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Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action. -
The Saxophone in Puerto Rico: History and Annotated Bibliography of Selected Works
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone in Puerto Rico: History and Annotated Bibliography of Selected Works Marcos David Colón-Martín Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Colón-Martín, Marcos David, "The aS xophone in Puerto Rico: History and Annotated Bibliography of Selected Works" (2015). LSU Doctoral Dissertations. 1214. https://digitalcommons.lsu.edu/gradschool_dissertations/1214 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE IN PUERTO RICO: HISTORY AND ANNOTATED BIBLIOGRAPHY OF SELECTED WORKS A Monograph Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor in Musical Arts in The School of Music by Marcos David Colón Martín B.M., Conservatorio de Música de Puerto Rico, 2007 M.M., University of New Mexico, 2009 May 2015 Acknowledgements I would like to thank the members of my graduate committee for their patience and genuine help through this process. I am indebted in particular to my major advisor, Griffin Campbell, for his guidance in the writing of this monograph and his mentoring in my musical learning. His great artistry and musical knowledge made every lesson a new experience, and for this I am glad I came to LSU. -
Tito Rodríguez (January 4, 1923 – February 28, 1973) Was a Popular 1950S and 1960S Puerto Rican Singer and Bandleader
Tito Rodríguez Tito Rodríguez (January 4, 1923 – February 28, 1973) was a popular 1950s and 1960s Puerto Rican singer and bandleader. He is known by many fans as “El Inolvidable” (The Unforgettable One), a moniker based on his most popular interpretation, a song written by Cuban composer Julio Gutiérrez. Rodríguez (birth name: Pablo Rodríguez Lozada ) was born in Santurce, Puerto Rico, to a Puerto Rican father from San Sebastian. He worked in Dominican Republic as land developer. Not as formally posted being Dominican and mother from Holguin Cuba, became interested in music as a child. He was always surrounded by musical toys, such as guitars, pianos and trumpets. His older brother, Johnny Rodríguez was a popular song composer and bandleader, who inspired the younger Rodríguez to become a musician. In 1936, 13-year-old Rodríguez joined the group of Ladislao (El Maestro Ladí) Martínez, “Conjunto de Industrias Nativas”, as a singer and when he was 16 years old he participated in a recording with the renowned Cuarteto Mayarí. In 1940, Rodríguez emigrated to New York City shortly after his parents, José and Severina, died. He went to live with his brother Johnny, who had been living there since 1935. Musical career In New York, Rodríguez found a job as a singer and bongó player for the orchestra of Eric Madriguera. In 1941, he recorded “Amor Guajiro“, “Acércate Más” (Come Closer) and “Se Fue la Comparsa“. In 1942, Rodríguez joined the band of Xavier Cugat, and recorded “Bin, Bam, Bum” and “Ensalada de Congas” (Conga Salad). Rodríguez joined and served in the U.S. -
EDDIE PALMIERI NEA Jazz Master (2013)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. EDDIE PALMIERI NEA Jazz Master (2013) Interviewee: Eddie Palmieri (December 15, 1936 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: July 8, 2012 Depository: Archives Center, National Music of American History Description: Transcript, 50 pp. [BEGINNING OF DISK 1, TRACK 1] Brown: Today is July 8, 2012, and this is the Smithsonian Jazz Oral History Interview with NEA Jazz Master, arranger-pianist-composer-cultural hero-cultural icon, and definitely an inspiration to all musicians everywhere, Eddie Palmieri, in the Omni Berkshire in New York City. Good afternoon, Mr. Palmieri. Palmieri: Good afternoon, Anthony, and good afternoon, Ken. Brown: This interview is being conducted by Anthony Brown and Ken Kimery. And we just want to begin by saying thank you, Mr. Palmieri... Palmieri: Thank YOU, gentlemen. Brown: ...for all the music, all the inspiration, all the joy you have brought to everyone who’s had the opportunity and the privilege of hearing your music, and particularly if they’ve had the chance to dance to it—that especially. Palmieri: [LAUGHS] Brown: I’d like to start from the beginning. If you could start with giving your full birth-name, birth-place, and birth-date. th Palmieri: Well, Edward Palmieri. I was born in 60 East 112 Street in Manhattan, known as For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 the barrio, and at about 5 or 6 years old... That was 1936. -
