Fourth Annual Latin Jazz Concert
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Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads. -
“Mongo” Santamaría
ABOUT “MONGO” SANTAMARÍA The late 1940's saw the birth of Latin Jazz in New York City, performed first by its pioneers Machito, Mario Bauza, Dizzy Gillespie and Chano Pozo. Ramón "Mongo" Santamaría Rodríguez emerged from the next wave of Latin Jazz that was led by vibraphonist Cal Tjader and timbalero Tito Puente. When Mongo finally became a bandleader himself, his impact was profound on both the Latin music world and the jazz world. His musical career was long, ushering in styles from religious Afro-Cuban drumming and charanga-jazz to pop- jazz, soul-jazz, Latin funk and eventually straight ahead Latin jazz. From Mongo’s bands emerged some young players who eventually became jazz legends, such as Chick Corea, Herbie Hancock and Hubert Laws. I had a chance to meet Mongo a few times during the years which culminated in a wonderful hangout on my radio show Jazz on the Latin Side, broadcast on KJazz 88.1 FM in Los Angeles) where he shared great stories and he also sat in with the live band that I had on the air that night. What a treat for my listeners! After his passing I felt like jazz fans were beginning to forget him. So I decided to form Mongorama in his honor and revisit his innovative charanga-jazz years of the 1960s. Mongo Santamaría was the most impactful Jazz “conguero” ever! Hopefully Mongorama will not only remind jazz fans of his greatness, but also create new fans that will explore his vast musical body of work. Viva Mongo!!!!! - Mongorama founder and bandleader José Rizo . -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Changuito, El Misterioso
Changuito, el misterioso Rafael Lam | Maqueta Sergio Berrocal Jr. En Cuba han existido, entre muchos, otros percusionistas que residieron en el exterior, muchas estrellas: Mongo Santamaría, el Patato Valdés, Orestes Vilató, Candito Camero, Walfredo de los Reyes, Carlos Vidal Bolado. Pero, en La Habana, hay que hablar de tres percusionistas de marca mayor, de grandes ligas: Chano Pozo, rey de las congas; Tata Guines, estrella de la tumbadora y José Luis Quintana “Changuito”, rey de las pailas. Changuito cumplió años el 18 de enero, no hubo fiesta grande, unas cervezas heladas (frías) y masitas de cerdo. El pailero mayor pasó la raya de los sesenta años de vida profesional. Cuando se hable de Premio Nacional de la Música, hay que recordar a los grandes. Changuito, ¿dónde comenzaste en la música? Empiezo a tocar influido por el ambiente en mi casa, mi papá era músico y ya a los cinco años yo estaba metido en la percusión, también me ayudó mucho Roberto Sánchez Calderín, formaba piquetes con mis amigos, estuve en el grupo Cabeza de Perro, y ya en 1956 responsablemente sustituía a mi padre en la orquesta del cabaret Tropicana y en la Orquesta Habana Jazz. Cuando aquello se empezaba temprano. Le hice una suplencia a mi padre en el cabaret Tropicana. ¿Después de esas experiencias qué hiciste en todos estos años, antes de 1959? Estuve trabajando con la Orquesta de Gilberto Valdés, Quinteto José Tomé, Artemisa Souvenir, Habana Rítmica 7. ¿A partir de 1959 qué haces? Comencé con el grupo Los Bucaneros que, en aquellos tiempos tenía mucha aceptación del público joven. -
2014 Festival Brochure
Celebrating the Blues 2 days featuring 8 more days featuring Plus: healdsburgjazz.org AN EVENING OF JAZZ ON FILM WITH ARCHIVIST MARK CANTOR Co-Produced by Healdsburg Jazz and Smith Rafael Film Center SUNDAY, MAY 18 • SMITH RAFAEL FILM CENTER 1118 Fourth Street, San Rafael 6PM FILM AND Q&A 8PM Wine and Music Reception with PIANO JAZZ by KEN COOK Ticket Cost: Discount for current members of CFI and Healdsburg Membership Card required Film & Q&A: $15/$12 for members Film, Q&A and Reception: $25/$20 members Advance tickets online at cafilm.org or at the Rafael Box Office Film archivist extraordinaire Mark Cantor returns this year for a Healdsburg Jazz Festival