LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Home | Features | Columns | Hit Parades | Reviews | Calendar | News | LB Style | Contacts | Shopping | E-Back Issues
MARCH 2012 ISSUE
FROM THE EDITOR
Welcome to Volume 21, Number 2, March 2012, of Latin Beat Magazine Online (LBMO). With
this issue, we pay tribute to Latin jazz music (the marriage of everything Spanish and Latino with
the rhythms and forms of jazz). Headlining the issue is our great friend and extraordinary
musician Paquito D'Rivera (pictured). Latin Beat editor Luis Tamargo chats with the master
reed-man/bandleader about his latest endeavors.
Chico Álvarez
El Indio Caonabo
Windows Media
Quicktime
Bio Ritmo
La Muralla
Streaming Music
Louie Cruz Beltran
Paint the Rhythm
Windows Media
1 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
2 of 52
http://www.latinbeatmagazine.com/features.html
Quicktime
Cintron Band Live
Human Nature
Windows Media
Quicktime
Vanelis
Como Lo Extraño
Windows Media
Quicktime
Nayibe
Borinquen
Windows Media
Quicktime
Luis González
Spain
Windows Media
Quicktime
Rolando Sanchez
Vamonos De Fiesta
Windows Media
Quicktime
Steve Pouchie
Watch Ur Wallet
Windows Media
Quicktime
Somos Son
Bilongo
Windows Media
Quicktime
The Estrada Brothers
Mr. Ray
Columnist Nelson Rodriguez (Latin Beat Music Update) delivers his take on Latin jazz while
compiling several lists of the many exponents of the genre. On a different note, contributing
writer Chico Alvarez pays tribute to Cuban legendary singer "La India de Oriente". Rounding off
the features are "Op Eds" targeting the ongoing "Protest against NARAS" for the elimination of
31 Grammy award categories, including the omission of Latin jazz.
As always, you can also enjoy our monthly columns, national and international hit parades, CD
reviews, music news, calendar of events, streaming music, and music videos. Please spread the
word about LBMO and "Like Us" on Facebook, where we continuously update our readers on
current events. Your comments are welcome and encouraged. Enjoy the world of Latin Beat
Magazine Online! —Rudy & Yvette Mangual
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Windows Media
Quicktime
We dedicate this issue to the music and memory of three iconic giants of our music - Cesaria
Evora (world music), Jimmy Sabater (salsero), and Clare Fischer (Latin jazz), who left this world
bound for that ultimate gig in the Heavens.
Manny Silvera
Bassed in America
Windows Media
Quicktime
OBITUARY
CÉSARIA ÉVORA (1941-2011)
Bobby Matos
Cuchy Frito Man
Windows Media
Quicktime
La infatigable cantante Césaria Évora llegó a convertirse, más tarde que temprano, es la más
renombrada exponente de la música afrolusitana de nuestros tiempos, particularmente en lo que
se refiere a los placeres ocultos de la morna caboverdiana, cuyas baladas melancólicas
(emparentadas en el fado portuguése inevitablemente influenciadas por los ritmos
transatlánticos de Brasil y Cuba) interpretó magistralmente en el idioma criollo de su
archipiélago natal, la antedicha "diva de los pies descalzos," cuya tonalidad cálida y emotividad
urgente siempre lograron trascender cualquier obstáculo cultural o barrera linguística. —Luis
Tamargo
The Latest Adventures of Paquito D'Rivera
By Luis Tamargo
3 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
4 of 52
http://www.latinbeatmagazine.com/features.html
Whenever I talk to Cuban jazz icon Paquito D'Rivera by telephone, he is usually far away from
his New Jersey home base. He could be in Buenos Aires, London, Tokyo, Madrid, or even in the
remote city of Manaus, in the midst of the Amazonian jungle. This is why I was recently surprised
to find him at home when I called to conduct the following interview, at the request of Latin Beat's
cacique, the one and only Rudy Mangual.*
Luis Tamargo: It appears that 2005 was a very productive year in your artistic trajectory,
as it marked the publication of your autobiography's English-language version ("My Sax
Life," Northwestern University Press) while celebrating fifty years of your show business
career with an all-star musical cast at Carnegie Hall and being selected by the National
Endowment for The Arts (NEA) as one of its "Jazz Masters." Did the androgynous
astrologer Walter Mercado warn you in advance that all those events would take place in
2005?
Paquito D'Rivera: I don't know what happened that year, but things suddenly started moving up
at full speed and according to desire. 2005 was indeed a prosperous year. Neither Walter
Mercado nor I could have imagined it (and Nostradamus did not breathe a word!)
LT: You're one of the very few Cuban musicians who have been invited to visit the White
House by the three most recent U.S. Presidents, starting with the sax-playing Bill Clinton.
Did you get to meet Monica Lewinski? (Laughter)
PD: I never saw Monica around, but during a brief moment when I was alone with (George W.)
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Bush at the oval office, I cunningly pointed to an adjacent small office and insinuated that it was
the "oral office" formerly assigned to Lewinski (Laughter). Bush managed to suppress his
mischievous laughter. There were too many other parties within hearing distance. It was not
possible to engage in this type of conversation… I believe that Celia (Cruz) and the Estefans
were invited go to visit the White House a few more times than I. In fact, I recall that when I went
to the White House to receive the "National Medal of the Arts," while attending a breakfast
conducted before the ceremony, I ran into Emilio (Estefan), who mysteriously told me: "We voted
for you unanimously, my brother." But I never discovered the identity of the remaining "voters"...
Wynton Marsalis, Robert Duvall and Tina Ramírez (founder of Ballet Hispánico) were also
recognized with such medals... A few years earlier, I gave (Bill) Clinton a copy of my book/CD
"Music Minus Me," but I don't believe that it has significantly helped him to improve his sax
playing.
5 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
LT: W hich White House visit did you enjoy the most?
PD: The day when they brought students from many different music schools to the White House,
and I conducted a clinic with my group, featuring Wynton (Marsalis) as my guest artist. Then we
performed with the entire Marsalis family and the music students, and although President
(Barack) Obama was out of town, Michelle and her daughters were there singing "Salt Peanuts"
along with us in the first row. It was very festive and exciting, particularly for the young
generations of jazz musicians.
LT: Tengo entendido que estas elaborando la pista musical de una tragicomedía teatral
6 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
titulada "Be Careful! The Sharks will Eat You!" Tiene algo que ver con "El Tiburón "
Morales, el famoso sonero de Morón?
PD: No tiene nada que ver con "Tiburon" el sonero de Moron. Es una obra genial del actor y
escritor Cubano-Americano Jay Alvarez. Yo fui a ver el monologo de Jay en Nueva York hace
unos meses y quedé muy impresionado con su trabajo. Despues el me localizó a través de mi
hermana Rosarito la pintora, -con la que hizo amistad- para hablarme de la idea de llevar la obra
a Broadway. Crear un "musical". Y a mi me encantó la idea, pues crecí entre el teatro, la
sinfonica y el cabaret, y la idea de volver a trabajar con actores, coreografos, luminotecnicos y
bailarines me atrae tremendamente. Ojala se nos de esa oportunidad, pues Jay tiene un gran
sentido del humor y combina muy bien ese humor con el horror y la indiferencia que hemos
sufrido los cubanos por mas de cinco decadas.
LT: In 2007, you had the opportunity to compose a concerto for contrabass, clarinet/alto
sax and symphonic orchestra called "Conversations with Cachao." Is there a recording
available of this compositional tribute?
PD: That concerto was commissioned by the Caramoor Classic Music Festival. It was inspired
by Cachao, but with the virtuoso North American bassist contrabassist Edgar Meyer in mind.
Although Cachao came to its debut and his presence made everyone jump with joy, I never
intended for the old master of Cuban dance music (who was then almost 90 years of age) to be
engaged in such a complex and technically demanding piece… There is a video (available on
YouTube) of a version performed by the outstanding French contrabassist Renaud García-Fons
and the Tenerife Symphony.
LT: Under your own label (Paquito Records), you have recorded a couple of compact
discs -"Funk Tango" (2007) and "Tango Jazz" (2010)- that were mostly inspired by the
"Nuevo Tango" movement pioneered by the late Astor Piazzolla. How and when did you
become familiarized with Piazzolla's music?
PD: In the early 1970s, an old friend (drummer/bassoonist/photographer Alberto Romeu) turned
me on to an Astor Piazzolla LP. I believe that it featured the incredible Roberto Goyeneche
interpreting Piazzolla's "Balada para un Loco," with Horacion Ferrer's lyrics. Since then, I
remained very impressed with this extraordinary artist who entirely transformed, all at once, the
tango's body and soul. Before my initial encounter with his music, I was raised in Havana at a
time when Argentinean films were quite popular, and I had been listening, since my infancy to
(Carlos) Gardel, Hugo del Carril, Mariano Mores and Libertad Lamarque (with whom I had
desperately fallen in love during my childhood)… From my arrival in N.Y. to the present, I've had
a very close relationship with many Argentinean musicians such as Jorge Palto, Pablo Aslán,
Carlos Franzetti, Lalo Schifrin, Dario Eskinazi, Jorge Calandreli, Andrés Boiarsky, and of course,
Diego Urcola, who has played trumpet with my group for 20 years. My approach to tango has
developed in a very natural and organic manner.
7 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
LT: Any comments about your most recent project with a famous ballet company?
