly percussive approach on Sanabria’s solo, following by a masterful manipulation of tension from pianist Christian Sands that builds into a fiercely powerful statement. The band explodes into a forceful momentum behind a high-energy solo from Britton, until a screaming mambo sends Jamieson into a frenzied improvisation on soprano sax. Sharp percussion breaks open into an up-tempo cha cha cha on “Alegre Cha-Cha-Cha,” setting the stage for Frank Fontaine to insert quick flute fills between a repeated coro. As the band settles into a driving vamp, Fontaine dives into his solo, finding a balance between tipico melodies and dips into jazz tinged dissonance. Vaughn brings the best improvisational qualities of the trombone to the forefront on his improvisation, darting through the groove with percussive lines until the band finishes the piece with a strong mambo. The unmistakable band hits on “Ran Kan Kan” push the saxes into a furious guajeo beneath the familiar coro. Ganzemuller alternates between repeated rhythmic figures and boppish melodies, taking his sax into a screaming high register climax. Stanco powers through his improvisation with a hard bop flair, carrying the band through a syncopated mambo. The intertwining rhythmic and melodic ideas progress with a distinct jazz flair on “Yambeque,” concluding with distinct band hits. The rhythm section falls into a thin ostinato figure for Rivera’s bongó solo, with sections of wind players gliding through the background with quick melodic lines. The group builds back into a steamroller ride of a mambo and opens into an inspired saxophone exchange that embodies the song’s bop roots. These compositions are essential pieces of Puente’s legacy, and the performance here proves that the students know them well.
A Deep Education On Tito Puente’s Music
Sanabria has provided his students in the Manhattan School Of Music Afro-Cuban Jazz Orchestra with an in-depth look at Puente’s music, and the band members learned their lessons well, delivering an outstanding performance on Tito Puente Masterworks, Live!!! Narrowing down Puente’s repertoire into an album’s worth of selections is not an easy task, but Sanabria has made some wise choices. Some of Puente’s best-known works are here, showing the master’s range that extends from jazz fueled descargas to blazing mambos. Sanabria takes the extra step with his students though, looking at music that Puente arranged; working through these pieces provides an invaluable and distinctly different perspective on Puente. Technically, the students nail every aspect of the compositions, but Sanabria guides them even further into Puente legacy – the group captures the momentum and feel of Puente’s music. There’s a sense that every member of the band not only appreciates Puente’s contributions, but they value his music at the highest level. This respect can be felt deeply in the rhythm section, with strong performances from Sands, Edwards, and Rivera. The admiration extends to the whole band though, as the wind players tear through the challenging charts with an impassioned zeal. Without a doubt, Sanabria has given the students in the Manhattan School Of Music Afro-Cuban Jazz Orchestra a deep education on Tito Puente’s music, and the evidence on Tito Puente Masterworks, Live!!! points towards a continued long life for this master through these young musicians.
———- Track Listing:
1. Intro/Elegua Changó (Tito Puente)
2. Picadillo (Tito Puente)
3. Bohemia (Birdland) After Dark (Oscar Pettiford, arr. by Tito Puente)
4. Autumn Leaves (Joseph Kosma, Jaques Prevert, arr. by Tito Puente)
5. Cuban Nightmare (Tito Puente)
6. Mambo Buddha (Tito Puente)
7. Ran Kan Kan (Tito Puente)
8. Alegre Cha-Cha-Cha (Tito Puente)
9. Ritual Fire Dance (Manuel De Falla, arr. by Tito Puente)
10. Yambeque (Tito Puente)
11. Me Acuerdo De Ti (Tito Puente)
12. Mambo Beat (Tito Puente)
13. Mambo Adonis (Tito Puente)
Percussion sits at the heart and soul of Latin Jazz, providing the music’s cultural lifeline and rhythmic vitality. The use of percussion certainly sets Latin Jazz apart from straight ahead jazz, but it is so much more than a simple novelty. Embedded in each hit of the drum is a cultural legacy, associated with centuries of social development. When that deep legacy blends with the rich cultural history of the African American experience through jazz, miracles can happen. Percussionists are the ones that make these earth shattering revelations apparent – they can speak volumes about history and culture with their performances and they can make the music move with the power of the generations behind them. With percussion playing such a dominant role in Latin Jazz, it shouldn’t be any surprise that some of the style’s biggest heroes are drummers.
