Some of the finest salsa and jazz musicians will get together later this evening to raise funds and support for musicians in Puerto Rico through the efforts of the Jazz Foundation of America. The show, titled Salsa Meets Jazz for Puerto Rico! is hosted by percussion maestro Bobby Sanabria and Joann Jiménez. The concert takes place at 7:30pm at (Le) Poisson Rouge.
The lineup includes David Amram, Paquito D’Rivera, Cándido, Jimmy Owens, Randy Brecker, Larry Harlow, Eddie Montalvo, Brenda Feliciano, Antoinette Montague, poets Mariposa and Felipe Luciano, DJ Antonio Ocasio and many more.
6:30pm doors, 7:30pm show
(Le) Poisson Rouge, 158 Bleecker Street
New York, NY 10012, 212-505-FISH
Today we celebrate the 100th birthday of John Birks “Dizzy” Gillespie. Dizzy as he was affectionately known was one of the greatest jazz innovators of the twentieth century. His music, Bebop – “Bop” for short, was improvised, with complex and often dissonant chords, and sometimes very rapid tempos. It began in jam sessions in Harlem, and made a dramatic entrance into the music scene in the mid-1940s. Listeners were startled by it, and some traditional jazz musicians even described it as noise. But, it took over the world of jazz rapidly, and as a genre would influence generations of musicians to come.
Nothing so amazing and so influential has been heard in jazz since. Looking back, many writers have focused on Dizzy’s musical genius and technical mastery, but I am going to talk about Dizzy’s love of Cuban music and his connection to Cuban musicians.
Dizzy was born on October 21st, 1917 in Cheraw, South Carolina, and his father was a bandleader. Dizzy was surrounded by instruments as a young child. He learned to play piano starting at age four and later taught himself trumpet and trombone. He soon became a professional musician. It was while he was playing in Cab Calloway’s orchestra in the 1940’s that Calloway introduced him to Mario Bauzá. Bauzá was one of the first musicians to introduce Latin music to the United States. He would later connect Dizzy to Luciano Pozo Gonzáles, who was known as Chano Pozo.
Chano Pozo cut a strong and charismatic figure on stage. He could dance and sing as hard as he played conga. Even though it was difficult for them to understand each other. But, Dizzy said in the documentary film, A Night in Havana: Dizzy Gillespie in Cuba, that they both “spoke Africa.” Dizzy saw him as a brother. Before they met, Cuban music had only an occasional influence on jazz, and vice versa. That would soon change. Dizzy quickly welcomed Chano Pozo as a conguero into his band. And, on September 29th 1947, Pozo and the bongo player Chiquitico performed with Dizzy at a Carnegie Hall concert. As Alyn Shipton wrote in “Groovin’ High: A Life of Dizzy Gillespie”:
“Few collaborations capture the heady excitement, virtuosity … that can be found in “Manteca”, “Cubana-be Cubana-bop” (also known as the Afro-Cuban jazz suite) and “Guarachi Guaro” from the first fruits of Pozo’s tenure with Dizzy’s band.”
Dizzy incorporated much of Chano Pozo’s Santeria chanting into Bop – something that was new, and at times perplexed his fellow musicians, but later caught on. Likewise, bands in Bop had hitherto only a single drummer, but suddenly congas and sometimes a group of Cuban percussionists became a regular component of the music, adding additional excitement and rhythmic spice. Chano Pozo was tragically murdered at the age of only 33, but he left behind a powerful mark on modern jazz that reverberates to this day. Dizzy also recorded several beautiful pieces with the masterful Cuban composer and arranger, Chico O’Farrill, including the album Afro-Cuban jazz moods, on which the well-known Cuban maraca player, Machito, also performed.
Dizzy fell quickly in love with Cuban music. It was a firm embrace. He said several times in different interviews that slaveholders forbade drumming in the United States, yet drumming was kept alive in the South Americas and Caribbean, a drumming that has as its roots Africa. Cuban music is a music with rhythm at its center. The clave rhythm, broken up into a first measure of two notes and a second measure of three or vice versa, finds its origins in Sub-Saharan Africa. Indeed the word clave means key. And it is used to help organize many Cuban rhythms, including rumba, son, salsa and mambo. Dizzy was no stranger to rhythm. He wrote in his autobiography, “To Be or Not … to Bop” of six prerequisites that all successful musicians must have: mastery of instrument, style, taste, communication, chord progressions and rhythm. “Rhythm,” he wrote, “includes all of the other attributes because you may have all of these others and don’t have the rhythmic sense to put them together, then it would negate all of your other accomplishments.”
The Cuban music that Dizzy fell in love with in the 1940’s would stay with him for the rest of his life. Forty years later, he was invited to headline the fifth international jazz festival in Havana. He described going to Cuba as “coming home.” There, like a loving father, he embraced and nurtured the emerging jazz talents of several younger Cuban musicians, including Arturo Sandoval and Gonzalo Rubalcaba. Arturo who is a trumpeter later recounted that he thought Dizzy was expecting to find only a group of great percussionists when he arrived in Cuba, but was a bit surprised to find a trumpeter with some technical prowess.
