Grammy Travesty Continues: John Santos
Grammy Travesty Continues
by John Santos – 1/27/12
Well, it’s that time of year again – Grammy fever. CBS ramps it up with a constant barrage of mega-bucks commercials of all lengths and even specials leading up to the February 12th telecast that is expected to produce multi-gazillions of dollars. The National Academy of Recording Arts and Sciences (NARAS) inundates the membership with nomination and voting materials, invitations to the big event and its surrounding activities including post and pre-parties, local nominee celebrations and simulcasts, and other propaganda. We’re in the midst of the classic, inescapable corporate full press publicity campaign on TV, radio, print ads, internet, email, facebook, Twitter, and regular old US Postal Service.
But this year, NARAS’ brilliant Grammy image has a dark secret. All the smiling faces, glitter, multi-million dollar sets and promises of America’s greatest Vegas act cannot hide the deceit, ill-will and unethical behavior they took a few months ago when they unceremoniously eliminated thirty-one categories from Grammy consideration. It is particularly dishonest and distasteful that NARAS, a non-profit organization that is supposed to honor excellence in the music of our country and advocate for the benefit of its membership, had the gaul to lop off mainly just categories that are the least commercial and happen to be among the most creative and important “roots” categories. They also happen to be the categories that represented what ethnic diversity the Grammys might claim.
The corporate music industry that makes the lion’s share of the profits generated by musicians and the Grammys is of course fully supportive of NARAS’ narrow-mindedness. The latest special issue of Billboard Magazine, dated January 7th, 2012 is 100% Grammy propaganda with full-page ads congratulating the stars and the newest hopefuls backed with huge promo dollars for their nominations. Of course there is not one mention of the conspicuous absence this year of the 31 cut categories nor the growing international uproar that has produced over 1200 published pieces over the last few months protesting and condemning the outrageously insensitive action by NARAS in all forms of media. The current Billboard also features hypocritical statements directly from NARAS including these gems:
“Recording Academy Voting Membership: A Privilege Worth Earning.” (So long as you don’t mind having no say in the organization gutting the voting categories of most of their musical diversity.)
” . . . members become part of a collective that advocates for the rights of music makers . . .” (at the same time that they reverse the hard fought battles and decisions of former open-minded administrations that deemed it appropriate to recognize more American music than just the most profitable.)
Music’s Biggest Night as they have self-proclaimed the Grammy telecast, never included much, if any of the wonderful music they have now reduced or eliminated, but with the current hatchet job, they now officially sever ties with those undeserving, insignificant and marginal musical styles that by some coincidence are also among the deepest and most creative, albeit unfortunately, non-lucrative.
They have the cojones to announce the induction of Big Bill Broonzy, Sergio Mendes’ Brasil 66, and Martin Luther King into the Grammy Hall of Fame at the same time that they cut down the Blues categories, eliminate Latin Jazz (Sergio’s 1966 group would not be eligible with this year’s eliminations)
Our country is full of vibrant musical communities directly and negatively affected by this issue. The earning capabilities of the artists as well as the businesses and schools that present and teach the various types of music that were cut are all compromised. Marginalizing the musical expression of these communities in this way also carries deeper repercussions than the immediate economic hits. Kids and youth who have spent years studying these types of music and have been properly taught to see music with a broad perspective are now confronted with the further invalidation of non-commercial music, narrowing their appreciation and understanding of music to only the most visible and most highly promoted which is clearly not where all the quality and creativity lie. It is obviously devastating to teachers who have spent our lives trying to give students rich alternatives to the top 40 mentality spoon-fed to them via mass media at every moment. It should also not be lost that NARAS itself has severely tainted its own reputation and credibility, both with the membership and with the public, although they are in complete denial.
For those who don’t know, these are some of the categories that were eliminated:
Native American
Contemporary Jazz
Classical Crossover
Latin Jazz
Traditional Blues
Instrumental Rock
Zydeco
Cajun
Hawaiian
Traditional World Music
Traditional Folk Music
Traditional Gospel
Contemporary R&B Gospel
Polka
Contemporary Folk
four categories of Rhythm & Blues
Don’t be taken in by the lies NARAS administration and staff puts forth. They say all of the eliminated categories were cheapening the value of the Grammy award and statue. Au contraire – it has been clearly devalued by their non-inclusive actions. They say that because there are so many more submissions in the pop and commercial categories, it is more difficult to garner a nomination in those categories and therefore not fair to those who seek to make it in the pop/commercial world. Of course it is more difficult! It is akin to kids who aspire to be professional athletes. The competition is fierce and the potential payoff is large. Far fewer make the decision to dedicate their lives to a style of roots music where it takes a lifetime to master the craft and even if you win a Grammy in these categories, it represents very little money in comparison to what is generated by Lady Gaga’s Grammys. This American music is just as valid and deserving of recognition (if not moreso) than the pop styles.
