Bill Cosby issues statement questioning NARAS
Bill Cosby joins in support of Musicians fighting Grammy Award cuts
June 8, 2011 – Los Angeles: American comedian, TV producer, educator, and activist Bill Cosby has joined a roster of respected celebrities and musicians including Paul Simon, Esperanza Spalding, Herbie Hancock, Carlos Santana with wife Cindy Blackman, and John Carter Cash supporting musicians protesting the elimination of ethnic and instrumental Grammy Award categories, recently cut by the National Academy of Recording Arts and Sciences.
Cosby, a famed actor, entrepreneur and M.C. for the Playboy Jazz Festival, issued a statement for today’s Press Conference of the Los Angeles ‘Grammy Watch‘ group of a national coalition of musicians and supporters calling on NARAS President Neil Portnow and the NARAS Board of Trustees to reinstate all the Grammy Award categories cut by the Recording Academy.
In his statement, Cosby questions NARAS drive to cut diverse music categories, ”Have they played themselves out? So now you have 78 and the year after maybe 33?” Hinting at financial motivations, he continues: “Perhaps you could make the statues smaller? Wouldn’t they be cheaper?”
Grammy-winning producer John Carter Cash, son of legendary duo Johnny Cash and June Carter, also issued a statement in support of recognition for musical diversity: ”I personally would like to see each unique music get its own category. Where is the great Caribbean art form of Calypso? Lost in Reggae?” Cash goes on to observe and ask: “One of the greatest American musical styles is Western Swing, just as important and as advanced as the properly respected genre of Jazz. Western Swing, though akin to country in many ways, is most certainly its own style. But where is it to be found in category?”
World musician and producer Gaston Rene, resounded his own concerns of NARAS’ decision to eliminate recognition of distinct musical categories. ”I am deeply disappointed by the 31 cuts which include the World Music category, it feels to me that by making such cuts, NARAS is attempting to homogenize, segregate and stagnate the potential of growth through cultural diversity.” Rene offered this appeal to NARAS President Pornow: ”We must realize that by not promoting the music of many cultures we are going backwards in the process of inclusion, therefore making us more isolationists as a nation.
Three-time Native Grammy winner Bill “Birdsong” Miller, who travelled from Oklahoma for the press conference expressed disappointment of the elimination of the Native Grammy Award, which was only recently introduced, but suddenly collapsed into other categories. ”Zydeco, Cajun, Hawaiian and Native American music have their own unique function, beauty and spirit, and they cannot be compared with one another. It would be like combining hard rock, bluegrass, and classical. They are apples and oranges.”
Illustrating parallels to the forced abandonment of Native culture imposed by early colonial settlers, Miller goes on to state: ” I believe in the power and beauty of my heritage and category as much as I believe in building bridges and reconciling through the gift of music. All of the lost categories in the Grammys have this in common. We are gifted. Gifted in spirit, music and soul. I hope that this door remains open for not only Native Americans, but all of the diverse musicians that will come in the generations after us.”
In closing, Latin Jazz musician and Los Angeles “Grammy Watch” representative Bobby Matos stated, “This unjustifiable, artistically and culturally-insensitive decision by NARAS needs to be reversed immediately. We will continue to work locally, nationally and internationally to have these 31 GRAMMY categories reinstated, and to ensure diversity of music at the awards show.”
For more updates visit: www.grammywatch.org
Bobby Matos & His Afro-Latin Jazz Ensemble – Beautiful As The Moon
The master timbalero, Bobby Matos not only carries on the great tradition of the timbales that he inherited from El Rey, Tito Puente, but finding inspiration in holistic healing, he has also developed deep roots in a Zen-like alchemy that melds mambo and rumba, with the jazz idiom. And then there is that delightful surprise that Matos springs—a magical touch of Jewish klezmer, rooted in an authentic Yiddish tradition. The results are always marvellous, especially when the music unfurls with that haunting violin of Danny Weinstein, referencing familiar and classic klezmer music. Of course Weinstein plays with swaggering glissando and can swing in any idiom as he shows on this excellent album, Beautiful As The Moon (LifeForce Jazz Records – 2010). In fact, Weinstein may be one of the main reasons why this album sticks in the memory. His sly, humorous quotes from “Fiddler On The Roof” are as wonderful on the ear as the swinging attack of his boppish bowing on “Fiddlunky”.
Weinstein also does a stellar turn on trombone, on Thelonious Monk’s lovingly crafted ballad, the whimsical, “Monk’s Mood”, which the band unwinds, as Monk always did, with great patience and ever-wonderful surprise. In Matos’ masterful mambo arrangement tenor saxophonist, Pablo Calogero and pianist, Theo Saunders converse as the song tumbles down, just as Monk and Charlie Rouse once did, but only the latter musicians remained elusively elegiac throughout.
Lest it seem that Weinstein is the sole hero of this recording it must be said that Matos is particularly hidden, but a strong force, nevertheless, guiding the rollicking rhythm with commanding gentility. Although he is more taciturn than his illustrious mentor, Puente, Matos is, nevertheless, a sublime technician, who can shift his rhythmic accents with alacrity. He shows all his mastery of the instrument on his quirky composition, “Pop Moish,” much to the delight of the other members of the ensemble, who play with great humour, maintaining the racy twists and turns that the piece manifests as it moves forward in labyrinthine manner. Here Matos is ably assisted by his conguero, Robertito Melendez, whose slash and slap on the taut skins of his congas is elegant, yet curves into the air with sharp sassiness.
