DOCSLIB.ORG

Afro Latin Jazz Music Featuring the Multi GRAMMY© Nominated Bobby Sanabria Multiverse Big Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Afro Latin Jazz Music Featuring the Multi GRAMMY© Nominated Bobby Sanabria Multiverse Big Band On Friday, May 9, 2014, as part the Harlem Jazz Shrines Festival, the Apollo Education Program presented a lively and exciting School Day Live performance exploring the distinct rhythms and cultural connections of Afro Latin Jazz music featuring the multi GRAMMY© nominated Bobby Sanabria Multiverse Big Band. The Apollo Theater is world-renowned. Located on 125th Street in the heart of Harlem, the Apollo has hosted some of the world’s most iconic performers. Soul music, Rhythm & Blues, gospel, funk, and other music genres have all ignited the stage at the Apollo over the course of its 80 year history. However, it was a show called Jazz a la Carte that welcomed the first audiences to the Apollo when it opened in 1934. Jazz is an integral part of Apollo’s legacy. Performers like Billie Holiday, Ella Fitzgerald, and Sarah Vaughan launched their careers on Theater’s stage. In the 1930s and 40s, Big Bands led by music giants such as Duke Ellington, Count Basie, Lionel Hampton, frequently appeared at the Apollo. More recently, artists like Dianne Reeves, Cecile McLorin - Salvant, Wycliffe Gordon, and Arturo O’Farrill have appeared at the Apollo continuing the legacy of the Theater as a home for jazz. Afro Latin jazz is the music of yesterday, today, and tomorrow. ~Bobby Sanabria The history of Afro Latin Jazz at the Apollo dates back to the 1930s. Highlighted by a blend of rhythms and melodies from Cuba and the Spanish Caribbean, Afro-Latin jazz fuses jazz with African and European influences. Mario Bauzá is considered to be the “founding father of Latin jazz.” A trumpeter and musical director, Bauza was born in Cuba and first came to the U.S. in the 1920s. In 1938, Bauzá joined Cab Calloway’s band and met another trumpeter, Dizzy Gillespie. With Gillespie, Bauzá was instrumental in developing the sound called “CuBop” a blend of Cuban music and bebop an early form of Afro-Latin jazz. Bauzá went on to become the musical director of Machito and his Afro-Cubans, a band led by his brother-in-law, Machito, who was also an influential figure in the development of Afro – Latin jazz. In addition to being a musician and bandleader, Bauzá was a mentor to many younger musicians including Bobby Sanabria Born and raised in the Bronx, Bobby Sanabria is a celebrated percussionist, composer, recording artist, conductor, and educator. In 2006, Sanabria was inducted into the Bronx Walk of Fame and was given the honor of having a street named after him on the Grand Concourse. He has long been a champion for the preservation and presentation Afro-Latin jazz. Mr. Sanabria is currently the Afro-Latin Jazz Artist-in- Residence at the Roberto Ocasio Memorial Latin Jazz Camp. He teaches at the Manhattan School of Music. Apollo Theater Education Program The eclectic music performed by the Multiverse Big Band pays homage not only to Afro Latin jazz but also to a multitude of sounds and musical experiences that unifies jazz, Latin, funk, rock, rhythm and blues, gospel, and rap. Lessons for the Bobby Sanabria Multiverse Big Band production are crafted to integrate the arts seamlessly into the classroom curriculum. Each lesson, activity, and assignment will foster a deeper understanding of the Afro-Latin jazz music genre. All lessons and activities are aligned with the Common Core Learning Standards and can be used as a part of an English Language Arts, Social Studies, and/or and an Arts curriculum. The lessons are designed for a variety of grades, feature learning objectives, activities, and assignments that engage students in hands-on learning, immerse them in collaborative group activities that allow students to work closely with one another and the teacher. The lessons were designed to deepen students’ experience of the May 9th Bobby Sanabria Multiverse Big Band School Day Live performance at the Apollo. However, the lessons can be adapted for use beyond the show and will allow students and teachers to engage in an exciting excursion through the origins of the Afro Latin jazz, cultural influences of the genre, and to discover why, to quote Bobby Sanabria, “Afro Latin jazz is the music of yesterday, today, and tomorrow.” Shirley C. Taylor Senior Director of Education Apollo Theater Apollo Theater