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Hybridity and Identity in the Pan-American Jazz Piano Tradition

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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. I demonstrate how the music of five Latin jazz pianists—including Pérez (Panama), Tania Maria (Brazil), Pablo Ziegler (Argentina), Eddie Palmieri (New York/Puerto Rico), and Jorge Dalto (Argentina)—exemplifies varying levels of musical and cultural hybridity that pinpoint diverse articulations of Latinx identity. Ultimately, this dissertation examines how these pianists and their compositional output reconcile, challenge, and uphold facets of a Pan-American jazz philosophy. iv TABLE OF CONTENTS 1.0 INTRODUCTION: UNPACKING THE PAN-AMERICAN JAZZ PIANO TRADITION ................................................................................................................................. 1 1.1 A CONVERSATION WITH DANILO PÉREZ ........................................................ 3 1.2 LATIN JAZZ HISTORIOGRAPHY: AN OVERVIEW .......................................... 4 1.3 HYBRIDITY THEORY: A HISTORICAL OVERVIEW ..................................... 11 1.4 DELINEATING MUSICAL AND CULTURAL HYBRIDITY ............................ 20 1.5 METHODOLOGY AND BACKGROUND ............................................................. 22 1.6 DISSERTATION BREAKDOWN AND OVERVIEW .......................................... 24 1.7 A NOTE ON TERMINOLOGY ............................................................................... 27 1.8 FINAL THOUGHTS .................................................................................................. 28 2.0 DANILO PÉREZ, PAN-AMERICAN JAZZ, AND THE THIRD SPACE: HYBRID OF HYBRIDS IN THE MUSIC OF TANIA MARIA AND PABLO ZIEGLER ................. 29 2.1 DANILO PÉREZ AND PAN-AMERICAN JAZZ .................................................. 29 2.1.1 Introduction ...................................................................................................... 29 2.1.2 Third Space Terminology: A Brief Overview ............................................... 33 2.1.3 Danilo Pérez: Articulating Pan-American Jazz ............................................ 41 2.1.4 Articulating Pan-American Jazz: Newspapers, Magazines, and Historiography ........................................................................................................... 48 v 2.2 TANIA MARIA, BRAZILIAN JAZZ, AND THE HYBRID OF HYBRIDS ....... 53 2.2.1 Introduction ...................................................................................................... 53 2.2.2 Tania Maria and Concord Picante .................................................................. 55 2.2.3 Tania Maria: Musical Philosophies ................................................................ 60 2.2.4 Tania Maria: Transcription and Musical Analysis ...................................... 64 2.2.5 Tania Maria: Brazilian Jazz and the Third Space ....................................... 72 2.3 PABLO ZIEGLER, NUEVO TANGO, AND THE HYBRID OF HYBRIDS ....... 74 2.3.1 Tango: Race and Origin .................................................................................. 76 2.3.2 Tango’s Musical and Cultural Evolution: A Brief History .......................... 81 2.3.3 Jazz in Argentina: A Brief History................................................................. 85 2.3.4 Nuevo Tango and Pan-American Jazz ........................................................... 91 2.3.5 Pablo Ziegler: Transcription and Musical Analysis ..................................... 98 2.3.6 Pablo Ziegler: Nuevo Tango, Tango-Jazz, Pan-American Jazz ................. 105 2.4 CONCLUSION ......................................................................................................... 106 3.0 EDDIE PALMIERI: PERFORMING “STRATEGIC HYBRIDITY” IN “MI CUMBIA” .................................................................................................................................. 107 3.1 INTRODUCTION .................................................................................................... 107 3.2 PERFORMING STRATEGIC HYBRIDITY ........................................................ 109 3.3 EDDIE PALMIERI AND “MI CUMBIA” (1974) ................................................. 120 3.4 EDDIE PALMIERI AND SOCIO-POLITICAL SALSA ..................................... 122 3.5 COLOMBIAN CUMBIA: A CULTURAL EXAMINATION ............................. 127 3.6 SALSA IN COLOMBIA: CALI AND BEYOND .................................................. 136 3.7 1970S COLOMBIA: ECONOMICS AND SOCIAL TENSION .......................... 143 vi 3.8 “MI CUMBIA”: TRANSCRIPTION AND MUSICAL ANALYSIS .................. 147 3.9 “MI CUMBIA”: LYRICS ........................................................................................ 159 3.10 “MI CUMBIA”: IMPLICATIONS AND CONCLUSION ................................... 165 4.0 JORGE DALTO’S BERET AND THE “CHE” GUEVARA/THELONIOUS MONK CONNECTION: HYBRIDITY, IDENTITY, AND MEMORY IN SEMIOTIC JAZZ PHOTOGRAPHY ..................................................................................................................... 167 4.1 INTRODUCTION .................................................................................................... 167 4.2 JORGE DALTO AND THE “CHE” GUEVARA CONNECTION .................... 172 4.3 HISTORICAL TREATMENTS OF QUALISIGNS AND SEMIOTICS ........... 180 4.4 THE SEMIOTICS OF DALTO’S BERET: QUALISIGN OF NOSTALGIA ... 188 4.5 THE SEMIOTICS OF DALTO’S BERET: QUALISIGN OF TYRANNY ....... 193 4.6 THE SEMIOTICS OF JORGE DALTO’S BERET: QUALISIGN OF ‘AGAINSTNESS’ ............................................................................................................. 201 4.7 AGAINSTNESS, PART 1: “CHE” GUEVARA .................................................... 202 4.8 AGAINSTNESS, PART II: THELONIOUS MONK AND BEBOP ................... 205 4.9 QUALISIGN OF EXOTICISM: DALTO AND LATIN JAZZ PHOTOS ......... 213 4.10 CONCLUSION ......................................................................................................... 217 5.0 CONCLUSION: PAN-AMERICAN JAZZ, HYBRIDITY, AND FUTURE EXPLORATIONS..................................................................................................................... 218 BIBLIOGRAPHY ..................................................................................................................... 221 DISCOGRAPHY....................................................................................................................... 233 vii LIST OF TABLES Table 1. Pan-American Jazz Fusions ............................................................................................ 40 Table 2. Traditional Cumbia Instrumentation ............................................................................. 129 viii LIST OF FIGURES Figure 1. Christopher Washburne’s “Latin Jazz Continuum” ...................................................... 38 Figure 2. My Application of Danilo Pérez’s Pan-American Jazz Model ..................................... 39 Figure 3. My Application of the Concord Picante Model ............................................................ 59 Figure 4. Tania Maria's Comping Patterns on “Sangria” .............................................................. 65 Figure 5. Tania Maria's Montuno on “Sangria” ............................................................................ 66 Figure 6. Tania Maria's Samba Comping Patterns on “Sangria” .................................................. 67 Figure 7. Tania Maria's Piano/Vocal Improvisations on “Yatra-Ta” ........................................... 70 Figure 8. Astor Piazzolla's Melody on “Chin Chin” ..................................................................... 99 Figure 9. Various Pablo Ziegler Voicings .................................................................................. 100 Figure 10. Solo Vamp Figures on “Chin Chin” (Guitar and Bass) ............................................. 101 Figure 11. Piano Excerpt of Pablo
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