"Latin Jazz"
What's In A Name?
This essay entitled "The
Changing Face Of Latin Jazz" was written by Bobby
Ramirez as part
of the Jazz Journalist Association realtime on-line panel discussion
called "Latin Jazz: What's In A Name?" held
on February 24th, 2003.
This historic discussion focused
on the current categories ("Afro-Caribbean Jazz" and
"Brazilian Jazz") that where in place to identify the
relationship of Latin rhythms and Jazz as part of the annual
Jazz Journalist Association awards. Mr. Ramirez suscessfully
debated that these categories be replaced with the more current
and inclusive umbrella term: "Latin Jazz."
Other panelists included:
Nick "Brownman" Ali - Trinidad-born trumpeter,
composer and leader of the Latin jazz/funk group CRUZAO; Larry
Birnbaum - former editor of Global Rhythm magazine and a
frequent writer about Latin jazz; Mark Holston - contributor
to Jazziz, Brazilian music scholar; George Rivera - former
editor of LaMusica, contributing writer on "Music from Cuba";
Bobby Sanabria - drummer/percussionist/bandleader, and
faculty member of the New School and the Manhattan School of
Music.; Arturo O'Farrill - New York-based pianist-bandleader,
and son of the legendary Cuban composer Chico O'Farrill; Alan
Stanbridge - musicologist at the University of Toronto; Chris
Washburne - trombonist-leader of S.Y.O.T.O.S. and ethnomusicologist
at Columbia University; and Scott Yanow - author of Afro-Cuban
Jazz and numerous other books. Participating as moderators were
Howard Mandel - president of the JJA, author and columnist
for Downbeat and others; assisted by James Hale.
Other related articles:
What is Latin
Jazz?
The Culture
of Latin Jazz
CLICK HERE to read the entire transcript of the panel discussion
Bobby Ramirez wrote:
I begin by saying thank you for allowing me to participate on
this discussion. My primary reason for participating is not so
much as to be able to present my opinion, but to learn from you
and expand my knowledge in discussing this issue today.
First, I would be remiss if
I didn't mention and acknowledge the recent passing of conguero
Mongo Santamaria. In the same breath I'll also mention, most
notably Tito Puente, Chico O'Farrill, Dizzy Gillespie, Stan Kenton,
Mario Bauza, Chano Pozo, Machito, Antonio Carlos Jobim, Charlie
Byrd, Stan Getz, and many other master musicians too long of
a list to mention that have left us with a legacy, vision and
pursue of this American artform known as Latin Jazz. We would
not be here today without their contributions.
It is also very important
to note that this discussion is taking place during Black History
Month. Latin Jazz is a contemporary "umbrella" term
stemming from "Afro-Cuban Jazz" and Cubop" with
diverse roots in New Orleans and created in New York City: a
fusion of music and rhythm that emerged as part of a massive
socio-cultural revolution in the 1930's & 40's transcending
racial lines between black, white and Latino musicians.
FORWARD:
What's in a name? From my
viewpoint as a musician, I think that to label a musician or
styles of music is like discrimination. Labels always create
negative repercussions and take away from the true natural artistry
of a musician. However, this statement is a utopia.
Having said that, concerning
this discussion, I feel that the current categories that address
the Latin side of Jazz--"Afro-Caribbean Jazz" and "Brazilian
Jazz" that are part of the Jazz Journalist Association's
annual award ceremony are not correct. My opinion is that the
JJA awards should have only one category: Latin Jazz. The core
of my opinion is two-fold: INCLUSIVITY and DEMOGRAPHIC.
DEMOGRAPHICS:
Ask yourself the following
question: Do the current categories (listed above) truly represent
the full demographics of the "Latin" side of Jazz in
America today? The answer, no. First, I feel that a category
representing the Latin side of Jazz must reflect the demographics
of the entire Latin America Diaspora. Latinos are now the biggest
minority group in the United States. That means that this group
consist of many people from "every" part of Latin America.
Brazil is a part of Latin America. The category of "Latin
Jazz" truly reflects the diversity and growing demographics
of "Latin rhythms" in the United States.
INCLUSIVENESS
Up until know, Brazilian and
Cuban rhythms have had the most significant impact on Jazz. However,
many other rhythms from other Latin American countries like Peru,
Venezuela, Puerto Rico, Uruguay, Dominican Republic, Colombia,
Panama, Mexico, and others are beginning to slowly surface within
the rhythmic context of Jazz. As these category currently stand,
they are not inclusive of other rhythms from the Latin American
Diaspora as represented in today's American cultural demographics
as a whole--thereby excluding other less popular rhythms from
Latin America that can potentially influence Jazz.
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