Education Program Apollo School Day Live Presents: Bobby Sanabria Multiverse Big Band Teacher’s Guide Grades 3-5 UNIT OVERVIEW Lessons for the Bobby Sanabria Multiverse Big Band production are crafted to integrate the arts seamlessly into the classroom. Each lesson, activity, and assignment will prepare the students for viewing the production and will foster a deeper understanding of the Afro-Latin jazz music genre. All lessons and activities are aligned with the Common Core Learning Standards and can be used as a part of an English Language Arts, Social Studies, and/or and an Arts curriculum. These lessons, which are designed for grades 3-5, features learning objectives, activities, and assignments that engage students in hands-on learning, immerse them in collaborative group activities that allow students to work closely with one another and the teacher, and enable students to make connections to Afro-Latin jazz and artists of the genre. Lessons vary in levels of Norman Webb’s Depth of Knowledge so that learning is accessible at all student levels. Additionally, lessons and activities are differentiated for a variety of student populations such as special education students, English as a Second Language, and students who need additional rigor. These lessons are designed for 3-4 days use depending on class time allocations. Lessons and activities are varied to engage a variety of learner types – audio, kinesthetic, and visual. Lessons are student-centered, and the teacher will serve as a facilitator for many of the activities and tasks. The lessons created for this production engage students in developing and deepening their speaking, listening, writing, and imaginative skills. These lessons culminate with a well- developed essay in which students use all skills acquired in the lessons to discuss Afro-Latin jazz. Everything the students learn in the classroom during this unit will be deepened upon viewing of the Bobby Sanabria Multiverse Big Band production at the Apollo. Through the use of each lesson, students will learn about African and Latin cultures, connect their own cultures to African and Latin cultures, and discover the components of a big band. Students will embark upon learning experiences that have life-long application and help students become more engaged in the arts. Lesson Overview Day 1 – The Culture Fusion – This opening lesson encourages students to celebrate characteristics of their own culture and background. Students will be engaged in learning about the characteristics of both African and Latin cultures and then make connections from each culture to their own cultures and traditions. They will use their newly acquired information to imagine what music that fuses both cultures would sound like. Day 2 – Jazz Hands – Students will use knowledge and connections from the previous day’s lesson to understand the elements of Afro-Latin jazz. Students will also recognize the history behind Afro-Latin/Afro-Cuban jazz and understand how influences from African and Latin cultures were used to inspire Afro-Latin jazz. Students will experience jazz through sounds from Bobby Sanabria and other musicians who have contributed to the Afro-Latin jazz genre. Apollo Theater Education Program Day 3 – What Instrument Are You? The Class Big Band – This culminating interactive lesson explores the various instruments and sounds used to create the exciting sounds of jazz music. Students will tap into their own interests, likes, and dislikes and relate that knowledge of themselves to music. Based on students’ personalities and own characteristics, each student will choose to be an instrument or sound that best fits them. Through introduction to Bobby Sanabria’s big band, students will learn about the concept of a big band and understand how musicians work together to create sound. Students will embody the instrument they choose to be and work collaboratively to organize a band. To deepen knowledge, students will create essays that utilize all information obtained from the lessons. Essential Questions What is jazz and how does it differ from other types of music? What is Afro-Latin or Afro-Cuban jazz, and how does it infuse elements from musical genres? How do instruments play a role in the development of a music composition? What are the characteristics of various music instruments? How can various cultures share common aspects, and how does culture influence music and artists? Common Core Learning Standards