Four of the towering figures in Latin Jazz percussion celebrate their birthdays in Jazz Appreciation Month, giving us a chance to cherish their amazing contributions to the music. Conguero Mongo Santamaria was born on April 7th, 1922, growing up in Havana, Cuba. He brought an impressive technique and knowledge of folkloric music to the United States and eventually became adored around the world for his mixture of Latin Jazz and funk. Timbalero Tito Puente came into the world on April 20th, 1923, destined to become one of the genre’s most cherished band leaders. His jaw dropping virtuosity, entertaining showmanship, and outstanding musicality took him around the world, embedding his contributions into the fabric of popular culture. Conguero Candido Camero entered into life on April 22nd, 1921, in Havana, Cuba, and ninety years later, he’s still hitting the drums. A core figure in Latin Jazz through his work with bands like Machito And His Afro-Cubans, the “thousand finger man” was named an NEA Jazz Master in 2008. Conguero Ray Barretto joined this crowd on April 29th, 1929, arriving in New York City, where he later would define the sound of music. Experiencing early success in boogaloo and later salsa, Barretto always held onto a deep love of jazz that he shared through a series of outstanding Latin Jazz albums late in his career. Each one of these musicians embodies the dynamic energy of Latin Jazz and symbolizes the cultural relationships that flow through every performance; their contributions are deep and will never be forgotten.
Summarizing the careers of these four brilliant musicians into a few sentences certainly doesn’t do them justice – the recorded output of any one of these percussionists presents a lifetime of study. The history behind their musicianship holds much of the beauty of Latin Jazz; digging deeper into their work is a worthwhile endeavor. Jazz Appreciation Month is a great time to celebrate these great musicians, so today’s Weekly Latin Jazz Video Fix is dedicated to Puente, Santamaria, Candido, and Barretto. The first video finds Puente delivering an astounding display of percussion virtuosity on one of his signature pieces, “El Rey Del Timbal.” The next clip shows the depth of Santamaria’s playing with a performance of one of his most famous compositions, “Afro Blue.” Even at 90, Camero can be found playing around New York today, as seen in the next snippet, where he plays alongside The New School’s Afro-Cuban Jazz Ensemble. The last video features Barretto applying his unique approach to the instrument with his group New World at the Chicago Jazz Festival. Take the time to see these musicians demonstrating the power of percussion in Latin Jazz and experience the full depth of the music – enjoy!
———- Tito Puente Performing “El Rey Del Timbal”
Mongo Santamaria Performing “Afro Blue”
Candido Camero Performing With The New School Afro-Cuban Jazz Ensemble
Ray Barretto Performing With His Group New World Spirit
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Want more from these great percussionists? Check out these recordings below! Tito Puente: A Man And His Music
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Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in – it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans – let’s share some of our memorable videos! Get my contact info HERE.
The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.
Sounds of Brasil
Ark Ovrutski Quintet
The world is filled with cultural connections; sometimes they simply need a little urging to become obvious. History is filled with exchanges between different countries and as a result, musical ideas have flowed freely into artistic evolution. Borrowed musical conventions often become embedded into the new culture though, hiding their origins and commonalities. Adventurous musicians dig further into art form’s historical landscape and they eventually discover the original cultural relationships. This revelation opens a door onto a world of unheard music, as the cultural commonalities give way to other music from their new bond. While the artist may feel a natural affinity for this world of music, they still need some guidance into the intricacies of the style. Once they make a connection with a well-versed musician and learn the language, the sky is the limit on artistically engaging music. Bassist Ark Ovrutski found a relationship between the early romantic music of Russia and Portugal, leading him to a broad knowledge of Brazilian music, which he displays through a smart set of original compositions on Sounds of Brasil.
Bringing The Rhythmic Vitality Of Brazilian Music Into Jazz
Ovrutski channels the rhythmic vitality of Brazilian music on several compositions, mixing that energy with a strong harmonic foundation. Drummer Duduka Da Fonseca’s deep groove wraps around Ovrutski’s catchy bass line on “2nd Line/Partido Alto,” setting the foundation for a funky melody. Alto saxophonist Craig Handy grabs the inherent feel of the piece with bluesy lines and rides the rhythm section’s growing intensity with cleverly syncopated figures. Tenor saxophonist Jorge Continentino winds through the rhythmic feel with jazz tinged lines, bouncing bop flavored ideas around the groove. There’s a serious nature to the short jabbing lines on “Mr. Hindemith,” that dart around the rhythm section’s movement between baião and samba. Ovrutski races quick lines across his instrument in an attention grabbing improvisation until Handy raises the dynamic with a quote from Hermeto Pascoal that develops into a raging collection of solo ideas. Pianist Helio Alves opens the chords into a dynamic statement, leaving room for Da Fonseca who delivers a stunning collection of rhythm and colors before Continentino closes with a flute solo. Pieces of an afoxé rhythm inform Da Fonseca’s unaccompanied introduction on “Samba In 4th,” which comes alive through his innate ability to embellish Brazilian forms with jazz ideas. An active bass line from Ovrutski kicks the wind players into a tension filled melody, opening the door for Alves to storm through a ferocious improvisation filled with rhythmic and harmonic friction. Continentino plays off the rhythm section’s building intensity with angular lines until Handy comes screaming into his solo on tenor, pushing against the rhythm section’s fierce drive. Ovrutski includes two versions of his composition “Brasilian Carnaval,” providing a full picture of the possibilities behind the dark and powerful song. The melody resonates with a fully formed tension, as the wind players deliver a minor melody over a 6/8 groove. Continentino and Handy both deliver intensive statements on baritone and soprano sax respectively, while Alves tears through a strong piano solo before the band explodes into a collective improvisation. The group digs deeply into several Brazilian traditions on these songs, creating inspired contexts for improvisation that tingle with rhythmic energy.