PD: This year I was commissioned by the prestigious José Limón Dance Company to write the
music for a piece to be staged by the Brazilian choreographer Rodrigo Pederneiras. This
27-minute work was composed for a chamber music orchestra comprised of 10 elements
(clarinet/soprano sax, flute, cello, saxhorn, piano, contrabass, marimba, trap drums, and two
percussionists) and divided in four movements: "Bombardino," a Cuban danzón; "Ladies in
White," dedicated to the extremely courageous female dissidents known in Cuba as "Las Damas
de Blanco"; and the two final movements, "Love Song" and "Freedom Dance." This ballet will
make its debut by next June in New York City… On the other hand, I recently recorded a duet
CD (to be released by March or April of 2012) with the classical Paraguayan guitarist Berta
Rojas, to be followed up with a tour of various Latin American countries, celebrating the music of
the illustrious Paraguayan guitarist and composer Agustín Barrios Mangoré.
LT: Qué opinas sobre la controversia relacionada con las categorías del Premio Grammy,
particularmente la eliminación del grammy del "Jazz Latino"?
PD: Completamente incomprensible e injustificable que se elimine la categoria de Latin Jazz de
esos premios. Algunos alegan que es porque no habian suficientes grabaciones presentadas,
pero esa no es una razon solida. Si no hay "entries", que es como le llaman, pues se declara el
8 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
premio "desierto" y san-seacabo. No seria la primera vez que se use un procedimiento similar.
Despues ellos me llamaron para invitarme a participar en una especie de panel o jurado para
seleccionar no se que cosa; y yo les dije que yo aun estaba muy herido por lo que habia
sucedido, y que por solidaridad con mis colegas "Latinjazzeros" y en especial con Bobby
Sanabria que ha echado rodilla en tierra por esta causa, no me sentia con deseos de cooperar
en nada con NARAS hasta que nuestra categoria fuera repuesta. Mi esposa Brenda Feliciano
tambien trabajó mucho con Bobby en este empeño; y a mi verdaderamente los premios
(cualquier premio) no me han obnubilado nunca. Recordemos que Carmen McRae jamas recibio
un GRAMMY y al gran Maurice Ravel siempre le negaron el codiciado (y tan merecido por el)
Premio de Roma de composicion. "Yo me pregunto donde estaban esta gente cuando
Charlie Parker, Stan Getz, Dizzy y todos aquellos caballos trabajaban y grababan
conmigo", me dijo una vez Machito cuando le dieron aquel GRAMMY ya casi al final de su vida.
asi que que mas puedo decirte!! ...
Long Live Pánfilo!
*My previous Latin Beat interview with D'Rivera was published in April 2003 ("Paquito D'Rivera:
The multiple facets of the most creative Cuban Jazz defector"). Serving as a proper historical
follow-up, the present conversation aims to address some of his more recent endeavors, from
2004 to the present.
Op Ed...
NARAS Oblivious to the Obvious
By John Santos
9 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
10 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
The epic and historical blunder committed last April by the National Academy of Recording Arts
and Sciences was etched into the archives last week by the conspicuous absence of the 31
categories they pulled from Grammy consideration, and the musically vacuous telecast they
promoted (at $800,000 per 30 second commercial) as the best that American music has to offer.
We hope that sooner than later, NARAS will understand that pretending to not know what all the
fuss is about, infinite procrastination, and two tons of lip service are not solutions to their
unethical practices and offensive actions. They obviously have no idea that undermining and
eliminating a huge portion of the most culturally diverse and creative music in our country is a
form of violence against communities that historically have had to deal with this kind of mentality
for much too long.
Thanks to the ill-advised and totally disrespectful suggestions of a handful of uninformed
individuals, hundreds of thousands of musicians, music industry workers of all kinds, students,
teachers, and fans of the 31 eliminated categories have been negatively affected. This is far
from acceptable. It would have been fairly simple for NARAS to avoid this huge problem had they
handled the delicate prospect of eliminating categories in an ethical and fair manner, as opposed
to the secret committee of trustees who made the short sighted recommendations. It's still a
pretty easy fix if that was their intention. But they are unwilling to officially admit their mistake
and saving face has become their priority. Not to mention they are so beholding to the entities
that provide the big money for them, making CEO Neil Portnow's 1.4 million dollar yearly salary
possible among other extravagances.
If as they claim, they were concerned about relatively low numbers of entries in certain
categories, they clearly should have consulted members and non-members from within the
threatened categories and the communities they represent. NARAS easily could have informed
the local governors, chapters, and members that decisions of such major impact were being
considered, in order to get valuable input and suggestions from those for whom they supposedly
advocate.
Two of the most disturbing aspects of this travesty are 1.) NARAS announced changes in policy
regarding minimum entries required to have a category after dropping categories that did not
meet the new requirements, and 2.) They did so in April of 2011, seven months after the
beginning of the eligibility year. Those actions were either totally thoughtless, or chillingly
calculated, as they dealt a severe blow to all the musicians and independent labels in the
eliminated categories that released projects after September 30th, 2010, or planned to release
projects through the 2011 eligibility year, and they undermined the chances of reversing the
decision.
Over 23,000 signatures, most of which were gathered nationally in the last few days before the
February 12, 2012 CBS telecast, were dropped off at the NARAS headquarters in Los Angeles
on Thursday, February 9, 2012 and the only comment NARAS president Neil Portnow could
muster was "It seems they lack general support." That bit of brilliance from the president of a
non-profit organization that is supposed to honor excellence in American music and advocate for
us, the membership.
11 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
NARAS should lose that position and invest the 1.4 million every year into sensitivity training for
administration and staff, and for outreach into the eliminated communities to truly enrich the
organization and the Grammys.
This is ultimately a battle for the rights of youth as well as to honor our ancestors. It would be
easy to say "Farm those mother- truckers - they've never had our backs and never had other
intentions than extreme profits all along - why would I want to be associated with them at all?"
But they are sending a terrible message to youth and to the world - that only the most
commercial art is worth recognizing. They are aligning themselves with the worst aspects of our
society, not only in that they have no tolerance, but they also have no idea what the terms
diversity and mutual respect mean. As they slice off a huge chunk of non-commercial music and
continue to dumb down the images and representations of music that the vast majority of
Americans will see, they are applauded by the big music industry and most pop artists who
through their silence on the issue are strongly complicit. Their killer capitalist instincts do not
allow them to celebrate all American music of historical importance. They are on a mission to
completely dominate the musical horizon, not only economically, but even in terms of recognition
and honor.
This is a complex issue and it goes beyond questions of race. But neither can the racist
implications of what has been done be swept under the rug as they have been traditionally.
Racism is pervasive. It is firmly imbedded in the psyche of most Americans of all colors despite
centuries of claims to the contrary. Most of us do not understand the subliminal power of
internalized racism. Hiding racism behind profits is lesson #1 in the capitalism-gone-berserk
handbook.
But the folks who perpetuate it are always in denial and actually think they are slick, not realizing
that they are trying to hide an elephant behind a fire hydrant.
For example, Rap has got to be one of the industry's worst nightmares. Ten or twelve years ago,
LL Cool J was one of several Rappers who boycotted the Grammys for their lack of inclusion.
They knocked the door down and firmly planted Rap and Hip Hop in the Grammys and in
mainstream America. The only thing worse for the folks who tried to deny them would be if Latin
Jazz, Native American, Blues, Instrumental Rock, Contemporary Jazz, R&B, World Music,
Zydeco, Cajun, Hawaiian, Polka, and all the categories they recently deemed unworthy,
continued cutting into the mega billions pie. The fact that greed trumps racism does not negate
the existence of racism.
NARAS' dastardly action is right in step with the greed that has so completely inundated and
contaminated every aspect of our society.
This type of thinking and movement to deny equal access is not new, but those who invent and
benefit by it used to be concerned about their actions being clandestine, for fear of their obvious
evil being exposed. Not any more - It's been in our faces since George W was propped up as
leader of the free world, with the inability to speak in complete sentences and the clear goal to
grease the wheels for only the most right wing economic and military elements. Everything from
war crimes to the boldfaced rip-off of our own citizens in every way imaginable from housing to
12 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
healthcare, education and social security has been exposed with hardly a slap on the wrist
handed to anyone. So it is not totally surprising that in this atmosphere, this decree by NARAS
raises its ugly head with unmitigated support by the folks at the top of the economic ladder and
those who have been brainwashed by that power machine.
They cannot be allowed to stomp on us like this and go unchallenged, as history shows clearly
that they will not stop disrespecting us until we who defend equality and human rights stop them.
Let it also be clear that we stand united with all the eliminated categories and with Herbie
Hancock, Eddie Palmieri, Carlos Santana, Paul Simon, the Reverend Jesse Jackson, Cornel
West, Bill Cosby, Chick Corea, Stanley Clark, Pete Escovedo, Larry Vuckovich, Oscar
Hernandez, Dr. John Calloway, Larry Harlow, David Amram, Wayne Wallace, Bobby Sanabria,
Randall Kline, Clayton Leander, Bobby Matos, Ramon and Tony Banda, Rene Camacho,
Professor Dartanyan Brown, Mark Levine, Dr. Ben Lapidus, Dr. Chris Washburne, Sandy
Cressman, Gary Eisenberg, San Francisco Supervisors Eric Mars and John Avalos, the San
Francisco Arts Commission, Presente.org, the National Hispanic Media Coalition, the National
Institute for Latino Policy, Democracy Now, Urban Music Presents, and so many other musical,
academic and community leaders as well as with hundreds of thousands of musicians, fans,
supporters and industry workers in opposing this disastrous decision by NARAS. W e've met with
them, written and re-written proposals at their request, and jumped through hoop after hoop and
they've stonewalled us every time.
1000 thanks to all of you who have spread the word. Please continue to forward this urgent and
viral movement to get NARAS moving once again, in the right direction. Check in regularly with
GrammyWatch.org to keep abreast of what's happening, as related stories are emerging daily.
Keep writing to the NARAS brass at the addresses found on GrammyW atch.org.
It is only the constant and growing public pressure and outcry that has gotten their attention and
that of NARAS supporters. Know that everything works out in the end. If it hasn't worked out, it's
not the end.
http://www.grammywatch.org for updates, addresses, and info, and please let Grammy
broadcaster CBS know your thoughts directly with the link below, ...