Writing: W-11 Create and present a poem, dramatization, artwork, or personal response to a particular author or theme studied in class, with support as needed. Speaking and Listening: SL-1(a) Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly. SL-1(e) Seek to understand and communicate with individuals from different perspectives and cultural backgrounds. Language: L-1 Demonstrate usage of Standard English grammar and usage when writing or speaking. L-3 Use knowledge of language and its conventions when writing, speaking, reading, or listening. Apollo Theater Education Program Additional Resources As a supplemental resource to help your practice as you indulge students in experiencing Afro-Latin jazz, consider showing clips from a 4-episode series at http://www.pbs.org/wgbh/latinmusicusa/. This series provides valuable information on Afro-Latin or Afro-Cuban jazz, the development of the genre, and impact on other artists and the community. As referenced in the lessons for this guide, YouTube serves as a visual resource to show students videos of Afro-Latin jazz musicians as well as listen to Afro-Latin jazz music.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Aye Que Rico! I Love It! I Gotta Play It! but How Do I Do It? Building a Salsa/Latin Jazz Ensemble
    ¡Aye que Rico! I Love It! I Gotta Play It! But How Do I Do It? Building a Salsa/Latin Jazz Ensemble By Kenyon Williams f you’ve got salsa in your sangre, you re- tion streaming video lessons on the Web, infor- member your first time—the screaming mation that was once only available to a lucky brass riffs, the electrifying piano montunos, few can now be found with ease (see list at end Ithe unbelievable energy that flowed into of article for suggested educational resources). the audience, and the timbalero, who seemed “You can’t lead any band in any style of to ride on top of it all with a smile as bright music unless you know that style of music!” as the stage lights. “The Latin Tinge,” as Jelly admonishes Latin percussion great Michael Roll Morton called it, has been a part of jazz Spiro. “People end up, in essence, failing be- ever since its inception, but it took the genius cause they don’t learn the style! The clave, bass, of such artists as Mario Bauza and Dizzy piano, and even horns, have to play a certain Gillespie in the early 1940s to truly wed way within the structure—just like the percus- the rhythms of the Caribbean with the jazz sion. If you don’t understand that, you will fail!” harmonies and instrumentation of American For an experienced jazz artist wanting to popular music styles. They created a hybrid learn or teach a new style of music for the first musical genre that would, in turn, give birth to time, this fear of failure can be crippling.
    [Show full text]
  • Maria Rivas Maria Rivas
    Maria Rivas Known as one of the most versatile voices in Latin America and now North America, Maria Rivas skillfully combines American and Latin Jazz rhythms with lively yet sentimental music from around the world. She interprets her music in English, Spanish, Italian and Portuguese, and performs her own blend of traditional standards as well as music and lyrics she has composed herself. Maria’s unique sound is an intoxicating combination of classic American jazz and Latin music, with just the right splash of Brazilian accents, together with her signature mixture of indigenous, Caribbean, European, and African strains. From slow and sensuous, to very lively with a strong beat, her audiences love alternately to dance to her music, or sit and listen while being both moved and energized. A significant number of her audience members have described her performances as “magical” -- their word. Her exotic and varied repertoire includes American jazz and blues standards such as ‘Funny Valentine’, ‘Route 66’, ‘Lush Life’, and ‘Summertime;’ Latin classics like ‘Bésame Mucho’ and ‘Moliendo Café;’ smooth and sensuous Brazilian bossa nova tunes like ‘Girl from Ipanema’, ‘Corcovado’, ‘Dindi’ and ‘One Note Samba’; movingly romantic ballads, such as ‘My Romance’ and ‘Our Love is Here to Stay,’ and many, many others. During her musical career spanning over 30 years, Maria has “I consider Maria Rivas to be one of released ten CDs while headlining concerts in Latin America, North America, Europe, and Asia. including the world- the finest singers on the world stage famous Montreux Jazz Festival in Switzerland. She entertains today, truly a tremendous talent.