tune-up,“Jazz Night at the Movies” at the Smith Rafael Film Theater in San Rafael. There could be no better way for festival goers seeking a little (or a lot) of history about the great American art form Healdsburg Jazz presents every year than by attending a screening by Mark. His collection of jazz film clips is over 4,000 strong, including all the greats from most genres of jazz, blues and jazz dance: Dizzy, Tatum, Ella, Bird, Trane, Satchmo, Billie— you name it. Mark will have words to say about each of the clips he screens, and afterward viewers are invited to chat with him during a music and wine reception with Ken Cook on piano. Ticket sales and seat reservations secured by credit card available by phone only. Adults $25, must be accompanied by a child. Student seats must be reserved by credit card. -
Stage Door Swings Brochure
. 0 A G 6 E C R 2 G , O 1 FEATURING A H . T T D C I O I S F A N O E O A P T B R I . P P G The Palladium Big 3 Orchestra S M . N N R U O E O Featuring the combined orchestras N P L of Tito Puente, Machito and Tito Rodriguez presents Manteca - The Afro-Cuban Music of The Dizzy Gillespie Big Band FROM with special guest Candido CUBAN FIRE Brazilliance featuring TO SKETCHES Bud Shank OF SPAIN The Music of Chico O’ Farrill Big Band Directed by Arturo O’Farrill Bill Holman Band- Echoes of Aranjuez 8 3 0 Armando Peraza 0 - 8 Stan Kenton’s Cuban Fire 0 8 0 Viva Tirado- 9 e The Gerald Wilson Orchestra t A u t C i Jose Rizo’s Jazz on , t s h the Latin Side All-Stars n c I a z Francisco Aguabella e z B a Justo Almario J g n s o Shorty Rogers Big Band- e l L , e Afro-Cuban Influence 8 g 3 n Viva Zapata-The Latin Side of 0 A 8 The Lighthouse All-Stars s x o o L Jack Costanzo B . e O h Sketches of Spain . P T The classic Gil Evans-Miles Davis October 9-12, 2008 collaboration featuring Bobby Shew Hyatt Regency Newport Beach Johnny Richards’ Rites of Diablo 1107 Jamboree Road www.lajazzinstitute.org Newport Beach, CA The Estrada Brothers- Tribute to Cal Tjader about the LOS PLATINUM VIP PACKAGE! ANGELES The VIP package includes priority seats in the DATES HOW TO amphitheater and ballroom (first come, first served JAZZ FESTIVAL | October 9-12, 2008 PURCHASE TICKETS basis) plus a Wednesday Night bonus concert. -
Second Annual Latin Jazz Concert (January 22
Caltech offers excellent opportunities for the study and performance of music, theater and the visual arts. The Second Annual Performing and Visual Arts Faculty are committed to quality in performance and education, and share a dedication to serve Latin Jazz Concert the student who wishes to enrich and broaden his or her Featuring college experience. Students can receive academic credit for their participation. The Caltech Jazz Bands Directed by Performing and Visual Arts plays a vital role in realizing the William Bing Institute’s mission of “… educating outstanding students to become creative members of society.” Guest artists Paul Lopez For more information about composer Performing and Visual Arts at Caltech, please call us at 626-395-3295 or visit us at Candi Sosa www.music-theater-art.caltech.edu Vocalist ROBERTITO MELENDEZ RICARDO “TIKI” PASILLAS PERCUSSION Mariachi Alma de Mexico Juan Gonzalez, director Richards Instrumental Music Fund Salsa Dancers In memory of Gertrude and Huldric Richards, and from Caltech's own Salsa Dance Club honoring Nori and Ray Richards for their support of Caltech’s Instrumental Music Program. Interest SOPHIA GONZALEZ generated by the Richards Fund will be used at Patricia Martinez Quintero LATIN DANCERS the discretion of Bill and Delores Bing, or those who may succeed them in guiding the Caltech Instrumental Music Program. Saturday, January 22, 2011 8:00 pm Beckman Auditorium Program WINTER CALENDAR Caltech Chamber Music Ensembles The Caltech Monday Jazz Band Friday, January 21 - 8:00 pm, Dabney Lounge -
Leopard Society Music and Language in West Africa, Western Cuba, and New York City Ivor L