Emphasizing The Delicate Side Of Brazilian Music
Another side of the group emerges within a number of Ovrutski’s compositions that emphasize the more delicate side of Brazilian music. Ovrutski combines chordal passages and single note lines on the electric bass introduction to “SOB” before joining Da Fonseca in a light samba behind the appealing main theme. Continentino floats over the thick texture of Ovrutski’s chordal accompaniment before the bassist leaps into a nimble display of melodic ingenuity and impressive dexterity. Handy tears into the changes with aggressive lines and a razor sharp tone, leading into an energetic improvisation from Alves. The lush sound of Handy and Continentino on flutes floats over a swaying bossa nova and a rich harmonic structure on “Song For My Mom.” Handy slices through the mellow backdrop with a rhythmically active solo, contrasted by the deep sound of Continentino’s alto flute and understated lines. Ovrutski develops a gorgeous theme through the changes with a quiet intensity, giving way to a smart statement from Alves, full of rapid streams of ideas. The rhythm section gently provides a lush backdrop on the spacious ballad “Baby’s Vibe,” while Continentino tenderly interprets the melody. Alves playfully runs uplifting lines through the changes, leading into an ebullient swung statement from Ovrutski that pulls the finest pieces of the harmony into long melodies. Continentino pushes his instrument’s smoky tone into an emotionally charged statement, heightened by flurries of jazz tinged lines and upper register sequels. Ovrutski brings out the melodic beauty of Brazilian music and creates a context for expressive improvisation on these compositions, exposing another side of his group’s strength.
Original Jazz Compositions That Resonate With Authenticity And Excitement
Ovrutski reveals a natural connection to Brazilian music throughout Sounds of Brasil, delivering a seamless collection of original jazz compositions that resonate with authenticity and excitement. As a composer, Ovrutski shows a deep connection to both jazz and Brazilian music, creating songs that bubble with rhythmic vitality and shine with harmonic depth. The melodic beauty of Ovrutski’s compositions reflects a broad study of Brazilian composers and the smart integration of their approaches. The stylistic foundation of the music rises from Da Fonseca’s impeccable drum work, drawing upon his vast knowledge of Brazilian music and his ability to approach it from a jazz perspective. His rhythms ground the music while simultaneously interacting with both Ovrutski and Alves to create a dynamic groove. Alves leaps off the recording with supportive chordal work and an attention grabbing solo voice that consistently adds a vital urgency to the group. Both Handy and Continentino provide smart improvisatory contributions that interact beautifully with the power of the rhythm section. The music on Sounds of Brasil overflows with Ovrutski’s appreciation for Brazilian music and the sympathetic resonance of his bandmates’ performance, revealing a cultural connection that will hopefully continue into the future.
———- Track Listing:
1. 2nd Line/Partido Alto (Ark Ovrutski)
2. SOB (Ark Ovrutski)
3. Song For My Mom (Ark Ovrutski)
4. Mr. Hindemith (Ark Ovrutski)
5. Brasilian Carnaval (Take 1) (Ark Ovrutski)
6. Baby’s Vibe (Ark Ovrutski)
7. Samba In 4th (Ark Ovrutski)
8. Brasilian Carnaval (Ark Ovrutski)
9. Batucada (Ark Ovrutski)
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
NEWS
The bulk of this past week has been focused on the elimination of the Latin Jazz Grammy by the National Association of Recording Arts And Sciences, a questionable move that speaks volume about the group’s priorities. We’ve covered the proceedings quite extensively here at LJC, with an open letter to NARAS, a recap of the New York NARAS meeting from Bobby Sanabria, and several letters from folks in the Latin Jazz world. The outcry of protest from the Latin Jazz world has also been covered by The New York Times, The Village Voice, and The New York Daily News. It’s important that we don’t let this issue fade into the background of our attention – if you haven’t voiced your opinion yet, make sure that you end an e-mail to NARAS president and CEO Neil Portnow – neil@grammy.com. Make sure that you also sign the petition to reinstate the Latin Jazz Grammy HERE. Let’s let the folks at NARAS know that we value Latin Jazz and we won’t stand for their insulting actions.
Despite all the discouraging news around the Latin Jazz Grammy this week, it still is April, which means we’re deep into Jazz Appreciation Month. It’s been a good reminder for me to step back from protests and take some time to actually appreciate Latin Jazz. My original goal of posting 30 short album recommendations in the form of the Latin Jazz JAM Sessions has been waylaid by the NARAS silliness, but I’m doing what I can. We’re up to 11 and still going – stay tuned in!