NARAS says everyone is still welcome to submit even though our categories have been eliminated. Thanks a lot – so now we can compete in categories that don’t apply to us and where the voting membership does not know our music, giving us zero chance of seriously competing for a Grammy. For example, Latin Jazz is performed by groups of various sizes, from duos to big bands. The smaller groups are much more common for obvious economic reasons. The only category that even crosses into this area now is Big Band Jazz where duos, trios, quartets, quintets, sextets, septets, etc, cannot apply and if your Latin Jazz project does happen to be a big band format, then you’re competing in the US against our national art form – basically a snowball’s chance in hell. My five nominations (over a 40 year career) were in three categories that have all been eliminated!
NARAS pretends not to be aware of the evil of their bad decision, but they are very aware and have been constantly reminded by many of us, members and non-members, since that dark moment in April last year when they announced it. They are so concerned about saving face that they have turned this into a war when they could have easily fixed it (and still can, if they so desired) with a special meeting and some common sense. But they’ve dug their heels in defending a senseless suggestion by culturally uninformed individuals instead of just admitting it should have been handled much differently.
I’ve been a member for some 25 years, supporting the organization with yearly dues, and by volunteering for Grammys in the Schools programs. I lobbied for years and wrote many letters, attended countless meetings and had many a phone conversation with various administration and staff about how to improve the organization and have always felt that there was very slow progress, but at least it was progress – up until now. This disrespectful mandate by the Academy sets the organization, civil rights, and creative expression in the United States back several decades. It matters not whether their decision was made out of ignorance, arrogance or racism, it is simply wrong and to add insult to injury, was made by secret committee and handed down seven months after the eligibility year had begun, meaning that all of us who produce our projects on a timeline to be eligible for a nomination were abruptly dropped on our arses in the middle of the Grammy year!
They are also trying to ignore away the fact that they secretly changed the eligibility rules for numbers of submissions required to have a category and didn’t bother to let anyone know until after they announced the axing of all the categories based on not having enough submissions! Simply disgraceful! We’d love to take a poll of the membership to get the administration and staff that created and support this colonial mentality removed, but NARAS has refused to allow us access to the membership rosters. This is a violation of non-profit corporate conduct in the State of California and legal actions are being pursued in California as well as in New York. But with no money to back up our legal challenges, that remains a slow and difficult proposition.
If this were not enough, after stabbing a large portion of the membership in the back, many of the staff, and administration have admitted that it was a huge mistake in every way, but they have refused to acknowledge this officially and refuse to correct it. They seem to think that since we appear to be relatively few, we will just disappear under the glitz and clamor of the Grammy apparatus. Although we are all working stiffs and have much more important and urgent things we’d rather do, we don’t plan to let that happen and we hope you will help us go viral and let the world, NARAS, CBS, and the sponsors/advertiser
The San Francisco Art Commission, Herbie Hancock, Eddie Palmieri, Paul Simon (also inducted into the Hall of Fame this year), Carlos Santana, Bill Cosby, Esperanza Spalding, Bonnie Raitt, Stanley Clark, David Amram, Pete Escovedo, Oscar Hernandez, Larry Harlow and many others have openly condemned NARAS’ actions. The SF Board of Supervisors is also considering such a resolution. It is a shame though not completely surprising that many more celebrities have not spoken up strongly against this culturally devastating position by NARAS. Many of them have large potential earnings at stake and are not willing to risk a penny of it. Others don’t feel that NARAS has ever deserved our participation and support.
Our informal national coalition has held bi-coastal press conferences and written related posts and letters ad-nauseam. We hope that the action of posting on the internet and writing letters to the appropriate parties will be carried out by anyone and everyone who feels strongly about maintaining any semblance of diversity in the music business and understands what the threat of capitalism-gone-berzerk in the music business means to artistic freedom and creativity. We are extremely encouraged however by the continued international support and today’s news that both Reverend Jesse Jackson and Cornell West have joined our ranks with strong statements against NARAS’ actions and demands for equitable resolution (See below for links). Reverend Jackson tells it like it is, “Sometimes inclusion is inconvenient but it’s the right thing to do.”
The 54th Grammy awards telecast is sold out (in more ways than one) and we also congratulate all the nominees and winners. But when our esteemed organization violates it’s membership, its own mandates, and the public trust, we are all losers. Please help us get NARAS back on track. It can be a very worthwhile organization when run from the heart instead of the wallet.
Visit http://www.grammywa
In solidarity and with gratitude, as your help is much needed and highly appreciated,
John Santos
Five-time Grammy nominee, educator, composer, producer, percussionist, bandleader, US Artist Fontanals Fellow
CBS comment form: http://www.cbs.
Rev. Jackson:
http://www.sfgate.