    [Show full text]
  • Annual AT&T San Jose Jazz Summer Fest Friday, August 12
    ***For Immediate Release*** 22nd Annual AT&T San Jose Jazz Summer Fest Friday, August 12 - Sunday, August 14, 2011 Plaza de Cesar Chavez Park, Downtown San Jose, CA Ticket Info: www.jazzfest.sanjosejazz.org Tickets: $15 - $20, Children Under 12 Free "The annual San Jose Jazz [Summer Fest] has grown to become one of the premier music events in this country. San Jose Jazz has also created many educational programs that have helped over 100,000 students to learn about music, and to become better musicians and better people." -Quincy Jones "Folks from all around the Bay Area flock to this giant block party… There's something ritualesque about the San Jose Jazz [Summer Fest.]" -Richard Scheinan, San Jose Mercury News "San Jose Jazz deserves a good deal of credit for spotting some of the region's most exciting artists long before they're headliners." -Andy Gilbert, San Jose Mercury News "Over 1,000 artists and 100,000 music lovers converge on San Jose for a weekend of jazz, funk, fusion, blues, salsa, Latin, R&B, electronica and many other forms of contemporary music." -KQED "…the festival continues to up the ante with the roster of about 80 performers that encompasses everything from marquee names to unique up and comers, and both national and local acts...." -Heather Zimmerman, Silicon Valley Community Newspapers San Jose, CA - June 15, 2011 - San Jose Jazz continues its rich tradition of presenting some of today's most distinguished artists and hottest jazz upstarts at the 22nd San Jose Jazz Summer Fest from Friday, August 12 through Sunday, August 14, 2011 at Plaza de Cesar Chavez Park in downtown San Jose, CA.
    [Show full text]
  • Flamenco Jazz: an Analytical Study
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world.
    [Show full text]
  • Appendix B Capitalization
    Appendix B: Capitalization BACKGROUND: This instruction sheet provides capitalization guidelines for establishing genre/form terms. 1. Policy for established genre/form terms. Transcribe existing genre/form terms exactly as they appear in authority records, using capital letters as indicated. 2. Proper nouns and adjectives. Capitalize proper nouns and adjectives in genre/form terms and references regardless of whether they are in the initial position. Example: Feast of the Transfiguration music 3. Initial words. Capitalize the first word of a genre/form term or reference regardless of whether it is a proper word. Example: Melic poetry BT Lyric poetry 4. Capitalization according to reference sources. Capitalize any letter within a genre/form term that appears as such in reference sources. 5. Conjunctions, prepositions, and articles. Do not capitalize conjunctions, prepositions and the articles a, an, and the and their equivalents in other languages if they are not the first word in the authorized term, subdivision, or reference. Examples: Bop (Poetry) UF The bop (Poetry) Comedies of humours Exception: Capitalize The if it is the first word in a parenthetical qualifier. Genre/Form Terms Manual Appendix B Page 1 May 2021 Appendix B: Capitalization 6. Inverted UF references. Capitalize the word following a comma that would be in the initial position if the authorized reference were expressed as a phrase in direct word order. Examples: Census data UF Data, Census Radio actualities UF Actualities, Radio 7. Parenthetical qualifiers. Capitalize the first word in a parenthetical qualifier, as well as any proper nouns or adjectives within a parenthetical qualifier. Examples: Hornpipes (Music) Medical films (Motion pictures) 8.
    [Show full text]
  • Major Area/Instrument: ______APPLIED LESSONS (MUS 566) 8 - 12 Hours Required Course Course Title Term Hours Grade Example: MUS 566 Jazz Double Bass FA17 4 A
    UNIVERSITY OF ILLINOIS SCHOOL OF MUSIC MASTER OF MUSIC: JAZZ PERFORMANCE CONCENTRATION AUDIT CHECKLIST Name: ________________________________ UIN: _______________________________ Major Area/Instrument: ____________________________ APPLIED LESSONS (MUS 566) 8 - 12 hours required Course Course Title Term Hours Grade example: MUS 566 Jazz Double Bass FA17 4 A MUSIC LITERATURE (Major Area)1 8 hours required Course Course Title Term Hours Grade example: MUS 435 Jazz Aural Skills FA17 2 A RESEARCH & BIBLIOGRAPHY IN MUSIC (MUS 528 A) 2 hours required Course Course Title Term Hours Grade MUS 528A Research & Bibliography in Music 2 ELECTIVE CREDITS2 6 hours required Course Course Title Term Hours Grade example: MUS 414 Music and Society FA17 3 A ADVANCED JAZZ COURSES3 4 - 8 hours required Course Course Title Term Hours Grade example: MUS 548 Advanced Jazz Harmony I FA17 4 A Minimum Credit Hours: 32 (excluding deficiencies) 1 To be chosen from MUS 435, 436, 504, 508, 548, 549, 499 (Jazz Composition) 2 Electives may be chosen from Music and non-Music courses at the 400 or 500 level, subject to any restrictions imposed by the major division. Students intending to continue to a DMA degree are advised to consider taking some academic courses. No more than four hours of MUS 450 (Advanced Ensemble) may count towards the degree. 3 To be selected in consultation with the student’s advisor from the Jazz Core Curriculum list. DEFICIENCES, IF ANY Course Course Title Term Hours Grade example: GER 101 Beginning German I FA17 4 A MUSIC LITERATURE CLASS LISTS: Jazz Composition I & II (graduate students enroll under MUS 499 for 4 credit hours.