The controversy over the elimination of the Latin Jazz Grammy has been absolutely maddening this past week, and unfortunately, humor has been in short order. We need a bit of levity to keep our sanity though, and Doug Ramsey has just the thing that we need over at Rifftides. His post “Guest Shot: Those Grammy Changes” features a piece from composer Bob Beldon that puts a cynical twist on the whole situation. It’s a hilarious read, check it out HERE.
This past Friday, the Smithsonian Institution celebrated Jazz Awareness Month with a concert from one of the West Coast’s most important musicians, percussionist John Santos and his Sextet. The show was streamed live, giving everyone around the world a chance to experience the show. It was an outstanding performance, bringing together jazz and Caribbean traditions in a classy way. If you missed it, don’t worry – the Smithsonian has archived the show for everyone to see; find it HERE.
Over at All About Jazz, Victor Verney has a great interview online with dual instrumentalist and Brazilian Jazz specialist Hendrik Meurkens. They get into all sorts of interesting aspects of Meurkens’ life and music, stretching between his German background, his move to the States, and his deep interest in Brazilian music. There’s lots of interesting information in the interview, providing a good insight into a fascinating musician. Check it out HERE.
If you’re in EUROPE this week . . . EDDIE PALMIERI WHEN: Tuesday 4/19/11 WHERE:Blue Note – Milan
Via Borsieri 37
Milan City, Italy TIME: 9:00 p.m. & 11:00 p.m. TICKETS: 35 euros in advance; 40 euros at the door
If you’re on the EAST COAST this week . . . ANNETTE A. AGUILAR & STRINGBEANS WHEN: Wednesday 4/20/11 WHERE: Tosca’s
4038 East Tremont Avenue
Bronx, NY TIME: 6:00 p.m.
WHEN: Thursday 4/21/11 WHERE: Apt 78
4447 Broadway
New York, NY TIME: 7:30 p.m.
ARTURO O’FARRILL WHEN: Tuesday 4/19/11 WHERE:Bijou Theater
803 South Gay Street
Knoxville, TN TIME: 7:00 p.m. TICKETS: $27.50
BOBBY SANABRIA
Conducting The Manhattan School Of Music Afro-Cuban Jazz Orchestra WHEN: Monday 4/18/11 WHERE:Dizzy’s Club Coca-Cola
Broadway at 60th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 4/24/11 WHERE:Birdland
315 West 44th Street
New York, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
CIDINHO TEIXIERA WHEN: Sunday 4/24/11 WHERE:Zinc Bar
82 West 3rd Street
New York, NY TIME: 8:00 p.m., 10:00 p.m., & 11:30 p.m. TICKETS: $10 with 2 Drink Minimum
CURTIS BROTHERS WHEN: Thursday 4/21/11 WHERE:B. Smith’s
320 West 46th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
GREG DIAMOND WHEN: Tuesday 4/19/11 WHERE:NuBlu
62 Avenue C
New York, NY TIME: 11:00 p.m.
HECTOR MARTIGNON WHEN: Thursday 4/21/11 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 7:00 p.m. TICKETS: $9
EDWARD PEREZ WHEN: Thursday 4/21/11 WHERE:Terraza Café
40-19 Gleane Street
Elmhurst, NY TIME: 9:30 p.m. TICKETS: NO COVER
GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET WHEN: Friday 4/22/11 – Saturday 4/23/11 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:30 p.m. & 10:30 p.m. TICKETS: NO COVER
NELSON RIVEROS WHEN: Friday 4/22/11 WHERE: Miles Cafe
212 East 52nd Street
New York, NY TIME: 9:30 p.m. TICKETS: $19.99
PABLO ZIEGLER
“Beyond Tango” WHEN: Saturday 4/23/11 WHERE:Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $38 in advance; $43 on the day of the show
PAQUITO D’RIVERA
Blue Note Jazz Benefit WHEN: Monday 4/18/11 – Tuesday 4/19/11 WHERE:HighLine Ballroom
431 W. 16th Street
New York, NY TIME: 7:00 p.m. TICKETS: $45
STEVE GLUZBAND & HOT HOUSE WHEN: Thursday 4/21/11 WHERE:Fonda Boricua Lounge
172 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
If you’re in the MID-EAST this week . . . ARTURO SANDOVAL WHEN: Tuesday 4/19/11 – Wednesday 4/20/11 WHERE:Dakota Jazz Club
1010 Nicollet Mall
Minneapolis, MN TIME: 7:00 p.m. TICKETS: $35 – $45
PAULINHO GARCIA
With Solitaire Miles WHEN: Monday 4/18/11 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $10
WHEN: Thursday 4/21/11 WHERE: Shure Building Theater
5800 W. Touhy Avenue
Niles, IL TIME: 2:00 p.m. TICKETS: FREE
If you’re on the WEST COAST this week . . . BILL CABALLERO WHEN: Thursday 4/21/11 WHERE:Voz Alta
1754 National Avenue
Barrio Logan, CA TIME: 7:00 p.m. TICKETS: FREE
DAFNIS PRIETO WHEN: Monday 4/18/11 WHERE:Kuumbwa Jazz Center
320-2 Cedar Street
Santa Cruz, CA TIME: 7:00 p.m. TICKETS: $20 in advance; $23 euros at the door
GILBERT CASTELLANOS WHEN: Wednesday 4/20/11 WHERE:El Camino
2400 India Street
San Diego, CA TIME: 9:00 p.m. TICKETS: NO COVER
JOVINO SANTOS NETO
Trio with Ben Thomas & Eric Likkel WHEN: Friday 4/22/11 WHERE: Skarbo’s Furniture