Dizzy’s love of world music did not stop and rest in Cuba. He travelled the world as part of the Jazz Ambassador program with a band of musicians from all of the Americas on behalf of the United States State Department. They toured South America, the Middle East, and still other countries. He went with a sense of curiosity and openness. But he also felt a deep need for the world to know and to appreciate jazz. He felt the same need in the United States, where racism impeded its acceptance. For Dizzy, music was a delight, he emanated joy from the stage.
In 2002, Gillespie was inducted into the International Latin Music Hall of Fame for his contributions to Afro-Cuban music. Dizzy had long embraced the Ba’hai faith. It is no accident that a man who wanted to be remembered not only for his music, but also for his humanitarianism, was so moved by a religion that speaks about the worth of all religions, and the equality and unity of all people.
Blue Maqams brings together Anouar Brahem, one of the great masters of the oud, and three of the finest jazz musicians. The music on Blue Maqams is an exquisite mix of Arabic modal music known as maqam, and jazz, classical, flamenco and Brazilian influences. Although there is jazz improvisation, all the pieces, composed by Brahem, have a clearly defined structure.
Anouar Brahem’s oud delights with impeccable performances and interplay with the bass, drums and piano. Dave Holland is one of the most open minded jazz bassists, who has collaborated with flamenco, Latin American and American roots music artists.
The lineup includes Anouar Brahem on oud; Dave Holland on double bass; Jack DeJohnette on drums; and Django Bates on piano.
Blue Maqams is an exceptionally expressive album by oud maestro Anouar Brahem and three dazzling improvisers.
On Creology, Carmen Souza continues to explore Cape Verdean, Brazilian and other lusophone influences interweaving jazz elements. Carmen’s vocal range continues to marvel, changing her pitch easily, from childlike voices to deep bass tones. She adds great vocal overdubs, plus male choruses and call and response sections.
Carmen Souza’s band is spectacular as always, with composer and bass maestro on electric bass, backing vocals and percussion. The equally talented Elias Kacomanolis utilizes a wide-range of global percussion and also contributes backing vocals. Zoe Pascal is a guest percussionist.
Although Carmen Souza is widely-known as a vocalist, she showcases her talent as an instrumentalist as well, playing superb piano on her tribute to classic American jazz, “Pretty Eyes.”
Nasheet Waits, Vincent Ségal, and Yacine Boularès – Abu Sadiya (Accords Croisés, 2017)
Abu Sadiya is a jazz album inspired by Stambeli, a type of healing trance music from Tunisia that was developed by Sub-Saharan slaves. This international collaboration features musicians from Tunisia, France and the United States. Abu Sadiya recreates the traditional Tunisian sounds through an avant-garde jazz prism. You’ll find jazz improvisation along with rhythms similar to the gnawa.
The lineup includes Yacine Boularès on saxophones, clarinet; Vincent Segal on cello; and Nasheet Waits on drums.
The hard cover album includes a mini-book with photos, illustrations and liner notes in English and French.
Pakistani 10-piece Sachal Ensemble will be touring the United States for the first time during October and November 2017. The group, formed by philanthropist and music producer Izzat Majeed, mixes typical Western instruments like piano, bass and drums with traditional South Asian ones, such as tabla, dholak and sarangi.
The Sachal Ensemble’s repertoire on this 2017 tour will combine traditional Sufi music, ragas and treasured Pakistani cinema songs (like “Ranjha Ranjha,” from the movie Raavan) with distinctively South Asian versions of Western classics, including The Beatles’ “Eleanor Rigby,” R.E.M.’s “Everybody Hurts,” Michel Legrand’s “The Windmills of Your Mind,” and, their unique recreation of Dave Brubeck’s hit “Take Five” that became a YouTube sensation with over 1 million views.
The international phenomenon created by the “Take Five” video led to an invitation in 2013 for the Sachal Ensemble to collaborate with trumpeter and composer Wynton Marsalis and the Jazz at Lincoln Center Orchestra. The musicians’ remarkable journey from Lahore to Lincoln Center was captured in Song of Lahore, a documentary film by Award-winning director Sharmeen Obaid-Chinoy and Andy Schocken.
An album released in the United States soon followed, Song of Lahore (Universal Music Classics, 2016), featuring the Sachal Ensemble collaborating with Wynton Marsalis, Meryl Streep, Jim James of My Morning Jacket, Nels Cline of Wilco, Madeleine Peyroux and Sean Lennon.
A recent Pakistan-only release, titled Jazz and All That, includes Sachal Ensemble ‘s versions of Brubeck’s “Blue Rondo A La Turk,” and songs such as Stevie Wonder’s “You’ve Got It Bad Girl”, Antonio Carlos Jobim’s “Wave” and Henry Mancini’s “The Pink Panther.”