CBS comment form:
CBS.com Feedback
In solidarity ...
John Santos
Five-time Grammy nominee, educator, composer, producer, percussionist, bandleader, US Artist
Fontanals Fellow, 25 year NARAS member
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves
13 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
and pimps run free, and good men die like dogs. There's also a negative side." - Hunter S.
Thompson
Latin Jazz Genre "Dissed" by the Top Brass at
NARAS Why the Decision of NARAS to Remove 31
Categories from the Grammy's Makes No Sense
Text and photos by Gary Eisenberg
14 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
15 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
As many in our musical world are now aware, the top brass at NARAS decided (without
consulting rank-and-file members) to eliminate the Latin Jazz category, along with 30 others,
including many of the less commercial ethnic genres such as Zydeco and Native American
music. From what I can tell, NARAS seems to be making the argument that there is no need for
such categories - that they are redundant fat that needs to be trimmed. They seem to be telling
us that Latin Jazz is essentially the same thing as other jazz genre outgrowths - that it belongs in
the same award category as straight-ahead jazz, for example. This makes no sense at all. Latin
Jazz is to straight-ahead jazz (just as an example), as an apple is to an orange. Yes, they are
both fruit. But I would not want to enter my prize-winning naval orange in a contest with apples
and plums. While they do dwell in the same general category as fruits, they have very different
characteristics. It would be ludicrous to have a Grammy category in which Herbie Hancock's
latest offering is vying for the same award as, say, the latest recording by Poncho Sanchez. It
simply makes no sense at all.
Latin Jazz is just what those words SAY it is: Latin Jazz. It's not straight-ahead jazz, it's not
smooth jazz, it's not Dixieland jazz and it's not swing-era jazz — it is Latin Jazz. And as such, it
NEEDS its own category. Likewise, Zydeco music is ZYDECO music. Yes, it is also reasonably
16 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
included in a category (a manufactured one, by the way, due to marketing motives) that has been
referred to as "world beat." Does it really make any sense at all to place Zydeco in the same
contest category as Reggae?
I think it was Ellington that said there are really only two kinds of music..."good music and the
other kind." Well, the Duke was right about this, as he was right about so many other things. But
now, here we are, stuck with all these myriad genres - many of which have been artificially
constructed for marketing purposes. And the entire Grammy MESS that we're in was, in large
part, caused by that very organization's own machinations over the years. They can't just pack
up now, like Wal-Mart stores do around the country when the going gets economically tough. So
we're now stuck with all these myriad categories...genres...whatever one wants to call them. And
lots of folks look at a Grammy recognition (nomination as well as award) as a kind of
endorsement that might encourage them to purchase one recording instead of another.
17 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
So if the Grammy Brass want to pare things down, then let them have ONE category for their
infomercial shindig: BEST RECORDING. Punto y aparte. Otherwise, if they're going to do the
category thing, then they need to be inclusive, culturally sensitive, and, yes...INTELLIGENT
about it.
18 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
19 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
20 of 52
http://www.latinbeatmagazine.com/features.html
¡Adios, Guajira Linda!
By Chico Alvarez Peraza
Images courtesy of Humberto Corredor
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
21 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
22 of 52
http://www.latinbeatmagazine.com/features.html
On March 25th, 2000, the Latin music world bade farewell to Luisa María Hernández. She was
beloved by all who knew her personally and respected by anyone who had a chance to work with
her professionally. But, like so many other artists of her generation, her story remained untold
until now. If you Google her name, you will not find any biographical data, not even an
obituary—just a few sound files that can be downloaded for the usual fee. This is a good start, of
course, because it allows one to hear the voice, see the face, and feel the soul of an authentic
Cuban guajira.
The fact that she was identified with that particular style of music may also account for Luisa
María's anonymity or inconspicuousness within the field of popular Cuban music in the U.S. Her
death marked the end of this genre within “salsa,” the all-encompassing umbrella category.
Sadly, not a single North American-based dance band out there today will even bother to
interpret a good guajira, a fact that is not lost to the musicians who still interpret this form on the
largest Caribbean island, albeit for tourists only. Even there, among the new generations, the
guajira and the son are not the most popular music forms.
While all this may be material for yet another current story, it was evident even ten or fifteen
years ago. Not even Celia Cruz, at her zenith as the "queen of salsa," when she had the power
to do so, ever ventured into Luisa Maria's turf (although during her tenure with La Sonora
Matancera, she did manage to belt out more than her fair share of guajiras). Instead, Celia
seemed to favor the son montuno and the guaracha.
So what happened? We can only speculate at this point, but it appears that the only time we get
to hear anything remotely resembling música guajira (Cuban country music) is whenever
someone pulls out an old recording of “A Santa Bárbara” by Celina and Reutelio at a party. That
particular recording was a huge hit among salseros, passing the test of time, and it is revered
even by jazz fans. Celina González, along with her husband Reutilio, also wrote "Yo soy el punto
cubano", another guajira number that has become a standard in many countries throughout the
world. My guess would be that there is just no one out there right now who can handle it. I do
hope that I am wrong (there is, of course, Eliades Ochoa, who is the true personification of a
guajiro and credited with keeping this style alive in his native island). But who else can we point
to and say, "Yeah, that's it, that's what I'm talkin' about!"
Apart from the musical form that we've all grown up listening to, exactly what is a guajira,
anyway?
Cuando en los prados de mi Cuba hermosa
Mi guajira gentil llena su falda
De frescas hojas de jazmín y gualda
Para jugar con ellas primorosa…
Los guajiros adóranla de hinojos
Y yo embriagado de pasión vehemente
De amor me abrazo a sus divinos ojos
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
23 of 52
http://www.latinbeatmagazine.com/features.html
- Juan Cristóbal Nápoles Fajardo, "El Cucalambé"
PREAMBLE:
Throughout the history of the island nation, and particularly during the era of the post-colonial
republic, guajiros have been the backbone of the economy. They have harvested the tobacco
crops and driven the cattle on the ranges. Guajiros are mostly farmers and herders, but the term
may also apply to the vaqueros, or cowboys. While farmers usually cultivate the land to produce
food and a rancher normally raises cattle or other animals for grazing purposes, the two terms
are often interchangeable. Guajiros and vaqueros are to Cuban culture what the cowboy and the
farmer are to the North American West, as they each worked (on and off) in both of these
industries.
SPANISH ROOTS
It is interesting to note that the origins of the North American cowboy tradition come from Spain,
beginning with the hacienda system of the medieval period. This style of cattle ranching spread
throughout much of the Iberian Peninsula and was later imported to the Americas. Both Spain
and the North American West possessed a dry climate with sparse grass, and thus large herds
of cattle required vast amounts of land in order to obtain sufficient forage. The need to cover
distances greater than a person on foot could manage gave rise to the development of the
horseback-mounted vaquero (cowboy)... In Cuba, the term guajiro was also applied to just about
any rural worker, but specifically to those plantation workers who seasonally cut down the sugar
cane and plantains.
During the 16th century, the Spain conquistadores and settlers brought their cattle-raising
traditions as well as their horses (the earliest horses were originally of Andalusian and Arabian
ancestry) and domesticated cattle to Cuba and other Spanish-American colonies. The Spanish
traditions were transformed by the geographic, environmental, and cultural circumstances found
on the largest Antillean island.
To the surprise of many social researchers, one finds in the mountainous region of Oriente
(Eastern Cuba) a community of about a thousand direct descendents of the original Indian
inhabitants of the island. It is ironic that many of those same urbanites that foolishly ridicule the
guajiros also pay tribute (in song) to the “bohío,” a type of Indian hut that is synonymous with
rural country life.
The term “guajiro” has been defined by the dictionary as follows: (Noun) A peasant class or
farming man or boy. A man or boy from the countryside. (Adjective) "Country boy" or "hick". In
addition, those people of an indigenous Amerindian ethnic group in northern Colombia called
the "Wayùu" (also refered to as "wajiro/a).
Now that we have gotten to the root of the word, let us explore the musical side of that moniker,
and what it means to be a “guajiro de monte adentro” (or downhome guajiro). And what a better
way to start such exploration than with possibly the most famous female interpreter of the rural
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
24 of 52
http://www.latinbeatmagazine.com/features.html
guajira form. Please be mindful, however, that this is not just a biographical outline of a particular
stylist, but also a study of the genre itself and an inquiry as to the recent downplaying of this
genre within popular modern music circles. Ultimately, one must ask: "Is guajira singing a lost
art?”
Her professional name was LA INDIA DE ORIENTE and her specialty was singing the guajira, an
easygoing ten-line rhymed verse that originally alternated between 3/4 and 6/8 meters. The first
part was usually written in a minor key, and the second part in major, invariably ending on the
dominant chord of the key in which the song was written. Guajira lyrics usually dealt with an
idyllic campesino (rural) lifestyle, bucolic in its theme. Its tempo was andante, or brisk, and it
co-existed with a modality known as guajira-son, which actually fused the two genres, adhering
more to the 4/4 time signature of the son. The earliest sones were probably sung as improvised
coplas, alternating later on with an estribillo, a repeated choral answering refrain that is now
known as the montuno. The latter may have also influenced the guajira de salón, a smoother,
more sophisticated and laid back version of the guajira-son, also played in 4/4, sans the
montuno section, or it may have simply developed directly from the rural guajira. This modality
has often been (erroneously) referred to as the “modern” school of guajira, which later took on a
life of its own. Stylistically, the singer would approach it in the same manner as he or she would
approach a canción romántica (love ballad), utilizing the rhythmic tumbao of the guajira-son as its
bedrock. It did not utilize, however, the improvisational call-and-response over the estribillo or
montuno section as the guajira-son. The whole piece was like a poem set to music, and the
lyrics were of primordial importance. Its most visible exponents were Guillermo Portabales and
Ramón Veloz.