    [Show full text]
  • October 4 — November 6, 2019 PROGRAM
    October 4 — November 6, 2019 PROGRAM Since 1984, Earshot Jazz has been Seattle’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763 All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner. 2 • EARSHOT JAZZ • October 2019 2019 EARSHOT JAZZ FESTIVAL Welcome to Earshot Jazz Feast-ival! The table is set, the flavors are var- of some of the most impor- ied and rich, and the music is hot. tant jazz artists of our time. From the tantalizing appetizer of Yes, there are artists from Brian Blade and Life Cycles, to the 15 different countries, and satisfyingly sinful desert of Chick many of the top names on Corea with the entire Seattle Sym- the New York scene, but it phony Orchestra, this is a feast for is the connections to Se- every appetite. And you don’t have attle’s own, acclaimed jazz to be a sophisticated jazz gourmet to history that resonate most enjoy this banquet; you can pull up deeply here.
    [Show full text]
  • The Melvin Jones Quintet Jazz, America's Art Form History
    The Melvin Jones Quintet The Melvin Jones Quintet is an elite group of seasoned musicians who share a common goal in helping to expand the horizons of the jazz world through their own musical explorations. The group consistently receives rave reviews as “one of the most entertaining bands ever” from various audiences nationwide ranging from young people interested in learning about the music to critical jazz aficionados. The founder and leader of the band Melvin Jones states, “[since jazz] music comes from so many different cultures and styles converging together, [using] the ‘established’ stylings of jazz, we will delve back into those various musical directions.” The Melvin Jones Quintet seamlessly melds both modern and traditional jazz sounds with that of the Blues, R&B, Hip Hop, Gospel, and even South American music. The music is not only an entrance into the infinite world of the evolution of jazz but also a history into the beginnings of the style. The Melvin Jones Quintet is a consistent bet for an unforgettable musical journey. The members of the Quintet include, Melvin Jones on trumpet, Mace Hibbard on woodwinds, Louis Heriveaux on piano, Marlon Patton on drums and Rodney Jordan on bass. Jazz, America’s Art Form Jazz is a genre of music that began in the African-American communities of the Southern United States. Its roots lie in the adoption by African-Americans of European harmony and form, taking on those European elements and combining them into their existing African-based music. John Ephland of Downbeat Magazine Online writes, “The origins of jazz, an urban music, stemmed from the countryside of the South as well as the streets of America's cities.