African and Black Diaspora: An International Journal Vol. 5, No. 1, January 2012, 85Á103 Bongo´ Ita´: leopard society music and language in West Africa, Western Cuba, and New York City Ivor L. Miller* Research Fellow, African Studies Center, Boston University, USA The Abakua´ mutual-aid society of Cuba, recreated from the E´ kpe` leopard society of West Africa’s Cross River basin, is a richly detailed example of African cultural transmission to the Americas. Its material culture, such as masquerades and drum construction, as well as rhythmic structures, are largely based on E´ kpe` models. Its ritual language is expressed through hundreds of chants that identify source regions and historical events; many can be interpreted by speakers of E` f`k,ı the pre-colonial lingua franca of the Cross River region (Miller 2005). With the help of both E´ kpe` and Abakua´ leaders, I have examined relationships between the musical practices of West African E´ kpe`, Cuban Abakua´, as well as Cuban migrants to the United States whose commercial recordings have evoked West African places and events historically relevant to Abakua´, meanwhile contribut- ing to the evolution of North American jazz. Keywords: Abakua´; Calabar; Cross River region; Cuba; E´ kpe` leopard society; jazz; Nigeria The E´ kpe` Imperium The leopard society of the Cross River basin is known variously as E´ kpe`, Ngbe`, and Obe`, after local terms for ‘leopard’.1 Being among the most diverse linguistic regions in the world, to simplify, I will hereafter use E´ kpe`, an E` f`kı term, the most common in the existing literature. -
Arturo Sandoval Band Poncho Sanchez Latin Band
ARTURO SANDOVAL PONCHO SANCHEZ BAND LATIN BAND A protégé of the legendary jazz master If music were about pictures, percussionist Dizzy Gillespie, ARTURO SANDOVAL PONCHO SANCHEZ’s music would was born in Artemisa, a small town in the best be described as a kaleidoscopic swirl outskirts of Havana, Cuba, on November of some of the hottest colors and brightest 6, 1949, just two years after lights to emerge from either side of the Gillespie became the first border. At any given show, on any given musician to bring Latin record, fragments of Latin jazz, swing, bebop, influences into American salsa and other infectious grooves collide Jazz. Arturo has since evolved and churn in a fiery swirl, with results that into one of the world’s most are no less than dazzling. acknowledged guardians of jazz trumpet and flugel horn, Sanchez grew up in a suburb of L.A., where as well as a renowned classical he was raised on an unusual cross section artist, pianist and composer. of sounds that included straightahead jazz, Latin Sandoval is one of the most jazz and American soul. By dynamic and vivacious live performers his teen years, his musical of our time, and has been seen by consciousness had been millions at the Oscars performing with solidified by the likes of John Celine Dion, at the Grammy Awards with Coltrane, Miles Davis, Cal Justin Timberlake and in his own right Tjader, Mongo Santamaria, as a leader. He also performed at the Wilson Pickett and James Billboard Awards with Alicia Keys. He has Brown. Whatever the genre, been awarded 9 Grammy Awards, and the mesmerizing array of nominated 17 times; he has also received 6 sounds and colors from Billboard Awards and an Emmy Award. -
The Connectors of Two Worlds: Chano Pozo, Dizzy Gillespie, and the Continuity of Myth Through Afro-Cuban Jazz
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2005 The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz Dwight Paul Sweeney Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Music Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Sweeney, Dwight Paul, "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz" (2005). Theses Digitization Project. 2823. https://scholarworks.lib.csusb.edu/etd-project/2823 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. THE CONNECTORS OF TWO WORLDS: CHANO POZO, DIZZY GILLESPIE, AND THE CONTINUITY OF MYTH THROUGH AFRO-CUBAN JAZZ A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies by Dwight Paul Sweeney, Jr. March 2005 ■3 THE CONNECTORS OF TWO WORLDS: CHANO POZO, DIZZY GILLESPIE, ZYND THE CONTINUITY OF MYTH THROUGH AFRO-CUBAN JAZZ A Thesis Presented to the Faculty of California State University, San Bernardino by Dwight Paul Sweeney, Jr. March 2005 Approved by: 3-2- Chair, History Date Russell Barber, Anthropology ABSTRACT The histories of Cuba and the United States ran a parallel course until the late nineteenth century, and musical cultural exchanges are a legacy of this interaction. -