Para pintar al guajiro
Con la mayor perfección
Quiero hacer la distinción
Que en todas sus clases miro
Escribir lo cierto aspiro
Aunque mísero coplero
Y la espinela prefiero
Al estilo altisonante
Para que después me cante
En la sabana el montero.
- Francisco Pobeda y Armenteros
Unlike most genres in popular Cuban music, the guajira did not incorporate initially the jazz-tinged
arrangements and improvisations associated with professional musicians living in the urban
centers of the island, nor did it acquire its traits exclusively from the cross-pollination of Cuba's
diverse Afro-Hispanic population. The so-called “modern guajira” was a deliberate and
nationalistic attempt on the part of the generation of the 1940s and 1950s to replace the old
Spanish décima style, whose lyrics invariably revolved around pessimistic and tragic themes.
During the colonial times, the old-school guajira had served the criollos (native Cubans) well as a
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
25 of 52
http://www.latinbeatmagazine.com/features.html
vehicle for protest against the Spanish empire, but now it was time to move on. The new breed
reflected a more optimistic outlook, an attitude that was quite prevalent in the urban areas of the
republic. As early as 1948 and 1949, rumblings were heard in the capital, as the old songs were
being rearranged and new lyrics began replacing the old clichés. Musicians from one end of the
island to the other were trying to keep in step with Havana’s cosmopolitan makeup.
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
26 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
27 of 52
http://www.latinbeatmagazine.com/features.html
As for the actual word “guajira”, there seems to be no literal translation; a guajira is a descriptive
of the typical rural female (mostly of Spanish peninsular or Canary islander origin) and although
there are a few theories out there, no one has quite been able to pinpoint exactly when the
moniker first made its appearance. Nor has anyone ever been able to pinpoint the exact moment
of its conception as an art form either. Like most folk music, it must have surely arrived with the
first settlers, albeit in its most primitive and undiluted form. Until the early part of the twentieth
century, it was quite common to see and hear Spanish couple dances, such as the zapateo, as
well as the archaic modal-based tonada española among the guajiros of the tobacco-growing
areas of the island. Based on Cuba’s character as the original melting pot of the Western
Hemisphere, it was only natural that Spanish nuances and musical traits were being transferred
to the black population as well, and vise versa. Most of what we know today as “Cuban culture”
cannot be categorized simply as “Spanish” or African”, but rather as the result of the long and
complex process of cross-pollination of these racial and ethnic elements. As a result, there
existed on the island “black guajiros”, just as there were “black cowboys” in the old North
American West. Fernando Ortiz’s concept of “transculturation” was at the work in the island’s
rural regions, as well as in the urbanized metropolis. Although the mulatto vocalist Benny Moré
was regarded as a very cosmopolitan individual, he remained at heart a transplanted guajiro. He
embraced the genre like no one had before him, enhancing it with slick arrangements that rivaled
those of any North American jazz band. A perfect example would have to be Guerra and Blanco’s
“Buscando La Melodía”.
This "new" guajira savoured less of a "country feeling", departing drastically from the nasal
Andalusian vocalizings, although its form it displayed a strong affinity to the Africanized son of
the early sextetos, and more specifically to the son montuno, with its perfect blend of fire and
ice, characterized by its sophisticated syncopations, subtle improvisations or flourishes, and its
intricate, but predictable rhythm. The terms “guajira-son” and “guajira de salon” were eventually
dropped, and by the mid-nineteen fifties, every major dance band on the island featured at least
one or two “guajiras” as part of their regular lineup of rhythms, and subsequently, the rest of the
Caribbean followed suit. It was this modernized version that eventually found its way into the
standard "salsa" repertoire of New York City's burgeoning dance bands.
Musically, it would be safe to assume that the urbanized version must have begun, unlike many
of the Cuban music styles of the second half of the twentieth century, as an underground
movement among Havana’s amateur musicians, most of them very young and thirsty for
experimentation, all of them perfectly willing to depart from the traditional Spanish-derived forms.
Up until the advent of Portabales, the guajira song form had remained pretty much as it had been
from the beginning, a story-telling song in décima format. Throughout the first half of the century,
the guajira had been almost exclusively the domain of male singers. Up until this time, its most
famous interpreters had been Joseíto Fernández and El Indio Naborí. Portabales was the bridge
between the old-school and the new-school guajira, between the countryside and the city. Until
the arrival of Celina González, there were practically no women performing this type of music.
But while Celina has remained the icon of the rural school of guajira, the modern school had no
one that could be really identified as primordial representative of that new style. The first guajiras
probably arrived very early on New York City, but the genre didn’t take hold until at least a
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
28 of 52
http://www.latinbeatmagazine.com/features.html
decade after World War II. As the melting pot of the north became thicker and thicker, guajiras
began incorporating certain characteristics of urban North American blacks. By the advent of the
“Latin boogaloo” in the mid-sixties, transplanted “guajiras” were sung in fluent English, but with a
decidedly U.S. black accent. Practically every popular Latin male singer in New York embraced
the form at one time or another, and invariably they all listened to Portables, who was probably
the consummate modern guajira singer. But there still were no women, or at least none that were
visible. Then along came LA INDIA, whose vocal prowess even as a child was obvious to
anyone who came near her.
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
29 of 52
http://www.latinbeatmagazine.com/features.html
By most accounts, “La India” was born LUISA MARÍA HERNANDEZ on July 29, 1920 in the town
of El Cobre, near Santiago de Cuba, in the eastern province of Oriente, the very same town
where her parents first enrolled her in the local Catholic church choir. According to her own
account, this was also the place where she actually began her career, singing solemn hymns
during the services held in honor of La Virgen de la Caridad del Cobre, the island’s patroness.
Her father adored her and realized her potential early on. He presented her with a guitar as a gift,
which she quickly mastered. Accompanying herself in the style of the great trovadores, La India
soon began cultivating her God-given talent, preparing herself for a professional career. Her
family eventually relocated to Santiago de Cuba, where she made her debut at radio station
CMKC, interpreting various standards from the great Cuban songbook, thus turning her
professional name into a household word in the island’s second largest city. Accompanied by
pianist Nene Valverde, she began putting her own particular stamp on such boleros as “Tres
Palabras” and “Reflexión”. It wasn’t long before she began to perform with the legendary Trio La
Rosa on another local radio station.
During the late 1940s, La India performed and recorded many “singles” with this renowned trio,
some of which were used as theme songs for various “radionovelas” (radio soap operas). The
majority of them were sponsored by soap companies, which accounts for their being referred to
as “novelas jaboneras” (soap novels). These radio-novelas coincided with the advent of the
jukebox, and it is safe to say that in many instances, the success of one medium was due in part
to the success of the other. Obviously, Trio La Rosa’s sound was too influenced by Mexico’s
Trio Los Panchos, but one can also hear in their music obvious strains reminiscent of the
dramatic Mexican ranchera style that was so popular not only in Cuba but throughout Latin
America. Indeed, there was more than just a slight touch of dramatic narrative in their songs, and
this may have been due to those parallels drawn from the soap operas. In a few of their
interpretations, whether purposely or not there, a certain Peruvian folkloric influence was
injected, albeit with a distinct Cuban flavor. Musically speaking, they were a treat to the
eardrums. Their voices jelled beautifully and the guitar work was impeccable.
Harmonically, they weaved an intricately woven tapestry of sound. Conceptually, they must have
put a lot of time and effort into their presentations, working as a team (not just as musicians, but
as thespians too). Added into the overall mix were equal parts of love and dedication, plus a
charisma that in recent times has only been rivaled by the North American trio of Peter, Paul and
Mary. Interestingly enough, the thing that made both of Trio La Rosa and Trio Los Panchos (far
apart in terms of epoch) so unique was, of course, their selection of tunes, their accessibility to
the public, and the presence of a soulful lead singer, whose powerful voice and feeling was
uncanny. But as Cuban music entered into the decade of the fabulous 1950s, La India
instinctively moved on, embracing all genres, in spite of her country image and phenotypical
moniker. After her successful stint with Trio La Rosa, she did what most female vocalists of that
era did; she went for a solo career.
Shortly after her departure from Trio La Rosa, La India signed a contract with the Panart label,
and “Contestación a ‘Por Seguir Tus Huellas’” was recorded. It was her first bonafide hit. Her
voice was heard all over her native island, and throughout the beautiful Caribbean, particularly in
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
the sister islands of Puerto Rico and Hispaniola. When she arrived in the booming metropolis of
Havana, she was already a star, under an exclusive contract with Laboratorios Gravi (a soap
company), to appear on the program “El Madrugador,” at the RHC (Cadena Azul radio station).
