"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 continues: (page 2)
A NOTE OF DISTINCTION:
I would like to make a distinction
about the music of Brazil. In my opinion, there is a distinct
difference when speaking about "Brazilian music" as
oppose to speaking about "Brazilian Jazz." Brazilian
music represents all music and rhythms of Brazil in its purest
form without any outside influences. However, when speaking of
Brazilian Jazz--which is what we're discussing today--equal weight
must be given to the influence of American Jazz that includes
rhythmic aspects of Brazilian music.
Having said this, there are
those that would argue that Brazilian Jazz is underserved in
America therefor it deserves its own category. This statement
is totally misrepresented. There are many musicians today that
include bossa nova and/or samba rhythms in their recordings.
Examples are Grammy winner Pat Matheny, Paquito D'Rivera and
many others. A more accurate statement would be that not many
"Brazilian" musicians are recording and promoting "Brazilian
Jazz" in the United States and not many media outlets are
taking notice. Dispite this apparent lack of attention for "Brazilian
Jazz", I would agree that "Brazilian music" is
still widespread in the United States (please read previous paragraph
noting the distinction between "Brazilian music" and
"Brazilian Jazz").
Some would also argue that
lots of Brazilian Jazz is being erroneously mistaken and/or "labeled"
as "Smooth Jazz" in the United States. Therefor, Brazilian
music/Jazz has lost its identity within the mainstream music
scene in the United States. This is not a good thing. It's like
when some argue that "salsa" has nothing to do with
"Cuban" music. Obviously, the question of identity
is important especially to a culture that has contributed to
the fusion of Jazz music. However, while I think this situation
merits attention, it is not enough to warrant adding a separate
category for Brazilian Jazz--a music that has equal influences
of American Jazz. Today and in the future, as America becomes
more culturally diverse, it is not fair that Jazz be used as
a tool to help reaffirm the identity of any one culture in America--in
this case, by establishing its own separate category as part
of the JJA awards. Brazilian Jazz is part of the Latin Jazz experience
in the United States of America. As American musicians have been
received with open arms in virtually every country and continent
in the world, Jazz has always been equally open to the influence
of any and all cultures.
IN CONCLUSION:
Latin Jazz is the best contemporary
term to describe the Latin side of Jazz. The word "Latin"
already represents all Latin American countries including Brazil
as well as the Caribbean basin--an entire region of the world
that was mostly influenced by African rhythms and ancestral Spanish
settlers. I would also say that some interesting flamenco rhythms
from Spain are being fused with Jazz and recorded by musicians
like Jerry Gonzalez and others--yet another example of widespread
"demographics" and the ability of Jazz to be "inclusive"
and open to new rhythmic possibilities.
Thus, the Latin tinge in Jazz
can include other countries like Argentina, Uruguay, Peru, Colombia,
Venezuela, etc. By singling out Brazil and/or regionalizing the
categories, you're in effect discriminating against other countries
(mentioned above). As writers and journalists of Jazz, it is
important not to discount the importance of other perhaps less
influential yet equally valid rhythms from the entire Latin American
Diaspora. Lets be fair in bringing attention to the whole as
oppose to one particular part of "Latin" America. By
presenting the category as "Latin Jazz", you don't
"exclude" anyone from participating in this category,
including anglo musicians like Charlie Haden who put out a great
"Latin Jazz" record and win a Grammy, or John Doe band
from Holland who record a great "Latin Jazz" CD that
includes Afro-Cuban and bossa nova rhythms, or musicians like
Alex Acuna who are responsible for fusing Jazz with Peruvian
rhythms.
Unless you can provide very
specific criteria and descriptions of "Brazilian Jazz"
and Afro-Caribbean Jazz" for writers to follow, these categories
tend to promote confusion rather than being an integral part
of this Jazz fusion.
Mind you, the term "Latin
Jazz" has a negative side in that it sounds too broad and
has been erroneously used to describe bands/artists that are
more into the dance side of Latin music. But, in today's musical
spectrum, broad (Latin) diversity is widespread. Therefor, let's
take a moment and present some parameters for Latin Jazz.
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