Cal Poly Presents Stateâ•Žs Best High School Musicians in Concert On
Cal Poly Presents State’s Best High School Musicians in Concer... http://calpolynews.calpoly.edu/news_releases/2011/March/festiv... News University News & Information California Polytechnic State University, San Luis Obispo, California March 18, 2011 Contact: Michele Abba 805-756-2406; [email protected] Cal Poly Presents State’s Best High School Musicians in Concert on April 17 SAN LUIS OBISPO – The Cal Poly Music Department will host the All-State Festival Concert, featuring more than 130 of the state’s best high school musicians, at 2:30 p.m. Sunday, April 17, in Harman Hall in the Performing Arts Center. The All-State Festival Wind Orchestra, Festival Symphony Orchestra and Festival Jazz Band will perform as part of the closing festivities of Cal Poly’s three-day Open House event. The festival’s Solo Competition winner will also perform, accompanied by pianist Susan Azaret Davies. The Festival Symphony Orchestra The Festival Symphony Orchestra will perform selections from Prokofiev’s “Romeo and Juliet,” one of the 20th century’s most stunning ballet scores. Conductor will be Peter Askim, a composer, conductor, bassist and music director and composer-in-residence of the Idyllwild Arts Academy. As a composer, he has been called a “Modern Master” by The Strad magazine and has had commissions and performances from such groups as the Tokyo Symphony Orchestra and the Honolulu Symphony. His guest conducting engagements have included the Sewanee Philharmonia, the Oregon Festival of American Music, the Wroclaw (Poland) Chamber Orchestra Sotto Voce and the Honolulu Symphony Orchestra. A champion of new music, Askim has premiered numerous works and collaborated with leading interpreters internationally. -
Pop and Jazz Across the U.S. This Summer - Nytimes.Com 5/5/11 8:22 PM
Pop and Jazz Across the U.S. This Summer - NYTimes.com 5/5/11 8:22 PM HOME PAGE TODAY'S PAPER VIDEO MOST POPULAR TIMES TOPICS Subscribe to The Times Welcome, andreakramer3 Log Out Help Search All NYTimes.com Music WORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYLE TRAVEL JOBS REAL ESTATE AUTOS ART & DESIGN BOOKS DANCE MOVIES MUSIC TELEVISION THEATER VIDEO GAMES Advertise on NYTimes.com Pop and Jazz Log in to see what your friends Log In With Facebook are sharing on nytimes.com. Privacy Policy | What’s This? What’s Popular Now The Inner Lives Pakistani Army of Wartime Chief Warns U.S. Photographers on Another Raid Richard Termine for The New York Times The cast of “Glee Live!,” whose North American tour begins May 21 in Las Vegas By AMANDA PETRUSICH Published: May 5, 2011 Alabama RECOMMEND TWITTER HANGOUT MUSIC FESTIVAL Blog E-MAIL Gulf Shores, May 20-22. Anyone Advertise on NYTimes.com PRINT ArtsBeat looking to combine two timeless The latest on the REPRINTS arts, coverage of summer pastimes — beach lounging Movies Update E-Mail live events, critical and festivalgoing — will be well SHARE Sign up for the latest movie news and reviews, sent reviews, multimedia every Friday. See Sample extravaganzas and served by the Hangout Music Festival, [email protected] much more. Join the discussion. which sets up on Alabama’s white Change E-mail Address | Privacy Policy More Arts News sand gulf shore for three days each Enlarge This Image summer. A boon for the less rustic http://www.nytimes.com/2011/05/08/arts/music/pop-and-jazz-across-the-us-this-summer.html?_r=1 Page 1 of 11 Pop and Jazz Across the U.S.