Subsequently, she was heard on “Historia de Cuba a Través de Sus Canciones” (with Pablo
Medina) and on “Tardes Mexicanas”, along with the famed Trío Torre Monterrey. W ith this group,
La India interpreted popular Mexican melodies, albeit in a very Cuban style. Her fame grew and
in 1950, the renowned radio and television producer Gaspar Pumarejo included her as part of
the roster of artists on Unión Radio. It was at that point that she was finally let loose to do her
“sonera” thing, and it was also during this time that she acquired her reputation as a leading
interpreter of “música guajira” (Cuban country music). Her specialty, of course, was singing
guajiras and sones montunos, but in the so-called “modern” vein. Pumarejo was not only a mogul
but a visionary, and subsequently, he included her on his television show as well, whereupon the
entire Republic of Cuba discovered exactly what “La India de Oriente” looked like. Her nickname
(although technically a misnomer) was derived from her racial and ethnic make-up. She was, by
Cuban standards, a “mestiza”, a phenotype of distinct European, Asiatic or African features
commonly found in Oriente (Cuba’s easternmost province), whose cinnamon-colored skin and
straight black hair was undeniably a source of ethnic pride for many Cubans. But as beautiful as
La India may have been, it was not her beauty that put her on the musical map, but rather her
innate vocal talent, which won her a spot with the orchestras of the great Julio Guiterrez and with
Orquesta Habana Casino. “Jueves De Partagás”, was one of the most popular Cuban TV shows
of its time and it was transmitted by Havana’s Chanel 6. It was on this program that La India was
often featured in duets with the likes of Barbarito Diez, and even with Celia Cruz. But the winds
of revolution were in the air, and in fact, became a brutal reality in 1958-59. The quiet country girl
from El Cobre would soon find herself in the same predicament as many other exponents of
Cuba’s artistic community. By 1960, the exodus of musicians and other artists had already
begun. For many of the island’s artists the logical place to be was up north (in “the belly of the
beast,” or “the land of milk and honey,” depending on your political point of view). For thousands
of Cubans, “El Norte” was the home of the brave and the land of freedom and justice. I once
asked her how she felt in those days of consternation. Her reply was simple: “I did the right
thing”.
In 1960, La India arrived in Miami, where she remained for the first three years of her
self-imposed exile. An insufficient amount of work in the casinos of the hotel district led her to
travel north to New York City, where she literally had to start from scratch, working whenever
and wherever she could. Surprisingly enough, she was not that well-known among the city’s
Hispanic population. For the next ten years, she made the Big Apple her home base, recording
her first two albums for the Gema label, “Décimas y Guajiras” and “Julio Gutiérrez y Sus
Guajiros”. La India did not, however, go the “band singer” route, as had La Lupe and Celia Cruz,
but rather opted for the stability and security of the cabaret scene. There were literally hundreds
of small clubs where a singer could find permanent work and avoid having to travel all over the
five boroughs in a carload of musicians. It was in places such as El Reloj, El Mesón Español, La
Roca, Club 38 and Union City’s Catalino’s Steak House where La India found her niche. I feel
privileged and honored to have played with this congenial singer on more than one occasion.
She was an incredible performer who totally captured her audience, and despite the fact that she
30 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
was always being billed as “La Reina de la Guajira,” she was an incredible bolerista in her own
right. In Cuba, where her image has been obscured for decades, the now-famous jukeboxes of
the pre-Castro era harbored such La India & Trio La Rosa goodies as “Traición a Un Sacrificio,”
“Mil Veces Falsa,” “Ella Es Una Más,” “No Puedo Perdonarte,” “Fue En La Cantina,” “El Penado
Arrepentido,” “Muchacha Perdida,” “Calumniada,” Soy La Pecadora,” “Por Borracho y
Parrandero,” “Burlada” and the unorthodox “Llamándote” by Alexis Brau, a song that utterly
defied categorization and never really belonged to such dramatic genre. Yes, she was also very
good at interpreting a “feeling” song. I bore witness to her many cabaret interpretations of
“Inolvidable” and “Perdón”, and I can testify as to her veracity in regards to the lyrics and her
overwhelming delivery of the melody. Although she never recorded an album of “Latin standards,”
her versions of said classics will live in my mind forever. Of course, whenever she did “El Amor
de Mi Bohio,” I just about cried all over my bongoes.
31 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
32 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Right around the end of the decade of the 1970s, La India decided that she would give Miami
another shot and try her luck there again. By this time, Miami's nightlife was just beginning to
flourish. Still, New York would beckon to her once again, and she found herself flying up north to
record a series of albums for the Guajiro label, owned by Sergio Boffill, Adriano Garcia, and
Roberto Torres. With the exception of the material she did in Cuba (which has been
unfortunately lost), these are her finest recordings, and it's a good thing that they are still
available.
There was also a very fine session done for Caimán Records, produced by guitarist/
arranger/composer Juanito Márquez. This record sold very well and was distributed
internationally, allowing her to travel to México, Colombia, Curaçao and Africa. Her magnificent
voice was also heard with the SAR All-Stars at a number of venues in New York and elsewhere.
But she was never really happy living up north, and although an undisclosed illness had been
plaguing her, she continued to travel back and forth. Feeling quite lonely during the last couple of
years, she decided to call it quits, preferring to spend her final days in the Sunshine State,
because it reminded her of her homeland. On Saturday, March 25, 2000, La India De Oriente
passed away quietly in Miami, but not before she had the satisfaction of knowing that the popular
music of Cuba, after having undergone so many transformations, had finally returned to its island
roots. The classic sessions available on the SAR label, plus a number of albums released by
Fania, coupled with the subsequent recordings on the Cuban state-owned Areito label and the
incredible worldwide success of Buenavista Social Club had seen to that. After so many years of
hearing watered down material, she was happy to hear authentic Cuban music being played. At
her request, La India's remains were cremated and her ashes were shipped to El Cobre, and
who knows, maybe there will be someone there to welcome her home and perhaps even sing the
old Ignacio Piñeiro standard "Alma Guajira" to her returning spirit.
A Selected Discography of LA INDIA DE ORIENTE
Décimas Guajiras (Gema, 1970's)
Julio Gutiérrez y sus Guajiros (Gema, 1970's)
¡Desde El Cobre con amor! (Guajiro, 1980)
La India de Oriente (Guajiro, 1981)
Buenos Días, Africa (Guajiro, 1982)
La Reina de la Guajira (Caimán, 1985)
La India De Oriente (Virgin Records, 1999)
Latin Jazz - The Fastest Growing Musical Genre in
the World
By Nelson Rodríguez
33 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
As the first decade of this new millennium came to an end, it became evident to this writer that
Latin jazz* has become one of the strongest and fastest growing musical genres in the entire
world. Instead of recognizing is amazing ability to generate so many recordings, the National
Academy of Recordings Arts & Sciences (NARAS) chose to eliminate Latin jazz as one of its
musical categories.
Latin jazz (or Afro-Cuban jazz) enjoyed an incredible growth rate since the late 1980s into the
1990s, with recordings surfacing from all corners of the world, and Latin Beat Magazine has
been documenting this genre for the past 21 years. Similar to the increase in salsa recordings
over the past two decades, Latin jazz has a talent pool that continues to grow and evolve. Unlike
salsa and all the other Latin music genres, Latin jazz is much more innovative and can
incorporate many different elements to the fundamental patterns of what many music historians
regard as the only true North American art form: JAZZ.
Jazz was huge in Cuba, as described by Leonardo Acosta on his book “Cubano Be, Cubano Bop
(One Hundred Years of Jazz In Cuba),” a great historical documentation of the early days of
Cuba jazz, including the great contributions of Bebo Valdés. For many of us the history of U.S.
Latin jazz begins in the 1940s in New York City, with the accomplishments of Machito and his
34 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Afro-Cubans (featuring Mario Bauzá, considered the Godfather of Afro-Cuban Jazz), Noro
Morales, and Chico O’Farrill.
Many U.S. jazz bandleaders of the 1940s and ‘50s incorporated into their recordings some of the
best percussionists available at that time, including Carlos ‘Patato’ Valdés, Cándido Camero,
Armando Peraza, Ray Barretto, Sabú, Ray Mantilla, Chino Pozo, Francisco Aguabella and many
others.
The list of Non-Hispanic U.S. jazz artists that have become fascinated throughout the years with
Latin rhythms includes the likes of Stan Kenton (who helped to expose Jack Costanzo to the
West Coast, Hollywood and the world), Dizzy Gillespie (backed by the Cuban percussionist
Chano Pozo and the great standard “Manteca’), George Shearing, Cal Tjader, Gene Ammons,
Wes Montgomery, Red Garland, Art Blakey, Art Taylor, Herbie Mann, Grant Green, Billy Taylor,
Erroll Garner, Lou Donaldson, Charles Kynard/Buddy Collette, Houston Person, Clark Terry,
Sonny Stitt, Art Farmer, Eddie ‘Lockjaw’ Davis, Pharoah Sanders, Herbie Hancock, Johhny
Lytle, Dave Pike, McCoy Tyner, George Benson, Eric Dolphy, The Jazz Crusaders, Joe
Henderson, Kenny Dorham, Clare Fischer, Chico Hamilton, Freddie Hubbard, Hubert Laws, Emil
Richards, Terry Gibbs, Ron Carter, Bob Mintzer, Bill Summers, Ralph MacDonald, Shorty
Rogers, David Murray, Les McCann, Chick Corea, Bobby Hutcherson, Weather Report, Kenny
Kirkland, Mark Soskin, Mingus Big Band, Ramsey Lewis, Dave Samuels, Ronnie Jordan, Charlie
Haden, Joe Jackson, Cedar Walton, John Patitucci, Wayne Shorter and Dave Sanborn, just to
35 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
name just a few.