5323 Ballard Ave NW
Seattle, WA TIME: 7:00 p.m. TICKETS: $21 in advance; $25 at the door
Quarteto WHEN: Saturday 4/23/11 WHERE: Bake’s Place
4135 Providence Point Dr SE
Issaquah, WA TIME: 7:45 p.m. TICKETS: $20
PACIFIC MAMBO ORCHESTRA WHEN: Monday 4/18/11 WHERE:Cafe Cocomo
650 Indiana Street
San Francisco, CA TIME: 9:30 p.m. TICKETS: $10
PONCHO SANCHEZ WHEN: Friday 4/22/11 WHERE:Firehouse Arts Center
4444 Railroad Avenue
Pleasanton, CA TIME: 8:00 p.m. TICKETS: $30 – $45
WHEN: Saturday 4/23/11 WHERE:Fulton 55
875 Divisadero Street
Fresno, CA TIME: 8:00 p.m. TICKETS: $20
SONANDO WHEN: Thursday 4/21/11 WHERE:Tula’s
2214 Second Avenue
Seattle, WA TIME: 8:00 p.m. TICKETS: $10
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On Wednesday April 6th, The National Academy Of Recording Arts And Sciences announced a “restructuring” of The Grammy Awards, a move that included the elimination of the Latin Jazz Grammy. This unfortunate decision undermines the integrity of Latin Jazz and disregards its importance as a major piece of the cultural landscape in the United States. I would encourage all LJC readers to protest this decision and demand that NARAS reinstate the Latin Jazz Grammy immediately – you can do this by sending an e-mail to NARAS President and CEO Neil Portnow here – neil@grammy.com Get additional information and updates on LJC’s Support Page For The Latin Jazz Grammy.
The “restructuring” of the Grammy Awards certainly favored the major labels and undermined the work of independent record labels. Jochem Becker’s label, Zoho, has released some of New York’s finest Latin Jazz in the past several years; as a result, the Grammy changes will seriously impact them. In his letter to NARAS, Becker speaks about these changes.
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Dear Neil :
I was present, and spoke “on the microphone” at the NARAS meeting in Manhattan yesterday evening. Let me urge you again to re-consider the NARAS decision to eliminate the LATIN JAZZ category – for the following reasons :
1. We as NARAS members were never consulted about these category consolidation plans. These consolidations are quite unnecessary, and needlessly require that Latin Jazz, a distinct art form, gets lumped together in a generic jazz category with only remotely related genres such as smooth jazz. You said at the meeting that this decision was made between committees and Boards of Trustees of the organization. In my opinion, a decision of this vast consequence needs to be openly discussed with NARAS members (which I am) BEFORE it is made, not afterwards.
2. Latin Jazz is one of the several now-eliminated categories which had “leveled the playing field” for musicians against the dominance of the major labels – which did not get as much of a “hair cut” during the GRAMMY category consolidations. Previously, Latin Jazz artists were able to compete with major label releases if not in total sales, but at least in artistic excellence.
3. Latin Jazz, plus the other Latin categories where there were consolidations, represent the pride and provide self esteem for the largest, fastest rising ethnic “minority ” population in the US. As the great Eddie Palmieri pointed out at the New York NARAS meeting yesterday, he and others had fought long and hard since the 1970s to get Latin Jazz recognized as its own category worthy of representation at the GRAMMYs. It was painful for him to see that after all the struggle which finally led to “victory” many years ago, that the Latin Jazz category was now again eliminated. As was expressed by several speakers at the NARAS meeting, the uncalled-for GRAMMY category cutbacks are viewed by many as an insult, and a slap in the face.
4. The entire NARAS effort of eliminating 30% of the present categories is misguided. A strong argument can be made to increase, not eliminate, the number of categories – for example in creating a wider range of “Best New Artist” categories within the fields of say, Jazz, Classical, Latin, etc.
Many thanks!
Jochen Becker
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Don’t let this attack on Latin Jazz go unnoticed – send your e-mail in support of the Latin Jazz Grammy today. You can start with a message to NARAS President and CEO Neil Portnow, his e-mail address is: neil@grammy.com Make sure that you sign the petition to get the Latin Jazz Grammy reinstated – you can find it HERE. Get additional information and updates on LJC’s Support Page For The Latin Jazz Grammy.
———- 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!