John B. Williams is a bassist extraordinaire and he excels on “Fiddlunky” especially, but also dances around the deep root notes of “Early Morning Song,” on “Santiaguito” as well as the gorgeous arrangement of Herbie Hancock’s classic chart, “Maiden Voyage”. In the end, it is really the truly masterful ensemble affair—or as Matos likes it remembered, a family affair—that makes this album what it is: A wonderfully accessible album that has many hummable, danceable and utterly memorable moments. Matos and his Afro-Latin Jazz Ensemble warm the heart and touch the very soul.
Track Listing: 1. Maramoor Mambo; 2. Beautiful As The Moon; 3. Just Another Guajira; 4. Fiddlunky; 5. Monk’s Mood; 6. Pop Moish; 7. Early Morning Song; 8. Santiaguito; 9. Maiden Voyage; 10. Buena Gente.
Personnel: Theo Saunders: piano; John B. Williams: bass; Danny Weinstein: trombone, violin; Pablo Calogero: tenor saxophone, flute; Robertito Melendez: congas; Bobby Matos: timbales.
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Bobby Matos on the web: www.bobbymatosmusic.com
Review written by: Raul da Gama
Latin Jazz Network Radio – Jukebox – May 2011 Playlist
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Bobby Matos – Unity (LifeForce Jazz Records 2008)
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Whatever music Bobby Matos chooses to inhabit is sure to be brimful – even overflowing – with energy. On this record, Unity, Matos attempts to take his bandmates on a profound, if rhythmic journey. He is attempting to almost metaphysically mirror here the rhythm of the earth in a state of constant unifying – swinging, heart-beating, bebopping – rhythmic revolution. And he lets the music do the talking, or dancing, as is more likely the case.
It is axiomatic that Bobby Matos represents all that is rich and rhythmically interesting about the Puerto Rican music scene. Matos is also well versed in the other subtly shifting Latin rhythms and a master of the Afro-centric universe from where it has derived – jazz included. Lest there be a suggestion that there is only a rhythmic vibe to be excited here on this record, it is important to be clear about Matos’ penchant for harmonic invention and long liner melodies, whether written or interpreted by him.
His own composition, “Da Londons From Da Bronx ,” is typical of this: a melodic plena that is hugely humorous as well. “Oiganlo” the lilting charanga son is another example. To be sure this record pays glowing tribute to the traditional while recasting these forms in a daring modern context. The audacious, jazzy bomba, “Ritmo Bembe” and the recasting of Horace Silver’s classic “Peace” as a lilting bolero are complemented well by a stellar son, “McCoy.” Also, on “Peace,” just as he does on Wayne Shorter’s “Mahjong,” Pablo Calogero reveals just how raw and beautifully he can p[lay tenor saxophone. On “Cuchy Frito Man,” the quirky bomba, he is equally virtuosic on flute, while Dan Weinstein makes it a double whammy with his sophisticated violin. Weinstein returns on “Bronx ‘Trane” on the deeper viola and then for a pleasantly surprise as he doubles on trombone, of all instruments. His solos on “Mahjong” and “No Down, No Feathers” are truly magnificent.
The guests on this record – Chembo Corniel on percussion, Phoenix Rivera on drums, Binky Griptite on guitar, Bosco Mann on bass and The Mighty Echoes make wonderful bedfellows for Matos throughout the tunes that they play on. In fact the musicians on the record connect with each other on many levels and this is one of the main reasons why the music succeeds smoothly and seamlessly. Frank Fontaine stars on tenor, on the hypnotically modal “Bronx ‘Trane.” Pianist, Theo Sanders and Dan Weinstein also solo here with particularly beautiful expressiveness.
This is an accomplished record by every stretch of imagination. While much of the props would automatically go to Matos for guiding it where it must go, the whole group participates as it should – with hypnotic and beautiful unity throughout.
Tracks: Mahjong; Ritmo Bembe; Cuchy Frito Man; Ritmo Yambu; McCoy; Oiganlo; Peace; Bomba Sica; No Down, No Feathers; Algo Diferente; Da’ Londons from Da’ Bronx; Iyesa Afro Beat; Bronx ‘Trane; Soul Zambique.
Personnel: Theo Saunders: piano; John B. Williams: bass; Pablo Calogero: tenor saxophone, flute; Dan Weinstein: trombone, violin; Robertito Melendez: conga, Quinto, pandereta; Jud Matos: percussion; Bobby Matos: timbales, congas, guiro, bell; Frank Fontaine: tenor saxophone (13); Edwin Livingstone: bass (13); Special Guests: Chembo Corniel: congas, percussion; Phoenix Rivera: drums; Binky Griptite: guitar; Bosco Mann: bass; The Mighty Echoes: vocals.
Bobby Matos on the web: www.bobbymatosmusic.com
Review written by: Raul da Gama