On the other hand, many Latin American musicians, heavily influenced by jazz, have fused Latin
rhythms with jazz since the 1940s, as documented on the recordings of Machito, Noro Morales,
Bebo Valdés, Chico O’Farrill, Tito Puente, Cándido Camero, Dámaso Pérez Prado, Juan Tizol,
René Touzet, Frank Domínguez, Felipe Dulzaides, Pucho Escalante, José Fajardo, El Gran
Fellove, Graciela, Juanito Márquez, Gustavo Mas, José Antonio Méndez, Luis Miranda, Astor
Piazzolla, Armando Romeu, El Negro Vivar, Eddie Cano, Julio Gutíerrez, Tito Rodríguez, Joe
Loco, Cachao, Sabú, Mongo Santamaría, Ray Barretto, Willie Bobo, Pete Terrace, Willie
Rodríguez, Bobby Montez, Chino Pozo, Felo Bargaza, Pucho & The Latin Soul Brothers, Bobby
Paunetto, Marco Rizo, Miguelito Valdés, Niño Rivera, Francisco Aguabella, Los Amigos (Frank
Emilio Flynn, Tata Güines, Gustavo Tamayo, Guillermo Barreto, Orlando ‘Papito’ Hernández,
etc.), Peruchín, Pupi Campo, Walfredo de los Reyes, Al Castellanos, Ramón Márquez, Alfredito,
Alberto Socarrás, Charles Fox, Randy Carlos, Charlie Palmieri, Eddie Palmieri, Mario Bauzá,
Latin Percussion Jazz Ensemble, Jorge Dalto, Ray Mantilla & Space Station, Esy Morales, Luis
Gasca, Pete Escovedo, Combo Silva, Emiliano Salvador, Luis Benjamín, Luis Varona, Buyú
(José Mangual, Sr.), Armando Peraza, René Bloch, Antobal’s Latin All-Stars, Joe Torres, Julio
Andino, René Hernández, Paul López, Manny López, Bobby Carcassés, Carlos Vidal, Mike
Pacheco, Gato Barbieri, Jesús Caunedo, Paquito Hechevarría, Sonny Bravo, Pedro Ituralde,
Generoso Jiménez and Tete Montelú.
36 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
With the exception of those issued by the West Coast labels Concord Picante and Cubop, there
were very few U.S. Latin jazz recordings released in the 1980s and early 1990s. While “salsa
sensual” ruled the commercial Latin airwaves of the U.S. East Coast, Puerto Rico and Latin
America, many salsa musicians felt frustrated with the lack of innovative arrangements that did
not allow them to express their skills as soloists, and decided to explore their creative options
through the Latin jazz idiom.
While on a trip to Puerto Rico to present a Platinum Record award to salsa singer Tony Vega on
behalf of RMM Records, I had the opportunity to talk to Humberto Ramírez about a recording he
had made for Ralph Mercado. After listening to it I was able to convince Ralph to release it and
give me the chance to promote it through his Tropijazz label.
In addition to TropiJazz, there were other small labels available, as well as many Latino
musicians who came from the new generation that emerged during the salsa/ Afro-Cuban music
years, such as Ray Vega, Papo Vázquez, William Cepeda (with a unique concept that combines
Afro-Rican roots with the jazz heritage of Borinquen), Ralph Irizzary’s Timbalaye, Andrea
Brachfeld, Jerry González, Dave Valentín, Néstor Torres, Charlie Sepúlveda & Turnaround,
David Sánchez, Giovanni Hidalgo, Juan Pablo Torres, Daniel Ponce, Luis Bonilla, Alfredo de la
Fé, Chris Washburne, Hilton Ruíz, Michael Orta, Rebecca Mauleón, The Bronx Horns, Tito de
Gracia, Elliot Feyjoo, Conrad Herwig, The Latin Giants of Jazz, Brian Lynch, Ronnie Cuber, Tony
Luján, Pete Rodríguez, Roberto Quintero, Endel Dueño, Papo Lucca, Chembo Corniel, Edwin
Clemente, Steve Turré, Junior Vega, Rick Davies, Eddy Martínez, Oskar Cartaya, Piro
Rodríguez, Luis Marín, Polito Huertas, Rick Arroyo, Robert Incelli, Manny Silvera, Martín Arroyo,
Alfredo Rodríguez, Ray Armando, Julito Alvarado’s Del Sur al Norte, Jamie Dubberly & Orquesta
Dharma, José Lugo, and Robert Navarro.
37 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
An impressive list of additional Latin American artists who just gravitated to Latin jazz and have
dedicated their careers to the genre must also include Irakere and all those Cuban musicians
who evolved from that multigenerational institution —Chucho Valdés, Arturo Sandoval, Paquito
D’Rivera, Enrique Plá, Carlos Averhoff, Jorge Varona, Germán Velazco, César López, Orlando
Valle (Maraca), José Luis Cortés (El Tosco), Carlos del Puerto, José Miguel Crego (El Greco),
etc. The next generation’s list must include the names of Arturo O’Farrill and the Afro Latin Jazz
Orchestra, Gonzalo Rubalcaba, Danilo Pérez, Michel Camilo, Julio Barreto, Afrocuba, John
Santos, Bobby Sanabria, Luis Conte, Sammy Figueroa, Andy Durán, Bellita, Poncho Sánchez,
Bobby Matos, Henry Brun &The Latin Playerz, Ben Lapidus & Sonido Isleño, Ignacio Berroa,
Bobby Rodríguez, Steve Berrios, Pedro Guzmán & Jíbaro Jazz, Hilario Durán, The Banda
Brothers, Justo Almario, Omar Sosa, Mayra Valdés, Johnny Blás, Ernán López-Nussa, Bobby
Ramírez, Miguel Zenón, Ramón Valle, Jorge Reyes, Frank Cano, Edward Simón, Horacio ‘El
Negro’ Hernández, Joaquín Pozo, Manuel Valera, The Estrada Brothers, Johnny Conga, Elio
Villafranca, Jazz On the Latin Side All-Stars, Dafnis Prieto, Amadito Valdés, Roberto Carcassés,
Roberto Fonseca, Samuel Torres, Tony Pérez, Adam Cruz, Luis Perdomo, Otmaro Ruiz, Orlando
Poleo, and Héctor Martignón, and Bongó Logic.
There are other Latin jazz names we should all be familiar with such as Mario Rivera, Pepesito
Reyes, Mauricio Smith, Orestes Vilató, Afro-Cuban Jazz Project, The Jazz Tribe, Orlando
‘Cachaito’ López, Rubén González, Layla Angulo, Janine Santana, Bob Desena, Carlos Sarduy,
Luis Valle, The Latin Jazz Crew, Angel Olmos, Henry Mora, Rumbatá, Clave Tres, Blue Bilongo,
38 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Sexteto Elemento, Fidel Morales, Afro Blue Band, Habana Express, Los Terry, Rumbajazz,
Chuchito Valdés Jr., Tolú, Chano Dominguez, Jesús Rubalcaba, Wendell Rivera, Julio Padrón,
Jorge Prado, Ramón Flores, Basilio Márquez, Peruchín Jr., Zapato Negro, Rumbantela, Oscar
Stagñaro, Tony Martínez, Juanito “Long John” Oliva & AC Timba Jazz, Cuban All-Stars, Laura
Valle, Memo Acevedo, Rumba Club, Edgardo Cintrón, Marlon Simon, Rafael Cruz, Raúl Cabrera
& Jazz Power, Guisando Caliente, Ulises, JJ Oliveros, Cubanismo, Rudy Regalado, Walpataca,
Gary Flores & Descarga Caliente, Otra, La Calle Caliente, Juan Carlos Formell, Gabriel
Hernández, Latin Jazz Coalition, Benny Velarde, David Mora, Egüie Castillo, Columna B,
Manteca, La Onda Va Bien, Romero, Alex Díaz, Pedro Eustache, Afromantra, Grupo Jazz
Tumbao, Ed Calle, Papá Mambo, Aruan Ortiz, Michel Herrera, Chocolate Armenteros, Oaktown
Irawo, Yoel Díaz, Mario Kaona, Lewis Trio, Carlos Jiménez, Rubén González Jr., Juan Pablo
Barrios and his Salsa/Latin Jazz, Luis Muñoz, Newton Velásquez, Daniel de los Reyes, Kiki
Sánchez, Angel David Mattos, Daniel Amat, Osmany Paredes, Lázaro Valdés, Oriente López,
Ileana Santamaría, Cabijazz, Negroni’s Trio, Alex Acuña, Mario Flores’ Latin Jazz Band, Essence
All-Stars, Louie Cruz Beltrán, Tropical People, Johnny Conquet, Angel Meléndez & the 911
Mambo Orchestra, Changuito, Alain Pérez, Víctor Mendoza, Yosvanny Terry Cabrera, Afro Blues
Quintet, Salsamba, Paquito Hechevarría, Cuarto Espacio, Carli Muñoz, Héctor Contreras,
Mamborama Big Band, The Conga Kings, Desmar Guevara & Taller Sica, Kokopelli Latin Jazz
Ensemble, Habana Sax, Richie Flores, Armando Rodríguez/Victor Rendón, Juan Carlos
Quintero, Damirón, Elsa Valle, Willie Martínez, John Benítez, Oswaldo Rodríguez, Mayra
Casales, The Big 3 Palladium Orchestra, Cuban Jazz Combo, Qué Calor, Luis Díaz Quintet,
Mambo Blue, Afrodysia, Cuba LA, Panchito, Enrique Fernández, Steve Kroon, Hamlet and his
Latin Jazz Experience, Nelson Padrón, The L.A. Mambo Combo Latin Jazz Ensemble, Irazú,
Emilio Peñalver, Síntesis, Mambo Negro, Ricky Encarnación, K-Jazz All Stars & Amigos,
Orquesta de Jazz y Salsa Alto Maiz, Jimmy La Vaca, Tumbao Bravo, Nick Ali & Cruzao, Frank
Villafañe, Domingo García, Orquesta Esencia, Los Quiñones-Pacheco Sextet, Christos
Rafalides, Manuel Valera, El Movimiento, Roberto Occhipinti, Las Estrellas Del Comborican,
Steve Pouchie, Soul Sauce, Julius Meléndez, Los Gatos, Tony Succar, René Luis Toledo, Eric
Figueroa, Grupo Esperanza, García Brothers, Ricardo Pons, Robbie Ameen, Carlos Federico,
Nitro Latin Jazz, Pablo Menéndez & Mezcla, Richie Gajate-García, Roland Vázquez, Chicago
Afro-Latin Jazz Ensemble, Milan Latin Jazz Quartet, Fred Ramírez, Leonardo Timor and his
Cuban Jazz Band, Antonio Díaz Mena (Chocolate), Ramón ‘Chino’ Casiano, Harold LópezNussa, Héctor Infanzón Quartet, Sedajazz Latin Ensemble, Edsel Gómez, Joaquín Pozo & Latin
Millenium, Ricardo Estrada, TropiJazz All Stars, Diego Urcola, Víctor Valera, Andy Nevala, Al
Escobar, John Ulloa y su Misión, The Rodríguez Brothers, Charlie Barreda, Luis Barreiro & the
Peanut Vendors, Eliseo Borrero, Jorge Laboy, Bye-Ya The Latin Jazz Quintet, Havana Carbó,
Silvano Monasterios, Chico Mendoza and The Latin Jazz Dream Band, Gabriel Rodríguez, Joe
Gallardo, Richie Zellón, Martes 8:30, Teodoro Morales and his Latin Rhythmeers, Darwin
Nogueras Evolution Quintet, Ray Obiedo, Perico Sambeat, Roberto López Project, Lissy Alvarez
y su Quinteto de La Habana, Alexis Bosch Quinteto, Francisco Mela & Cuban Safari, José
‘Furito’ Rios, Michael James Turré, PerúJazz, Tony Pastrana, Grupo Orinoco, Carmelo García,
Arturo Stable, Eddie Gómez Luis Rodríguez, Puerto Rican Brass and Pedro Bermúdez.