A South Bronx Latin Music Tale
Singerv(9a).qxd 6/29/04 4:39 PM Page 176 CENTRO Journal Volume7 xv1 Number 1 spring 2004 A South Bronx Latin Music Tale ROBERTA L. SINGER AND ELENA MARTÍNEZ ABSTRACT When the story of Latin popular music (salsa) is told in popular and scholarly writings, the South Bronx is consistently overlooked despite the critical role it played in the development of that music. From the late 1940s through the early 1970s Hunts Point, Longwood, and Mott Haven were thriving Puerto Rican communities where an explosion of musical activity and creativity was taking place. This article examines the confluence of people and places that created an environment for the growth of Latin music in the South Bronx. While highlighting the sites that provided a locus for performers to adapt and reinterpret predominantly Afro-Cuban music forms and styles to express their urban South Bronx reality, the work reveals the symbiotic relationship between music, place and community; issues of identity are an underlying theme but are not the central focus of the work. [Key words: Salsa, Bronx, palce, Latin Music, mambo, New York City] Latin Music & Hip Hop Trail in Harlem & the Bronx. Courtesy of City Lore. Reprinted, by permission, from Roberta Singer and Elena Martínez. [ 177 ] Singerv(9a).qxd 6/29/04 4:39 PM Page 178 Puerto Rican Settlement in the Bronx The history of Puerto Rican migration to New York can be found in numerous sources and need not be repeated here (Dietz 1994; Fitzpatrick 1971; History Task Force 1979; Sánchez Korrol 1983). Most histories tend to focus on the early pioneer settlements in Brooklyn and later in El Barrio, even overlooking the continuing growth of Puerto Rican communities in Brooklyn in the post-WWII period. -
Itunes 88018
1 Mambo Mona AMB 88018 2 Mambo Mona Recorded in New York City 1949 - 1951 1. Roy Roy Mambo (Gubernick - Goldstein) ...............................................................3:05 Tito Rodriguez: Leader, vocals & percussion 2. Ay Que Mambito (René Touzet)................................................................................2:40 Musicians on these sessions include: 3. Up And Down Mambo (Parker - Young - Morales) ...............................................3:08 Al Beck, Willie Dubas, Chino Gonzalez, Paquito Davila: trumpet 4. El Arrebato (Johnny Rodriguez)................................................................................3:03 Tom Garcia: piano 5. Tony And Lucille Mambo (’Chino’ González)........................................................3:17 Luis Barreto: bass 6. Hay Craneo (Juan M. Nuñez).....................................................................................3:13 Ignacio Reyes: drums Ray Tinto: bongos 7. Boco Boco (Chano Pozo).............................................................................................2:47 Chuck Miala: conga 8. Esto Es Felicidad (Collazo - De La Rosa - Menendez) ..........................................3:12 9. Mambo Mona (Mama Guela) (Cindy Rodriguez)...................................................3:16 P 1951 Achtern Dahl 4 • D-27729 Vollersode • Germany P 2010 & C 2010 …AND MORE BEARS LC 12483 AMB 88018 3 Besides being equally talented as an up-tempo improvising sonero and romantic ballad singer, Pablo ‘Tito’ Rodríguez (born in Santurce, Puerto Rico, on -
Latin Issue, We Would Like to Take 6 by Brad Farberman the Opportunity to Use the Term As a Starting Point for Discussion
December 2012 | No. 128 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com CHUCHO IN T E VALDÉS A U Havana - New York L S IS GATO • MIGUEL • JOE • FESTINA • EVENT BARBIERI ZENÓN BATAAN LENTE CALENDAR CASSANDRA WILSON GATO BARBIERI 11/29 - 12/2 12/3 & 4 DAVID SANBORN MEDESKI MARTIN & WOOD CHRIS BOTTI 12/5-9 W/ NELS CLINE (12/12), MARC RIBOT (12/13) ANNUAL RESIDENCY & BILL EVANS (12/14) 12/17 - 1/6 12/11-16 LATE NIGHT GROOVE SERIES: SUNDAY BRUNCH SERIES: THE Z THREE 12/1 SOPHISTAFUNK 12/15 NYU: BILLY DRUMMOND 12/2 SONUVO 12/7 RAY ANGRY 12/21 MARK GROSS & BLACKSIDE 12/9 THE FLOWDOWN 12/8 JEF LEE JOHNSON 12/22 AKIKO TSURUGA 12/16 INTERNATIONAL ORANGE 12/14 QUEEN AAMINAH 12/28 