cuban jazz piano

[11] As the example below shows, the second half of the big four pattern is the habanera rhythm. He also studied ethnomusicology with Olavo Alen Rodriguez at CIDMUC in Havana. [25], Bobby Sanabria laments the pervasiveness of this attitude in Cuba. Morton, Jelly Roll (1938: Library of Congress Recording), Learn how and when to remove this template message, "Die Sängerin und Geigerin Yilian Cañizares in Moods", "History and Discography of Irakere - 1976 - Areíto 3660 & 3926", "Entrevista - Alain Pérez - 2002 - Madrid - Alain Pérez Interview Part 2", https://en.wikipedia.org/w/index.php?title=Afro-Cuban_jazz&oldid=1002051089, Articles needing additional references from January 2019, All articles needing additional references, Articles needing additional references from November 2018, Creative Commons Attribution-ShareAlike License. The Machito orchestra's ten- or fifteen-minute jams were the first in Latin music to break away from the traditional under-four-minute recordings. Pablo Menéndez, founder of Mezcla, recalls: "Irakere were jazz musicians who played stuff like 'Bacalao con pan' with a bit of a tongue in cheek attitude—'for the masses.' The habanera was the first written music to be rhythmically based on an African motif. Michael Olivera-guiro y bongo. Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis said that the tresillo is the New Orleans clave. Browse All Afro-Cuban Jazz Piano Sheet Music Musicnotes features the world's largest online digital sheet music catalogue with over 300,000 arrangements available to print and play instantly. The following example shows the original ostinato "Afro Blue" bass line. McCoy Tyner hired the brothers when he played Afro-Cuban jazz. It is not clave-based. "[10] An excerpt of "New Orleans Blues" is shown below. [6]:78, When Mario first utilized Edgar Sampson to write the very first drafts of arrangements for the Machito and his Afro-Cubans, he would draw three sticks for Sampson underneath the bar with the three-side and two sticks underneath the bar with the two-side. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947. Unlike in traditional jazz, the piano's role is often to play a repetitive rhythmic pattern known as the montuno or tumbao. I didn't learn it in that way". Varona's left hand began the introduction of Gilberto Valdés' El Botellero. At the same time, this period represents the culmination of a series of individual and collective efforts from our so-called transition period, which will end with the Orquesta Cubana de Música Moderna. After noting a similar reaction to the same rhythm in "La Paloma", Handy included this rhythm in his "St. Louis Blues," the instrumental copy of "Memphis Blues," the chorus of "Beale Street Blues," and other compositions."[8]. The first descarga that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. In the 1980s, Tito Puente began recording and performing Latin jazz. Latin jazz was the result of a long process of interaction between American and Cuban music styles. In Early Jazz: Its Roots and Musical Development, Gunther Schuller states, It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz... because they could be adapted more readily to European rhythmic conceptions. They saw the Cuban folk elements as a type of nationalistic "fig leaf", cover for their true love—jazz. Cuba's Ministry of Culture is said to have viewed jazz as the music of "imperialist America." Jazz has been an important musical genre ever since it was developed. Although its origins are traced from the late nineteenth century, the appearance of Mario Bauzá is considered fundamental to the consecration of the genre (musician who … Noted for his rich, resonant tone and metronomic precision, Al McKibbon was one of the premier bassists of the early bebop era, supporting giants like Dizzy Gillespie, Coleman Hawkins, and Thelonious Monk in addition to collaborating with percussionist Chano Pozo to forge the sound of Afro-Cuban jazz. Afro-Cuban jazz was invented when Bauzá composed "Tanga" (African word for marijuana) that evening. During 1974–1976 they were members of one of Eddie Palmieri's experimental salsa groups. "[19] Later, on 6 December of the same year, Kenton recorded an arrangement of the son "The Peanut Vendor" with members of Machito's rhythm section. The habanera rhythm (also known as "congo" or "tango") can be thought of as a combination of tresilloand the … ED GORDON, host: When jazz pianist Gonzalo Rubalcaba was in school in Cuba his teachers told him not to listen to jazz or traditional Cuban sounds. Non-stop round trip flights from Miami to Havana, including taxes & fees. [21] with Jerry on congas and Andy on bass. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording). He taught Tito Puente, and Puente's arrangers learned from him. Exclusive-guided visits and experiences. Of note is the 'sheet of sound' effect in the arrangement through the use of multiple layering. Just the fact that it covers brazilian rhythms in addition to latin is a plus. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would've been strictly Afro-Cuban, all the way. In the United States, big band orchestras had been including Latin rhythms in their jazz tunes, as well as rumbas and congas in their repertoires, and many Cuban musicians were traveling regularly to play in cities like New York and New Orleans. Another important Irakere contribution is their use of batá and other Afro-Cuban folkloric drums. The Machito Afro-Cubans provided a forum for progressive musical ideas, compositions, and arrangements. Gillespie's collaboration with Pozo brought African-based rhythms into bebop, a post-modernist art form. Jon Griffin has went to the Grove School of Music and studied Jazz composing and arranging. This book offers an excellent coverage of latin and brazilian jazz piano. Decoding Afro-Cuban Jazz is, at the same time: 1) A songbook of the best compositions of the ground-breaking Cuban fusion group Irakere, 2) A thorough guide to the roots and structure of Afro-Cuban jazz in general 3) An overview of Maestro Valdés influences and contributions to the music. The clave matrix offers infinite possibilities for rhythmic textures in jazz. As a form of accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping. [7] "St. Louis Blues" (1914) by W. C. Handy has a habanera/tresillo bass line. It's based on a legendary 1945 Charlie Parker bebop composition called "Billie's Bounce." This list may not reflect recent changes (). By the 1940s, the stage was set for the birth of a new kind of jazz. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.[1]. The use of broken bell patterns by the bongocero in mambo horn sections, the increased rhythmic vocabulary of the conga drum and its function in a band setting, the increased importance of the timbales in setting up figures played by the horns and accenting them as a jazz drummer would do in a big band. Cal Tjader: Soul SauceCal Tjader, king of the vibraphone, helped popularize Latin jazz in the … The first band to combine big band arranging techniques within an original composition with jazz oriented soloists using an Afro-Cuban based rhythm section, e.g. This page was last edited on 22 January 2021, at 16:26. The ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement. The big four (below) was the first syncopated bass drum pattern to deviate from the standard on-the-beat march. These bands often included both Cuban popular music and popular North American jazz, and show tunes in their repertoires. In 1967 brothers Jerry and Andy González at the ages of 15 and 13 formed a Latin jazz quintet inspired by Cal Tjader's group. As Leonardo Acosta observes: "Afro-Cuban jazz developed simultaneously in New York and Havana, with the difference that in Cuba it was a silent and almost natural process, practically imperceptible". With Irakere, a new era in Cuban jazz begins in 1973, one that will extend all the way to the present. Some survived, others were discarded as the Europeanization progressed. You have to understand how important this was. When trumpeter Doc Cheatham joined the band, Machito fired him after two nights because he couldn't cope with clave. According to Raúl A. Fernández, the Orquesta Cubana de Música Moderna members would not have been allowed by the orquesta to record the unconventional song. Though poll-topping jazz pianist and composer David Virelles acknowledges and incorporates the influence of American piano masters such as Andrew Hill, Thelonious Monk, and Bud Powell, he approaches jazz from a unique angle, continually exploring the popular and folkloric rituals deeply embedded in Cuban music, past and present.A transplant to New York City, he is also deeply … Bauzá balanced Latin and jazz musicians in Machito's band to realize his vision of Afro-Cuban jazz. He mastered both types of music, but it took time for him to teach the jazz musicians in Machito's band about clave. Now, the virtuoso and acclaimed jazz pianist is up for a Grammy thanks to his Viento Y Tiempo album, live from the Blue Note Tokyo, with fellow Cuban artist and lifelong friend Aymée Nuviola. *****Decoding Afro-Cuban Jazz … Thomas Owens observes: "Once the theme ends and the improvisation begins, ... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. In August, 1948, when trumpeter Howard McGhee soloed with Machito's orchestra at the Apollo Theatre, his ad-libs to "Tanga" resulted in "Cu-Bop City," a tune which was recorded by Roost Records months later. Cuban Piano 101: A Century Of Historic Grooves : Alt.Latino The piano is as much a defining sound of Cuban music as percussion. "We Cubans like to think we have 'clave license'...and we don't feel obsessed about the clave as many others do". "The lack of clave consciousness in Cuba is starting to be felt more and more where the rhythmic equilibrium established by the clave direction is being sacrificed due to lack of knowledge in how to work with it from an arranging standpoint by young arrangers especially in the timba movement"[14]:251 Perhaps Juan Formell, founder of Los Van Van, summed up this contemporary Cuban clave attitude best. The broken chord sounds soon began to take shape into an Afro-Cuban jazzed up melody. Almost every phrase of the Parker song can be found in "Chékere-son" but it's all jumbled together in a very clever and compelling way. ... Luis Guerra-piano. [14]:249 Many younger musicians reject the concept of "clave rules". [26], "Spanish tinge"—the Cuban influence in early jazz. 6 breakfasts, 5 lunches, and 2 dinners The rhythm of the melody of the A section is identical to a common mambo bell pattern: In early 1947 Stan Kenton recorded "Machito," written by his collaborator / arranger Pete Rugolo. was written as an Afro-Cuban suite by Johnny Richards. Like the musicians of his generation who founded the timba era, Rubalcaba is a product of the Cuban music education system. I remember Paquito d'Rivera thought it was pretty funny stuff (as opposed to 'serious' stuff)" (2011: web). Afro-Cuban jazz is an early form of Latin jazz that mixes Afro-Cuban … Many educated Cuban musicians reject the idea of 3-2/2-3 clave. Afro-Cuban singer Daymé Arocena has been described as a "cross between Celia Cruz and Aretha Franklin". Learn Salsa Piano now! "Jazz bands" began forming in Cuba as early as the 1920s. A chord progression can begin on either side of clave. The habanera was the first written music to be rhythmically based on an African motif. Andy González recounts, "We were into improvising... doing that thing Miles Davis was doing—playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set."[21]:290. From Wikipedia, the free encyclopedia (Redirected from Alfredo Rodríguez (pianist born 1985)) Alfredo Rodríguez Salicio (born October 7, 1985) is a Cuban composer and jazz pianist. Cubans and Americans began collaborating intensely -- Charlie Parker and Buddy Rich recorded with Machito, while Chico O'Farrill arranged for Stan Kenton as well as Benny Goodman. Much of the magic in Afro-Cuban music comes from the fact each instrument in the rhythm section (including bass, congas, timbales, and bongos), has its own tumbao, which interlocks into a rhythmic matrix. Expert Cuban guide and private driver. I ... thought I was writing an eight-bar bridge. Arrangements with a "Latin" A section and a swung B section, with all choruses swung during solos, became common practice with many "Latin tunes" of the jazz standard repertoire. (Listen to Raul play a combination of Cuban music and jazz piano.) Some of the most interesting Cuban jazz records were made during the 1950s and '60s, including those by Cal Tjader, Mongo Santamaria, and Tito Puente. [14]:248, The techniques were passed down from one generation to the next. Moises Porro-timbal. In February, 1949, the Machito orchestra became the first to set a precedent in Latin music when it featured tenor saxophonist Flip Phillips in a five-minute recording of "Tanga." The first band to make congas, bongo, and timbales the standard percussion in Afro-Cuban based dance music. Cafe Central. Afro-Cuban jazz has been for most of its history a matter of superimposing jazz phrasing over Cuban rhythms. John Valerio's examples and explanations are nothing short of advanced, accurate and sophisticated in representing the typical "sound" you've heard in salsa piano, cha cha, bossa nova and samba. "The Afro-Cuban Jazz Suite" by Chico O'Farill. [6] For more than a quarter-century in which the cakewalk, ragtime, and jazz were forming, the habanera was a consistent part of African-American popular music. "Tanga" began humbly as a spontaneous descarga (Cuban jam session) with jazz solos superimposed on top. [2]:59Cuba's contribution to the genre came relatively late, beginning with the band Irakere. Afro-Cuban jazz is the earliest form of Latin jazz. While pushing the boundaries of harmonic improvisation, cu-bop as it was called, also drew more directly from Africa, rhythmically. Belmonte & His Afro Latin 7 ‎– ‘Olé!’ Cut in the 70’s and led pianist by Larry Harlow, this album … Cuban big band arranger Chico O'Farill stated, "This was a new concept in interpretating Cuban music with as much (harmonic) richness as possible. Others immigrated, especially to New York. Latin jazz musicians in San Francisco included John Santos' Machete Ensemble, Rebeca Mauleón, Mark Levine, Omar Sosa, and Orestes Vilato. The tune combines the folkloric drums, jazzy dance music, and distorted electric guitar with wah-wah pedal. Cuban percussionist Mongo Santamaría first recorded his composition "Afro Blue" in 1959. The first nearly equal fusion of jazz and Cuban players occurred in the mid-'40s , when Mario Bauza introduced bop wunderkind Dizzy Gillespie to Cuban master percussionist Chano Pozo. Afro-Cuban jazz is a African-American music began incorporating Afro-Cuban musical motifs in the 19th century when the habanera gained international popularity. Although the origin of jazz syncopation may never be known, there's evidence that the habanera/tresillo existed at its conception. Transportation and airport transfers. Latin American rhythms had a deep influence in early jazz and gave origin to a famous style called Afro-Cuban jazz. Among the founders of Irakere were pianist Chucho Valdéz, its director since the beginning, [and] saxophonist Paquito D'Rivera, who acted as assistant director".[2]:211. [17], When clave is written in two measures (above), changing from one clave sequence to the other is a matter of reversing the order of the measures. Latin jazz is a broad term used originally for talking about Afro-Cuban Jazz but nowadays, due to its evolution, for the eventual fusion of jazz with Latin American rhythms, especially genres with African origin. "Somehow the tune made it from Santiago to radio stations in Havana where it became a hit; Irakere was formally organized a little bit later".[23]. Bauzá then instructed Julio Andino what to play; then the saxes; then the trumpets. jazz latino. The consensus among musicians and musicologists is that the first jazz piece to be based in-clave was "Tanga" (1943) composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans. Several of the founding members did not always appreciate Irakere's fusion of jazz and Afro-Cuban elements. They explored the fusion of Afro Cuban music with jazz arranging and jazz-oriented soloists in a multiracial framework. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba. The horn line style introduced in "Chékere-son" is heard today in Afro-Cuban jazz, and the contemporary popular dance genre known as timba. The brief collaboration of Gillespie and Pozo produced some of the most enduring Afro-Cuban jazz standards. Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. Kenton continued to work with Afro-Cuban rhythms and musicians for another decade; the 1956 Kenton album Cuban Fire! [14], The following example is in the style of a 1949 recording by Machito, with René Hernández on piano. The musicians travelled to Santiago to record it. [14]:133–137, In North America, salsa and Latin jazz charts commonly represent clave in two measures of cut-time (2/2); this is most likely the influence of jazz conventions. (Of course, Jelly Roll Morton had made explicit the "Spanish tinge" in jazz years earlier.) [20] "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola. "Bacalao con pan" is the first song recorded by Irakere to use batá. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time. Gene Johnson's alto sax then emitted oriental-like jazz phrases. Thereafter, whenever "Tanga" was played, it sounded different, depending on a soloist's individuality. [23] In spite of the ambivalence by some members towards Irakere's Afro-Cuban folkloric/jazz fusion, their experiments changed Cuban popular music, Latin jazz, and salsa. By the '70s, Cuba finally had its own great jazz band, Irakere, with excellent musicians including Paquito D'Rivera, Arturo Sandoval, and Chucho Valdes. "Nagüe," also the first recorded example of all three percussion instruments playing as a section. This was an overlooked contribution by the orchestra to the burgeoning civil rights movement which compelled the Latin and African-American communities of New York to deal with their West African musical roots. Premium Havana Jazz Festival All-Access Pass ($460 value) including guaranteed preferred seating and more. The right hand of the "Tanga" piano guajeo is in the style known as ponchando, a type of non-arpeggiated guajeo using block chords. He studied both piano and drums. Latin, Jazz, Afro-Cuban Jazz, Cuban Jazz, Global Jazz, Latin Jazz, Salsa Chico O'Farrill 1940s - 1990s [9] Morton stated, "Now in one of my earliest tunes, 'New Orleans Blues', you can notice the Spanish tinge. On the other hand, jazzy renditions of Don Azpiazú's "The Peanut Vendor" ("El manicero") by Louis Armstrong (1930), Duke Ellington (1931), and Stan Kenton (1948), are all firmly in-clave since the 2-3 guajeo provides the primary counterpoint to the melody throughout the entire song. Irakere was in part a product of the Moderna, as its founding members completed their musical training in that orchestra and also played jazz in the different quartets and quintets that were created with the OCMM. "Caravan", written by Juan Tizol and first performed in 1936, is an example of an early pre-Latin jazz composition. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo. The first big band to explore, from an Afro-Cuban rhythmic perspective, large-scale extended compositional works. The definitive guide to Latin jazz by two masters of the genre! He also has recorded with many of Cuba’s top musicians like Richard Egües, Angel Bonne, Enrique Pla, Robertico Garcia and others. An original member of the Orquesta Cubana de Música Moderna, in 1973 he founded the group Irakere, one of Cuba's best-known Latin jazz bands. The jams which took place at the Royal Roots, Bop City, and Birdland between 1948 - 49, when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard of before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz. e.g. Buddy Bolden, the first known jazz musician, is credited with creating the big four, a habanera-based pattern. Another name for clave is guide-pattern, and that is how Bauzá related to it. Although clave-based Afro-Cuban jazz did not appear until the mid-20th century, the Cuban influence was present at the birth of jazz. Mario Bauzá & His Afro-Cuban Jazz Orchestra. Jesús Valdés Rodríguez, better known as Chucho Valdés (born October 9, 1941), is a Cuban pianist, bandleader, composer and arranger whose career spans over 50 years. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. On this Monday evening, Dr. Bauzá leaned over the piano and instructed Varona to play the same piano vamp he did the night before. [24], More than a half century ago, Mario Bauzá developed arranging in-clave to an art. Another important Cuban jazz musician is pianist Gonzalo Rubalcaba, whose innovative jazz guajeos revolutionized Cuban-style piano in the 1980s. In 2000, Sanchez and his… Mario Bauzá introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer, dancer, composer, and choreographer Chano Pozo. Thus, when Cuban music is integrated into jazz piano with the swing as one of the major features, a rhythmic richness is created. The González brothers worked with Puente as well as Dizzy Gillespie. The two artists selected works originally written for piano by some of the finest Cuban classical and jazz … Despite this musical versatility, the movement of blending Afro-Cuban rhythms with jazz was not strong in Cuba itself for decades. But after eight bars I hadn't resolved back to B-flat, so I had to keep on going and ended up writing a sixteen-bar bridge. "[6]:77 It was the bridge that gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauzá's modal "Tanga" of a few years earlier. Mario told me that he looked at Sampson and said "This is what makes Cuban music Cuban!"[14]:248. "[6]:77 On a live 1948 recording of "Manteca," someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song.[18]. [19] Some consider the piece to be the first Afro-Cuban jazz recording by American jazz musicians. Juan Viera-congas. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. "Chékere-son" is an extremely interesting one. In the 1980s a generation of New York City musicians had come of age playing both salsa dance music and jazz. [15], Bauzá developed the 3-2/2-3 clave concept and terminology. The Cuban influence is evident in many pre-1940s jazz tunes, but rhythmically they are all based on single-celled motifs such as tresillo, and do not contain an overt two-celled, clave-based structure. Other New York musicians included Bobby Sanabria, Steve Turre, Conrad Herwig, Hilton Ruiz, Chris Washburn, Ralph Irizarry, David Sánchez, and Dave Valentine. It made every other band that came after, followers.". Pérez states, "I just don't treat the clave as a study or a profound analysis conceived around where it overlaps and where it comes in. John Storm Roberts observes that the piece "has no Latino instrumentalists on it, a lack of that is obvious; the crisp, fast montuno with which the piece opens is weighed down by not-so-adept drumming from Shelly Mann. Dafnis Prieto and Alain Pérez reject the concept. [2]:59 Kenny Dorham,[3] In the early 1970s, the Orquesta Cubana de Música Moderna and later Irakere brought Afro-Cuban jazz into the Cuban music scene, influencing styles such as songo. The habanera rhythm (also known as "congo"[4][2]:5 or "tango")[5] can be thought of as a combination of tresillo and the backbeat. By that time he was already playing in clubs and music halls in Havana. David Peñalosa sees the track as a pivotal one - perhaps the first really satisfying fusion of clave and bebop horn lines".[23]. I began to suspect that there was something Negroid in that beat." When the chord progression begins on the two-side, it is in 2-3 clave. Afro-Cuban Jazz Artists Poncho Sanchez. Poncho Sanchez (born October 30, 1951) is a Latin jazz artist, salsa singer, band leader and conguero (conga player).

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