Add to these impressive lists the names of the following non-Latin musicians that have also felt
39 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
40 of 52
http://www.latinbeatmagazine.com/features.html
in their veins the true impact of Latin jazz, such as Mark Levine, Clare Fischer, Vladimir, Wayne
Wallace, Mark Weinstein, Jane Bunnett, Bill O’Connell, Art Webb, Nueva Manteca, Snowboy &
The Latin Section, Harvie S, David Amram, Los Hombres Calientes, Al McKibbon, Bobby Shew,
Hilary Noble, Norman Hedman, John Calloway, Susie Hansen, Grupo X, Lucas Van Merwijk,
Scott Martin, Ed Jones, Oliver Nelson, Al Stephano, Dave Samuels, Brett Gollin, William
Johnson, Andy Narell, Curtis Brothers Quartet, Elliot Caine, Sebastian Schunke, Kathy Kidd &
Kongo Mambo, Dan Dixon & Hot Clave Bop, Joseph Diamond, Mark Townes, Damon Grant
Project, Phil Hawkins, Jerry Rusch, Craig Enright, Keiko Okamoto, Damjan Krajacic, Bobby Rice
& Sandunga, Joshua Edelman, Avishai Cohen, Colette Michaan, Don Grolnick, Nettai Tropical
Latin Jazz Big Band, Robert Josef & Inner Rythmn, Sal Cracchiolo & Melanie Jackson, Steve
Kahn, Jeff Niess & Ensemble, Karen Briggs, VW Brothers, Kevin Jones & Tenth World, Sonando
(from Seattle), Tomas R. Einarsson, Paul Russo, Lannie Battistini, Chico Freeman & Guataca,
Mike Freeman, The Beaujolais Band, Craig Russo’s Latin Jazz Project, Sonic Liberation Front,
Marilyn Lerner, Bill Cunliffe, T.K. Blue, Ed Fast & Conga Bop, Kevin Hart Latin Jazz Quintet, Paul
Carlon Octet, James Sanders, Satoru Shinoya, Michael Philip Mossman, Ascanio Scano, and
Roy Hargrove & Cristal.
While many salsa bands have recorded Latin jazz tracks on their albums since the 1960s, one
finds further proof that the Latin jazz genre is today stronger than ever when almost every new
salsa band around the world includes Latin jazz tunes in their projects. Since the 1960s, the
following salsa/Afro-Cuban music bands have included Latin jazz tracks in their recordings: Willie
Rosario, Mario Ortiz, Sonora Ponceña, Bobby Valentín, Ricardo Ray, Larry Harlow, Rudy
Calzado, Tommy Olivencia, Luis ‘Perico’ Ortiz, Willie Colón, Orquesta Exodo, Monguito
Santamaría, The Gilbert Sextet, Libre, Yambú, Sonora Matancera, Louie Ramírez, Chuito Velez,
Las 7 Potencias, Roberto Roena y su Apollo Sound, Los Hijos del Rey, Conjunto Canayón,
Eddie Bastián and his Swinging Band, Johnny Pacheco, Mango, Orquesta Riverside, Papo
Félix/Ray Rodríguez, Guito y su Conjunto, Orquesta Moderna de New York, Samuel del Real,
The Hi-Latins, Descarga Boricua, La Fantástica, New Swing Sextet, Mulenze, Chico Alvarez &
Nosotros, Johnny Rodriguez/Angel René, Cheo Rosario, Orlando Marín, Orquesta Siguaraya, La
Plata Sextet, Porfi Jiménez, La Cucaracha Brass, Ocho, Batacumbele, Johnny Zamot, Carabalí,
César Concepción, Bobby Rodríguez & La Compañía, Orestes Vilató & Los Kimbos, Eddie
Encinas, Orlando Pabellón, Johnny Ventura, Javier Vázquez, Alfredo Linares, Orquesta
Cimarrón, Bolita y su Tentación Latina, Lito Barrientos, Agustín Arce y Su Nuevo Sonido,
George Hernández, Ricardo Marrero & Time, Coamito y La Orquesta Panamericana, El Gran
Combo, Darioneux, Chombo Silva, Hot Salsa, Cesta All-Stars, Tico All-Stars, Chuito & the Latin
Uniques, Coco Lagos y sus Orates, Típica ’73, Hot House, Estrellas de Caimán, Guayacán,
Orquesta de La Luz, Candido Fabré, Son Boricua, Fay Roberts & Orquesta Charangoa, Nachito
Herrera, Pequeño Johnny (Johnny Rivero), Jimmy Morales, José Lugo, Rigo y su Obra Maestra,
Steve Guasch y su Nueva Era, Grupo Salsafón, David Cedeño, Cintrón, Azabache, Alex Wilson,
3D Ritmo de Vida, Henry Fiol, Opa Opa, José Rizo’s Mongorama, La 33, Edu Trancedi y Bandón
33, Somos Son, Sos Lazaga, Bailatino, Cesar ‘Chino’ Pérez, Junito & Secreto a Voces, Juan
Manuel Ceruto, Connie Grossman, W ayne Gorbea, Caravana Cubana, Jorge Herrrera, Tambó,
Nils Fischer & Timbazo, Pulpo’s Hot Bread, Dorance Lorca & Sexteto Café, Los Caribes,
Orquesta Internacional, Alfredo Naranjo & Guajeo, Carlos Guedes, Willie Villegas & Friends, Lo
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
41 of 52
http://www.latinbeatmagazine.com/features.html
Nuestro, Bamboleo, Frank ‘El Pavo’ Hernández, H.M.A. Salsa Jazz Orchestra, W illy Chirino,
David Lucca & Salzón Jazz, Humberto Alicea, Joel Uriola, Truko y Zaperoko, Enrique Alvarez &
Charanga Latina, La Mas Orquesta, Dislocados, Grez Peña Salsa Band, Paul de Castro y su
Orquesta Dengue, Manolito Simonet, Luis González, Son de Tikizia, Bloque 53, Siguarajazz,
Kongas Orquesta, Cabo Cuba Jazz, Black Sugar Sextet, Sunlightsquare Latin Combo, Lucky 7
Mambo, Javier Gutierrez & Vivaz, and Marco Toro y su Ensemble.
Unlike salsa bands, Latin jazz groups excel at injecting new twists into the arrangements of old
classics or standards. By far, Latin jazz has remained much more creative throughout the years
and continues to evolve, making it one of the best musical idioms that N.A.R.A.S. could be
honoring. Instead, it has exiled the abovementioned genre at a time when its growth is at an
all-time high.
*Editor’s note: As utilized by Nelson Rodríguez in this article, the term “Latin jazz” refers to the
genre’s predominant Cuban/Caribbean dimension and various Iberian/Spanish-American
branches, but does not pertain to its “Brazilian jazz” category.
Latin Jazz Update
The Afro Latin Jazz Orchestra
“The Afro Latin Jazz Orchestra stands for the possibilities of what can happen when you
discard the idea of high and low culture, when you cease to engage in elitist socio-economic
pandering, when you invite the pueblo into your heart, into your song and into your day-to-day
life. For us, that is where the adventure begins.” - Arturo O'Farrill, 40 Acres & a Burro
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
42 of 52
http://www.latinbeatmagazine.com/features.html
The Orchestra performs weekly at the Jazz club Birdland and the Afro Latin Jazz Alliance, the
nonprofit home to the orchestra produces an annual performance season at Symphony Space. In
October Arturo and the Orchestra paid tribute to Andy and Jerry Gonzalez, and our final May
program is entitled, "Big Band Poetry Slam"
On May 11 & 12, 2012, the Grammy winning Afro Latin Jazz Orchestra, under the direction of
musician and composer Arturo O'Farrill will host at Symphony Space, a big band spoken word
celebration of the Nuyorican poetry movement curated by poet and percussionist Angel
Rodriguez, at which a lineup of guest poets will perform their works set to arrangements played
by the Orchestra. The evening will include guest DJs, instrumentalists, and dancers, and aims to
combine the classic sounds of mambo, boogaloo, salsa with hip-hop, acid jazz, turntables and
everything in between! The idea is to pair arrangers with a poet have them collaborate on a
piece, creating accompanying arrangements to their poems to be performed by the ALJO in May.
For more information, http://www.afrolatinjazz.org
Nina Olson/Director of External Affairs
Afro Latin Jazz Alliance
1713 Eighth Avenue/Brooklyn, NY 11215
212-866-6634 Cell: 917-710-6404
nolson@afrolatinjazz.org
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
43 of 52
http://www.latinbeatmagazine.com/features.html
Zak Astor
Zak Astor was 17 when he joined Son Mayor and has been in the band for about 18 mos. He is
currently working on his demo, where he will be singing and of course playing piano. At the
moment he is a student of Oscar Hernandez, with whom he is pictured.