    [Show full text]
  • PAPO VÁZQUEZ CELEBRATES 40 YEARS AS LATIN JAZZ ARTIST Hostos Center Concert to Feature Grammy-Nominated Trombonist with The
    FOR IMMEDIATE RELEASE Press Contacts: John MacElwee – [email protected] / 718-518-6539 Rich Pietras – [email protected] / 718-518-6513 Blanca Lasalle – [email protected] / 212-684-6001 PAPO VÁZQUEZ CELEBRATES 40 YEARS AS LATIN JAZZ ARTIST Hostos Center Concert to feature Grammy-nominated trombonist with the Mighty Pirates Troubadours and special guests Joe Locke and Jerry Medina Bronx, N.Y. (April 3, 1016) – Grammy-nominated trombonist, composer, and arranger Papo Vázquez celebrates 40 years in music, spanning the Afro-Caribbean, jazz, Latin and classical music worlds, in a concert with his septet, the Mighty Pirates Troubadours, on Saturday, April 30, at 7:30 p.m. at the Hostos Center for the Arts and Culture, located at 450 Grand Concourse in The Bronx. Joining Vázquez and the Troubadours are two special guests, vibraphone master Joe Locke and the Puerto Rican trumpeter and vocalist Jerry Medina. Additional guests, including poet and community activist Felipe Luciano, are expected to join in the celebration. Tickets are $20 ($5 for students) and are available online at HostosCenter.org or by calling (718) 518-4455. Box office window hours are Monday through Friday, 1:00 p.m. to 4:00 p.m., and two hours prior to performance. Born in 1958 in Philadelphia, Pennsylvania, to a Puerto Rican family, Papo Vázquez spent his early years in Puerto Rico but was raised in North Philadelphia. After playing in local Latin bands, he moved to New York where he found employment in trumpeter Alfredo “Chocolate” Armentero’s band. Soon, he began playing and recording with top salsa artists including: The Fania All-Stars, Ray Barretto, Willie Colón, Grupo Folklórico y Experimental Nuevayorquino, Eddie Palmieri, Larry Harlow, and Hector LaVoe.
    [Show full text]
  • Music Guide Music HISTORY There Was a Time When “Elevator Music” Was All You Heard in a Store, Hotel, Or Other Business
    Music Guide Music HisTORY There was a time when “elevator music” was all you heard in a store, hotel, or other business. Yawn. 1 1971: a group of music fanatics based out of seattle - known as Aei Music - pioneered the use of music in its original form, and from the original artists, inside of businesses. A new era was born where people could enjoy hearing the artists and songs they know and love in the places they shopped, ate, stayed, played, and worked. 1 1985: DMX Music began designing digital music channels to fit any music lover’s mood and delivered this via satellite to businesses and through cable TV systems. 1 2001: Aei and DMX Music merge to form what becomes DMX, inc. This new company is unrivaled in its music knowledge and design, licensing abilities, and service and delivery capability. 1 2005: DMX moves its home to Austin, TX, the “Live Music capital of the World.” 1 Today, our u.s. and international services reach over 100,000 businesses, 23 million+ residences, and over 200 million people every day. 1 DMX strives to inspire, motivate, intrigue, entertain and create an unforgettable experience for every person that interacts with you. Our mission is to provide you with Music rockstar service that leaves you 100% ecstatic. Music Design & Strategy To get the music right, DMX takes into account many variables including customer demographics, their general likes and dislikes, your business values, current pop culture and media trends, your overall décor and design, and more. Our Music Designers review hundreds of new releases every day to continue honing the right music experience for our clients.
    [Show full text]
  • Latin American Music in Musical Theatre
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 4-2012 A Little Rumba Numba: Latin American Music in Musical Theatre John David Cockerill University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Cockerill, John David, "A Little Rumba Numba: Latin American Music in Musical Theatre" (2012). Student Research, Creative Activity, and Performance - School of Music. 50. https://digitalcommons.unl.edu/musicstudent/50 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A LITTLE RUMBA NUMBA: LATIN AMERICAN MUSIC IN MUSICAL THEATRE by John David Cockerill A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Peter M. Lefferts Lincoln, Nebraska April, 2012 A LITTLE RUMBA NUMBA: LATIN AMERICAN MUSIC IN MUSICAL THEATRE John David Cockerill, M.M. University of Nebraska, 2012 Adviser: Peter M. Lefferts Despite the prevalent use of Latin American musical styles in American musical theatre, little research has been done on the subject. Quite often the fact that a musical number even has a Latin beat goes unrecognized. This paper examines the various genres of Latin American music that have had an impact in the United States and in musical shows both on and off Broadway.
    [Show full text]