On Wednesday April 6th, The National Academy Of Recording Arts And Sciences announced a “restructuring” of The Grammy Awards, a move that included the elimination of the Latin Jazz Grammy. This unfortunate decision undermines the integrity of Latin Jazz and disregards its importance as a major piece of the cultural landscape in the United States. I would encourage all LJC readers to protest this decision and demand that NARAS reinstate the Latin Jazz Grammy immediately – you can do this by sending an e-mail to NARAS President and CEO Neil Portnow here – neil@grammy.com Get additional information and updates on LJC’s Support Page For The Latin Jazz Grammy.
After experiencing a disgraceful show of disrespect from NARAS at their New York meeting, nine time Grammy winner and Latin Jazz legend Eddie Palmieri shares his thoughts on the elimination of the Latin Jazz Grammy Award
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“In unity there is strength, conscientious natural musical minds working together, united in thought will constantly deliver power, the drive and the constant search of the individual mind to create, create, create.”
It was in 1965 that I wrote this in the liner notes of my album, “Azucar Pa’ Ti,” which was one of my most defining compositions in the genre of Latin Jazz. Latin Jazz, originally known as the Instrumental Mambo, happens to be one of the most unique Latin musical forms as it speaks directly to the melding of the African American culture with both the Cuban and Puerto Rican cultures in New York, during a time where we weren’t even allowed to work downtown, (many of the youth do not know this, but in order to work, you had to have a Cabaret card, where the Union and Police could keep an eye on you at all times). This was an era where life was difficult in both Harlem and El Barrio; it was hot, it was exciting, it was ever changing and it eventually melded together and consequently developed into the beautiful and diverse landscape that we know today. It is quite something when I look back on those amazing years, the awe inspiring musical brotherhood that was so dear to me of that time, and it is with great pride that I have seen its legacy continue with so many wonderfully talented musicians throughout the years.
In 1993 I was appointed Governor of the New York Chapter of NARAS where I worked diligently to have the Latin Jazz category become recognized, and it was with great happiness that I saw it come to fruition in 1994. And now it is with a heavy heart that I have seen its elimination, and truly fear its slow and permanent extinction. I call upon everyone now, as a whole, to come together, in UNITY, by starting with your own communities and supporting your local artists and telling your friends and loved ones about a great band you just heard that has that swing, because without the support of the fans, we are not able to record as often as required by NARAS and to the entrepreneurial indie labels, make sure that you file all of the necessary criteria online to NARAS’ website as per submissions, and to all of my fellow musicians out there, (young and old), please become a member of NARAS and get involved with your local Chapter. I am fighting for you, but please join me so now we can fight together. Right now, NARAS is holding everything I just mentioned against us; thus marginalizing our music, culture and people even further. Let me be clear: we have been discredited, we have been discarded and we are being wiped out. But, this can only happen if we allow it and I truly believe in my heart that together we can reinstate the category of Latin Jazz and dig deeply into that soul bag. Aché!
Eddie Palmieri
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Don’t let this attack on Latin Jazz go unnoticed – send your e-mail in support of the Latin Jazz Grammy today. You can start with a message to NARAS President and CEO Neil Portnow, his e-mail address is: neil@grammy.com Make sure that you sign the petition to get the Latin Jazz Grammy reinstated – you can find it HERE. Get additional information and updates on LJC’s Support Page For The Latin Jazz Grammy.
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Why You Should Hear It: Hilton Ruiz was a phenomenal pianist with the rare ability to transcend genre and style, always pushing towards a poignant emotional and musical high. Ruiz shined brightest in live performance, thriving on the spontaneity of the moment, a fact that makes Live At Birdland a highpoint of his recorded output. His powerful musicianship often drew an impressive crowd of artists to perform with him, and this album features some of the best players on the New York scene. Ruiz contributes some high energy compositions based upon Afro-Cuban rhythms, “Something Grand” and “New Arrival,” letting his all-star and stretch their chops. He enthusiastically dips into swing as well, providing the soulful “Blues For Two Tenors” as a spotlight for the impressive saxophone duo of Peter Brainin and David Sanchez. Ruiz takes Lee Morgan’s “Mr. Kenyatta” and the classic standard ” Green Dolphin Street” and fills them with clave driven groove, creating fantastic vehicles for the whole band to flex their improvisational muscles. At the same time, Ruiz shows a distinct affinity for modern jazz with an awe inspiring version of Wayne Shorter’s “Footprints” that overflows with exciting tension as the band moves between Afro-Cuban grooves and swing. Live performance found Ruiz at his own personal best, inspiring his colleagues to reach new musical heights, and lucky for us, that process is documented on Live At Birdland.
Important Musicians On The Album:
Pianist Hilton Ruiz
Tenor Saxophonist David Sanchez
Tenor Saxophonist Peter Brainin
Bassist Andy Gonzalez
Drummer Steve Berrios
Conguero Giovanni Hidalgo
Interesting Facts About The Album:
Ruiz was known for his impact upon the Latin Jazz world, but he spent years performing with great modern jazz artists like Rahsaan Roland Kirk and Freddie Hubbard as well.
Ruiz was a well respected musician on New York’s Latin Jazz scene – this album was recorded at one of the city’s prominent clubs, Birdland.