Born in Burbank, California on November 20th 1992, Zak Astor grew up mainly in Woodland Hills,
California, and is of Dominican ancestry.
At age three he entered a Montessori pre-school, and could read shortly thereafter. At age four,
Zak Astor began his formal classical piano study under the tutelage of a Russian Master who
was known for producing child prodigies. Zak had his first recital at age five, and was at age six
identified as Gifted/Highly Talented by LAUSD. At age eight he was performing in public events.
Zak switched to salsa piano at age nine while attending Plaza de la Raza, and added jazz piano
at 10 when he passed the audition for JazzAmerica a program that provides Jazz Master classes
to highly gifted high school musicians.
From 2003-2006 Zak attended Millikan Music Academy, and then in 2004 transferred to Pacoima
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
44 of 52
http://www.latinbeatmagazine.com/features.html
Middle School to join the LAUSD #1 middle school Jazz Band under Musical Director George
Caganilla who just happened to also be the Musical Director of The USAF Jazz Band and who
regularly played at The W hite House. There he attended after school Jazz Master classes
provided by The Thelonious Monk Institute on a weekly basis and received weekly private Jazz
Piano lessons at The Thelonious Monk Institute.
From 2006-2010 he attended and graduated from Los Angeles County High School for the Arts,
an elite high school for the very talented. Zak studied Jazz Piano and Classical Voice, winning
numerous awards, competitions and scholarships. At age 17 he received a call from legendary
salsa bandleader Eddie Ortiz, who invited Zak to join Son Mayor, considered one of the best
salsa bands in Los Angeles, and who perform 10-15 shows a month.
Aruan Ortiz
Aruán Ortiz, “the latest Cuban wunderkind to arrive in
the United States” (BET Jazz), hit the ground running
when he came on the American jazz scene in 2003. A
former classically trained violist and pianist, this
Santiago de Cuba native’s sound is as marked by the
influence of the contemporary classical composers
such as Schoenberg, Ravel, and Copland as by
traditional Afro Cuban sounds and jazz greats Bud
Powell, Art Tatum, and Thelonious Monk.
The music of his upcoming CD Santiarican Blues Suite
(Sunnyside Records, 2012) was commissioned by the
Jose Mateo Ballet Theatre for the 25th anniversary of the company. The ballet “Pagan or Not” by
Jose Mateo was selected one of the best ballet performances in New England in 2011.
Aruán Ortiz is a critically acclaimed and recognized performer, composer, producer and educator
on the New York City scene and around the world.
More info at: http://aruan-ortiz.com/
http://www.emersonbranmanagement.com/aruan-ortiz/
Justo Almario
A native of Colombia, Almario studied at the Berklee
College of Music before becoming musical director for
Mongo Santamaria. He taught at the Henry Mancini
Institute and has mentored inner-city youth during
workshops at the World Stage. He currently teaches
saxophone at the UCLA School of Music and is
working on a new album.
He's currently scheduled to be a part of the
Conference on World Affairs this April 2012 as well as
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
45 of 52
http://www.latinbeatmagazine.com/features.html
performing with Abraham Laboriel Sr. at the Heineken
Jazz Festival in Puerto Rico.
More info on Justo Almario at:
www.justoalmario.net
www.emersonbranmanagement.com/justo-almario/
Daniel Amat
Daniel Amat is a Cuban pianist born in the small town
of Havana called Güira de Melena. He grew up
surrounded by the rhythms and harmonies of his native
Cuba. From a very young age he was influenced by
his father Pancho Amat, one of the most important tres
players of all times, who passed him the tradition of
son, trova, and rumba. While pursuing his formal
studies at the National School of Music in Havana,
Daniel came in contact with classical music, jazz, and
the music of Latin-American composers. Years later
he graduated from the National School of Music
receiving a degree of classical pianist and professor. All of this allows Daniel to have a unique
and authentic style where a fusion can be found between the formal elements of structure, the
balance of classical music and the freedom of harmonies and styles of jazz reminding us of
Oscar Peterson or Art Tatum among others.
Nevertheless, his music is completely dedicated to the main genres of Cuban music such as
Son, Changui, Guaguango, and Danzon. Even though Daniel is influenced by the contemporary
influences of the music of today, his style is deeply based on the roots of Cuban music, thus
creating a unique and authentic musical language.
He's currently working on his upcoming CD, looking at a summer/fall release.
For more info: www.danielamat.com
www.emersonbranmanagement.com/daniel-amat/
Inside Latin Jazz
The Inside Latin Jazz series is an educational outreach series featuring interviews with leading
Latin jazz artists. Moderated by flute soloist and Professor at Whittier College, Danilo Lozano,
this is something every lover of music will not want to miss. Presented by Whittier College Music
Department and Emerson Bran Management, it is made possible by the generous support of the
BCM Foundation.
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
46 of 52
http://www.latinbeatmagazine.com/features.html
Some of our previous guests include: John Santos, Bobby Sanabria, Oscar Hernandez, Justo
Almario, Rebeca Mauleon, Abraham Laboriel Sr., Jack Costanzo, Pete Escovedo and many
others
Valentine's Celebration at the Lehman Center
Bronx, New York City
Photos by Allen Spatz
Lehman Center for the Performing Arts continued its 31st season with SALSA CON AMOR, a
sensuous Valentine’s Day celebration of love for one night with three of Salsa’s most popular
and gifted soneros: ISMAEL MIRANDA, JOSÉ ALBERTO “EL CANARIO” and DOMINGO
QUIÑONES on Saturday, February 11, 2012.
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
47 of 52
http://www.latinbeatmagazine.com/features.html
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
48 of 52
http://www.latinbeatmagazine.com/features.html
This all-star concert, featuring classic Salsa hits spanning over 40 years, was produced by
Lehman Center and José Raposo. Lehman Center for the Performing Arts is on the campus of
Lehman College/CUNY at 250 Bedford Park Boulevard West, Bronx, NY 10468.
Ismael Miranda, born in Aguada, Puerto Rico, moved to Long Island at age four and later to the
Lower East Side. He began singing lessons at age eight and by 11 had mastered the congas. He
performed with the bands of Pipo, Benny Ortiz, Raúl González and Andy Harlow before joining
Joey Pastrana's Orchestra at age 16, making his recording debut on 1967’s “Let's Ball” on the
hit track “Rumbón Melón.” That year he joined Larry Harlow’s band and over five years recorded
several hit albums, including 1968’s “Orquesta Harlow Presenta a Ismael Miranda,” and
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
49 of 52
http://www.latinbeatmagazine.com/features.html
composed several songs with Harlow, including “La Revolución,” “El Malecón” and “Lamento
Cubano.” As the Fania All-Stars’ youngest member at 19, he earned the title “El Niño Bonito de la
Salsa” or “the Pretty Boy of Salsa.” In 1973 he formed his own band, Orquesta Revelación, and
the title track of his debut album, “Así Se Compone un Son,” was a smash hit in Latin America,
the US and Europe. Relocating to Puerto Rico in the mid-‘70s, he released a dozen albums on
Fania and later recorded two albums with Tito Puente. His most recent CD is 2009’s “Historia de
la Salsa.”
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
José Alberto, nicknamed "El Canario" because of his exquisite voice and melodious whistling
skills, is one of Latin music's most influential and respected vocalists. The Dominican-born
Alberto moved with his family to Puerto Rico at age seven and sharpened his vocal skills at Las
Antillas Military Academy. Moving to New York in the early '70s, he became a master improviser,
singing with an extensive list of orchestras. He released his first single in 1974 and appeared as
lead vocalist on Tito Rodriguez, Jr.'s 1976 album "Curious." He was the lead vocalist of Típica
'73 from 1977 through the early '80s. Alberto has recorded a dozen solo albums, many gold and
platinum, and performed at festivals worldwide with his New York-based orchestra. He formed his
own band in 1983 and in 1987 was the first artist signed to the Tropical division of Ralph
Mercado's RMM label, recording the international smash hit "Sueño Contigo." 1991's "Dance with
Me" was a salsa romántica hit. Alberto also toured with the late Celia Cruz.
50 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
Domingo Quiñones, singer, composer, producer and actor, was born in Perth Amboy, NJ of
Puerto Rican parents. He began his career singing with Conjunto Nativo in 1983 and worked with
Jose Alberto "El Canario," Johnny Rodriguez and Conjunto Clásico. In 1985 he replaced Roberto
Lugo in Luis "Perico" Ortiz's orchestra, and later sang with Louie Ramirez and Roberto Roena. In
1990, Quiñones recorded his first solo album, "Sunday is My Name." After joining Tito Puente on
his 100th recording, he released his second solo album, "Painting Lunas," which included the
duet "Two Friends" with Tony Vega. Six more recordings followed, including 1997's influential "It
Takes a Miracle." He won praise from The New York Times for his critically acclaimed portrayal
of Hector Lavoe in the New York musical "Who Killed Hector Lavoe?" Quiñones's latest CD is
51 of 52
3/31/2012 11:50 PM
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features
http://www.latinbeatmagazine.com/features.html
2010's "Conquistador de Corazones."
Lehman Center is supported, in part, with public funds from the New York City Department of
Cultural Affairs in partnership with the New York City Council. The 2011-2012 season is made
possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo
and the New York State Legislature, JPMorgan Chase, and through corporations, foundations
and private donations.
Home | Features | Columns | Hit Parades | Reviews | Calendar | News | LB Style | Contacts | Shopping | E-Back Issues
© 2000-2012, Latin Beat Magazine, All Rights Reserved
52 of 52
3/31/2012 11:50 PM