MARLENE VERPLANCK 12/23 SONY HOLLAND 12/30 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY Much has been made about the term “jazz” throughout this music’s history; some find it to be an inclusive term, encompassing all stripes of styles and players while New York@Night others find it limiting, even demeaning. A topic not often discussed though is the 4 sub-genre “Latin jazz”. It is hard to believe that this term has existed as long as it Interview: Gato Barbieri has, trying ineffectually to cover dozens of cultures under its generic umbrella. For this The New York City Jazz Record’s first Latin issue, we would like to take 6 by Brad Farberman the opportunity to use the term as a starting point for discussion. -
Machito and His Afro-Cubans: Selected Transcriptions Paul Austerlitz Gettysburg College
Gettysburg College Faculty Books 2016 Machito and His Afro-Cubans: Selected Transcriptions Paul Austerlitz Gettysburg College Jere Laukkanen Helsinki Metropolia University of Applied Sciences Roles Editors: Paul Austerlitz, Gettysburg College Jere Laukkanen, Helsinki Metropolia University of Applied Sciences Follow this and additional works at: https://cupola.gettysburg.edu/books Part of the African American Studies Commons, Composition Commons, Latin American Studies Commons, and the Music Performance Commons Share feedback about the accessibility of this item. Austerlitz, Paul and Jere Laukkanen. Machito and His Afro-Cubans: Selected Transcriptions. Middleton, WI: A & R Edition, 2016. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/books/107 This open access book is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Machito and His Afro-Cubans: Selected Transcriptions Description Machito (Francisco Raúl Grillo, 1909–1984) was born into a musical family in Havana, Cuba, and was already an experienced vocalist when he arrived in New York City in 1937. In 1940 he teamed up with his brother-in- law, the Cuban trumpeter Mario Bauzá (1911–1993), who had already made a name for himself with top African American swing bands such as those of Chick Webb and Cab Calloway. Together, Machito and Bauzá formed Machito and his Afro-Cubans. With Bauzá as musical director, the band forged vital pan-African connections by fusing Afro-Cuban rhythms with modern jazz and by collaborating with major figures in the bebop movement. -
La Música En Puerto Rico: La Salsa Y Roberto Sierra
José Javier Peña Aguayo La música en Puerto Rico: la salsa y Roberto Sierra Cuadernos de Bellas Artes / 13 Colección Música Cuadernos de Bellas Artes – Comité Científico Presidencia: Dolores Schoch, artista visual Secretaría: José Luis Crespo Fajardo, Universidad de Sevilla, US Antonio Bautista Durán, Universidad de Sevilla, US Aida María de Vicente Domínguez, Universidad de Málaga, UMA Natalia Juan García, Universidad de Zaragoza, Unizar Carmen González Román, Universidad de Málaga, UMA Maria Portmann, Universidad de Friburgo (Suiza) Atilio Doreste, Universidad de La Laguna, ULL Ricard Huerta, Universidad de Valencia, UV David Martín López, Universidad de Granada, UGR - Universidade Nova de Lisboa, UNL María Arjonilla Álvarez, Universidad de Sevilla, US Sebastián García Garrido, Universidad de Málaga, UMA * Queda expresamente autorizada la reproducción total o parcial de los textos publicados en este libro, en cualquier formato o soporte imaginables, salvo por explícita voluntad en contra del autor o en caso de ediciones con ánimo de lucro. Las publicaciones donde se incluyan textos de esta publicación serán ediciones no comerciales y han de estar igualmente acogidas a Creative Commons. Harán constar esta licencia y el carácter no venal de la publicación. * La responsabilidad de cada texto es de su autor o autora. José Javier Peña Aguayo Prólogo de Francisco Carlos Bueno Camejo La música en Puerto Rico: la salsa y Roberto Sierra Cuadernos de Bellas Artes / 13 Colección Música 13- La música en Puerto Rico: la salsa y Roberto Sierra José Javier Peña Aguayo | Precio social: 7,45 €| Precio en librería: 9,70 €| Editores: José Luis Crespo Fajardo, Francisco Carlos Bueno Camejo y Samuel Toledano Director de la colección: José Salvador Blasco Magraner Diseño: Samuel Toledano Ilustración de portada: Retrato de Roberto Sierra (1983), por Guy Paizy Ilustración de página 3: retrato de Roberto Sierra, por Ellen Zaslaw Imprime y distribuye: F.