In 2006, Ruiz traveled to New Orleans to participate in a benefit to support the victims of Hurricane Katrina. After leaving a bar, he was jumped and suffered injuries that left him in a coma He died soon after falling into the coma.
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Jazz Appreciation Month is a great time to get people excited about Latin Jazz and help spread the word about this important music. Every action counts and helps ensure the future of survival of the style. Plan ahead and think about what you can do to make a difference during Jazz Appreciation Month – let us know what you’re going to do in the comments! Let’s all take this opportunity to support Latin Jazz and share it with the world!
On Wednesday April 6th, The National Academy Of Recording Arts And Sciences announced a “restructuring” of The Grammy Awards, a move that included the elimination of the Latin Jazz Grammy. This unfortunate decision undermines the integrity of Latin Jazz and disregards its importance as a major piece of the cultural landscape in the United States. I would encourage all LJC readers to protest this decision and demand that NARAS reinstate the Latin Jazz Grammy immediately – you can do this by sending an e-mail to NARAS President and CEO Neil Portnow here – neil@grammy.com Get additional information and updates on LJC’s Support Page For The Latin Jazz Grammy.
In a thoughtful letter to Portnow, vocalist Sandy Cressman shares her thoughts on the elimination of the Latin Jazz Grammy Award, based on her experiences as a member of NARAS.
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Dear Neil and NARAS leadership,
As a long time NARAS member and having served multiple terms on the Board of Governors of the San Francisco Chapter, I am very disappointed to learn of the elimination of the Latin Jazz Category from the Grammy Awards.
Latin Jazz is such an important part of America’s indigenous art form, and yet it would be wrong to lump it into the category of Jazz. Comparing a swing or bop record to a Latin Jazz record is truly apples and oranges. You might as well eliminate the Country categories, as they are just part of Pop music . . .
I have to say that after my years on the Board of Governors, and trying to make Chapter activities more relevant to a wider group of NARAS members, I was already getting the feeling that the Recording Academy was really all about promoting music that has already been well recognized rather than helping members promote their music and expand their careers.
I was mainly active in the Education events in our chapter, spearheading Grammy in the Schools here in SF for many years.
However, I cannot represent an organization in encouraging young people to play broad varieties of music when this organization supports a narrower and narrower range of musical styles. Jazz and classical music have been so little represented in the broadcasts–what are we telling our youth except– be Beyoncé, be Justin Bieber? And if you are as phenomenally talented as Esperanza Spaulding, you may get the recognition of your peers, but you will probably be relegated to performing background music to a speech on the telecast…. is this what we want to be saying to our youth? Don’t they get enough pop culture all around them?
One message I got loud and clear from National when I was an active governor was — Recruit more members! I tried to find relevance in the Recording Academy’s activities to the careers and lives of my colleagues, and found less and less to recommend.
Now I cannot with good conscience recommend this organization, whose leadership takes such huge steps to marginalize certain forms of music with no feedback from the membership at large. Under current circumstances, I regret that I will not be renewing my membership when it comes up.
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Don’t let this attack on Latin Jazz go unnoticed – send your e-mail in support of the Latin Jazz Grammy today. You can start with a message to NARAS President and CEO Neil Portnow, his e-mail address is: neil@grammy.com Make sure that you sign the petition to get the Latin Jazz Grammy reinstated – you can find it HERE. Get additional information and updates on LJC’s Support Page For The Latin Jazz Grammy.
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Why You Should Hear It: Argentinean composer Astor Piazzolla’s music always walked the line between classical forms, jazz harmony, and tango traditions, but his collaboration with saxophonist Gerry Mulligan, Summit – Reunion Cumbre, set him firmly in jazz territory. The Piazzolla compositions distinctly retain his unique touch, but the composer opens plenty of space for improvisation. Mulligan serves as a perfect collaborator for Piazzolla; his refined melodic sensibilities add emotional depth to the compositions and his improvisational flexibility allow him to fit his voice into the modern tango contexts. There’s an unexpected tonal beauty found in the combination of Piazzolla’s bandoneon and Mulligan’s baritone saxophone that resonates with originality. Piazzolla’s bandoneon screams with intensity on “Hace 20 Años (20 Years Ago),” a fact that drives Mulligan into an improvisational frenzy. Mulligan overflows with a heartfelt passion on “20 Años Despues (20 Years After)”, igniting the melody with emotional intensity that finds support in the band’s growing dynamic. The expressive nature of Piazzolla’s bandoneon flows through “Cierra Tus Ojos Y Escucha (Close Your Eyes And Listen),” inspiring Mulligan into his own thoughtful reading of the melody and improvistion. Piazzolla would later collaborate with vibraphonist Gary Burton and his work inspired a small collection of Latin Jazz musicians to explore his pieces, but in the bigger picture, the exploration of Nuevo Tango in the jazz world is still underepresented, making Summit – Reunion Cumbre an important milestone in Tango Jazz.