The current lineup includes:
Baqar Abbas – bansuri
Nadeem Abbas – bass
Rafiq Ahmad – daff
Asad Ali – guitar
Danish Ali – piano
Najaf Ali – dholak
Zohaib Hassan – sarangi
Ijaz Hussain – tabla
Ali Shaiba – drums
Nijat Ali – conductor
Sachal Ensemble 2017 North American Tour
Friday, Oct. 27 – Vienna, VA at The Barns at Wolf Trap
Sat, Oct. 28 – Schenectady, NY at PrOct.or’s Theatre
Sun, Oct. 29 – Cambridge, MA at Berklee Performance Center
Mon, Oct. 30 – Saratoga Springs, NY – Saratoga Performing Arts Center
Thu, Nov. 2 – Easton, PA at Lafayette College / Williams Center
Sat, Nov. 4 – Miami, FL at Miami Dade College / Olympia Theater
Sun, Nov. 5 – New York, NY at NYU Skirball Center
Tue, Nov. 7 – Calgary, AB, Canada, Arts Commons / Jack Singer Concert Hall
Thu, Nov. 9 – Markham (Toronto), ON, Canada at Flato Markham Theatre
Sun, Nov. 12, Phoenix, AZ at, Musical Instrument Museum
Tue, Nov. 14, Northridge, CA at CSU Northridge / VPAC
Wed, Nov. 15, Stanford, CA at Stanford University / Bing Concert Hall
Sat, Nov. 18, Folsom, CA at Harris Center / Stage 1
Brazilian jazz-funk band Azymuth will be touring Europe in October. Ivan, Alex and Kiko will be presenting material from their latest album Fênix, along with many of their classics.
Oct 13 – Fasching (Stockholm Jazz Festival), Stockholm
Oct 14 – The Hideaway, London
Oct 15 – The Hideaway, London
Oct 17 – Gretchen, Berlin
Oct 18 – Bravo Caffè, Bologna
Oct 19 – Auditorium Fausto Melotti, Rovereto tbc
Oct 20 – Santeria Social Club, Milan
Oct 21 – La Bellevilloise, Paris tbc
Oct 23 – Band On The Wall, Manchester
Oct 24 – Hoochie Coochie, Newcastle tbc
Oct 25 – Neimënster, Luxembourg tbc
Oct 26 – Jazz & The City (Festival), Salzburg
Oct 27 – Jazz & The City (Festival), Salzburg
Oct 28 – Jazz & The City (Festival), Salzburg
Juntos is the new album by a Chicago-based collective with rotating members named ¡ESSO! (El Sonido Sonic Octopus). The band’s sound crosses numerous musical boundaries. It’s a superb mix of Afro-Latin, funk, rock, jazz, Afrobeat, pop, reggaeton, ska, cumbia, and more.
The band features seductive rhythms and a creative brass section. On the vocals side ¡ESSO! features lead and background vocals in Spanish. There is also some less interesting, tired rapping thrown in.
The members of ¡ESSO! Afrojam Funkbeat are committed to social justice, performing for grassroots community organizations that support after-school, immigrant justice, and fair housing programs throughout Chicago and Illinois.
Personnel: Armando Pérez on guitar, bass, keyboards and vocals; Kevin Miller on saxophone; Dan Lieber on drums and percussion; Ezra Lange on bass; Diana Mosquera on vocals; Lessic Franko on percussion; Jess Anzaldúa on percussion; and Matthew Davis on trombone. Juntos also includes various guests.
Anna Maria Jopek and Gonzalo Rubalcaba – Minione (Universal Music, 2017)
Anna Maria Jopek, one of Poland’s leading jazz vocalists, continues her world music explorations with a collaboration with acclaimed Cuban pianist Gonzalo Rubalcaba. Minione features remarkable recreations of pre-World War II Polish tangos as well as classic boleros and originals by Rubalcaba.
Gonzalo Rubalcaba produced and arranged the album. The recording quality is superb, with audiophile sound quality.
Jocelyn Medina – Common Ground (Running Tree Records, 2007)
Common Ground is Jocelyn Medina’s third album. She’s a talented jazz singer and composer who incorporates world music elements to her music, inspired by her travels to India, Brazil and Ghana. On Common Ground you’ll find a great set of original songs by Medina that mix contemporary jazz harmonies, Indian melodies and Ghanaian rhythms.
Medina is joined by a superb multinational cast of instrumentalists who have plenty of opportunities to showcase their talent. In addition to Jocelyn’s vocals, highlights include Steve Gorn’s bansuri work throughout the album, Samir Chatterjee’s dazzling tabla, the guitar lines delivered by Pete McCann and the delightful female/male vocal interplay between Jocelyn and Achyut Joshi on the opening track “Two But Not Two.”
The lineup on Common Ground includes Jocelyn Medina on vocals; Steve Gorn on bansuri (Indian flute); Hadar Noiberg on flute; Pete McCann on electric and acoustic guitar; Art Hirahara on piano and Rhodes; Evan Gregor on bass; Mark Ferber on drums; Samir Chatterjee on tabla; Robert Levin on percussion; and Achyut Joshi on vocals.