Important Musicians On The Album:
Bandoneon Player and Composer Astor Piazzolla
Baritone Saxophonist Gerry Mulligan
Interesting Facts About The Album:
Summit – Reunion Cumbre was recorded during Piazzolla’s electric period, where he integrated electric guitar, keyboards, and drum kit into his compositions, resulting in the fusion tinged sound of the recording.
Piazzolla had a working group at the time that Summit – Reunion Cumbre was recorded, but he used a group of Italian musicians for this album.
Despite these success of Summit – Reunion Cumbre, this was a one-off recording; Piazzolla and Mulligan did not record together after this album.
If You Like This Album, You Might Want To Check Out: The New Tango, Astor Piazzolla & Gary Burton Tango: Zero Hour, Astor Piazzolla Libertango, Astor Piazzolla
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Jazz Appreciation Month is a great time to get people excited about Latin Jazz and help spread the word about this important music. Every action counts and helps ensure the future of survival of the style. Plan ahead and think about what you can do to make a difference during Jazz Appreciation Month – let us know what you’re going to do in the comments! Let’s all take this opportunity to support Latin Jazz and share it with the world!
Modern composers writing for a Latin Jazz big band have a variety of models to call upon, but creating a bold new ensemble sound demands an outside vision. At this point in history, the use of a big band in Latin Jazz has been quite established, from the mambo bands of the Palladium to the modern stylings of Arturo O’Farrill’s Afro-Latin Jazz Orchestra. The groups all along this spectrum follow a certain lineage that has clearly defined the connections between South American music, Caribbean traditions, and jazz. With such a rich history providing a starting point, modern composers need to take drastic measures in order to create a distinct sound. It’s a delicate balance though, because they can’t sacrifice the strong cultural connections for the sake of being different. Breaking away from the mold presents a clear challenge, but once a composer finds their way, they can create some of the genre’s most exciting music.
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/pedro giraudo desconsuelo.jpg)
/pedro giraudo el viaje.jpg)
/bobby sanabria manhattan school of music tito puente masterworks live.jpg)
Percussion sits at the heart and soul of Latin Jazz, providing the music’s cultural lifeline and rhythmic vitality. The use of percussion certainly sets Latin Jazz apart from straight ahead jazz, but it is so much more than a simple novelty. Embedded in each hit of the drum is a cultural legacy, associated with centuries of social development. When that deep legacy blends with the rich cultural history of the African American experience through jazz, miracles can happen. Percussionists are the ones that make these earth shattering revelations apparent – they can speak volumes about history and culture with their performances and they can make the music move with the power of the generations behind them. With percussion playing such a dominant role in Latin Jazz, it shouldn’t be any surprise that some of the style’s biggest heroes are drummers./tito puente man and his music.jpg)
/mongo santamaria live at jazz alley.jpg)
/candido graciela inolvidable.jpg)
/ray barretto hot hands.jpg)
/ark ovrutski quintet sounds of brasil.jpg)
On Wednesday April 6th, The National Academy Of Recording Arts And Sciences announced a “restructuring” of The Grammy Awards, a move that included the elimination of the Latin Jazz Grammy. This unfortunate decision undermines the integrity of Latin Jazz and disregards its importance as a major piece of the cultural landscape in the United States. I would encourage all LJC readers to protest this decision and demand that NARAS reinstate the Latin Jazz Grammy immediately – you can do this by sending an e-mail to NARAS President and CEO Neil Portnow here – 
/arturo o'farrill afro-latin jazz orchestra 40 acres and a burro1.jpg)
/eddie palmieri azucar pa ti.jpg)
In 1993 I was appointed Governor of the New York Chapter of NARAS where I worked diligently to have the Latin Jazz category become recognized, and it was with great happiness that I saw it come to fruition in 1994. And now it is with a heavy heart that I have seen its elimination, and truly fear its slow and permanent extinction. I call upon everyone now, as a whole, to come together, in UNITY, by starting with your own communities and supporting your local artists and telling your friends and loved ones about a great band you just heard that has that swing, because without the support of the fans, we are not able to record as often as required by NARAS and to the entrepreneurial indie labels, make sure that you file all of the necessary criteria online to NARAS’ website as per submissions, and to all of my fellow musicians out there, (young and old), please become a member of NARAS and get involved with your local Chapter. I am fighting for you, but please join me so now we can fight together. Right now, NARAS is holding everything I just mentioned against us; thus marginalizing our music, culture and people even further. Let me be clear: we have been discredited, we have been discarded and we are being wiped out. But, this can only happen if we allow it and I truly believe in my heart that together we can reinstate the category of Latin Jazz and dig deeply into that soul bag. Aché!/hilton ruiz live at birdland.jpg)
, Hilton Ruiz
, Hilton Ruiz
, Hilton Ruiz
/astor piazzolla gerry mulligan summit reunion cumbre.jpg)
, Astor Piazzolla & Gary Burton
, Astor Piazzolla
, Astor Piazzolla