“I thoroughly endorse the efforts of Grammy Watch and Presente.org. I believe the elimination of the ethnic Grammy categories is unjust and unfair.” -Cornel West
“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” -Hunter S. Thompson
Here is a list of Grammy sponsors, advertisers and tech partners as listed on their website a few weeks ago. I’m sure there are more that have been added . . .
AT&T
Mastercard
Delta
Harman
Hilton
hp
Waste Management
Diet Pepsi
Acura
Westwood One
People Magazine
Gucci
Lullabot
AEG (digital media)
Live U
Ooyala
Akamai HD
LET’S GO VIRAL!!! NOW!!!
THANK YOU!!!
SF Arts Commission passes resolution
San Francisco Arts Commission passes unanimously a resolution to request the National Academy of Arts and Sciences (NARAS) to reinstate the 31 categories of music that were dropped for GRAMMY consideration on April 6, 2011
These categories include: Latin Jazz, Gospel, Cajun/Zydeco, Hawaiian, various Blues and R&B categories and other significant genres that make up the American Songbook.
SAN FRANCISCO ARTS COMMISSION SPECIAL MEETING OF THE EXECUTIVE COMMITTEE Monday, November 7, 2011
SPECIAL MEETING OF THE FULL ARTS COMMISSION
Wednesday, November 16, 2011
San Francisco, November 16, 2011 - On Monday, November 7th, 2011 at the San Francisco Executive Arts Commission Meeting the resolution, spearheaded by Commissioner John Calloway was proposed to the board commissioners asking them to issue a formal request to the National Academy of Recording Arts and Sciences to immediately reinstate the 31 categories of music genres that were dropped from GRAMMY consideration on April 6, 2011. Members of the community who attended and spoke were musician and previous NARAS governor Sandy Cressman, Recording Artist and 2x GRAMMY Nominee Mark Levine, KPFA Radio Producer Clayton Leander and producer and writer Stephanie Dalton, who presented the public petition that now has over 5,400 signatures.
Today, November 16, 2011 the Arts Commission heard from Recording Artist and 5x GRAMMY Nominee John Santos and San Jose Jazz Festival Board President Arturo Riera spoke on the importance of this resolution, where upon the commissioner board unanimously voted to send the resolution to NARAS’ National Board Chair George Flanigen, Board Secretary Glenn Lorbecki, and President Neil Portnow.
The resolution will be presented to the San Francisco Board of Supervisors and to the San Francisco Mayor’s office and there will be a request for the public to attend the Board of Supervisors meeting when announced.
For up to date information please visit: www.grammywatch.org or please contact Stephanie Dalton at stephanie@urbanmusicpresents.com or Clayton Leander at latinjazzmecca@gmail.com.
The Resolution Reads:
This resolution to reinstate the 31 categories of music that were dropped by the National Academy of Arts and Sciences (NARAS) for GRAMMY consideration on April 6, 2011 supports the music genres that are truly reflective of the contemporary musical landscape and cultural diversity of the United States.
WHEREAS, the City and County of San Francisco, which maintains a proud tradition as a hub of cultural and musical diversity, is home and host to valuable contributors of the American musical lexicon, including numerous GRAMMY®-nominated and -winning composers, artists and professionals; and
WHEREAS, NARAS, an influential nonprofit 501(c)(6) organization, is based in California and home to 30% of its 20,000+ members, and includes a San Francisco Chapter; and
WHEREAS, the decision to drop the 31 categories from GRAMMY consideration was done by secret committee without consulting the voting membership of NARAS and without local chapters’ Board of Governors’ knowledge; and
WHEREAS, the eliminated categories include Latin Jazz, Contemporary Jazz, Hawaiian, Cajun, Zydeco, Native American, Tejano, Classical Crossover, Instrumental Rock, along with significant reductions in awards given to the categories of Gospel, Blues and R&B; and
WHEREAS, protests and meetings have occurred in Los Angeles, San Francisco, New York, Hawaii, Chicago, New Orleans, and other national locations to resolve this severe and extremely insensitive blow to cultural expression and recognition in our country; and
WHEREAS, respected GRAMMY-winning and -nominated artists, including Paul Simon, Herbie Hancock, Bonnie Raitt, Carlos Santana, John Santos, John Calloway, Eddie Palmieri, Wayne Wallace, Bobby Sanabria and many others have joined NARAS members, colleagues, and past Chapter governors in writing letters and signing a petition with 5,000 cosigners urging NARAS to reverse their secret decision and reinstate the GRAMMY categories; and
WHEREAS, national and international media coverage (KTVU, San Francisco Chronicle, Washington Post, CNN, MSNBC, Reuters, BBC, Wall Street Journal, etc.) has been given to the outcry against this unjust and harmful decision in over 1,200 national and international stories published and syndicated in print, broadcast, and digital formats; and
WHEREAS, NARAS has a responsibility to their voting membership to ensure that ethical decision practices are maintained because the GRAMMY is considered to be the highest award achievable for music excellence in the Unites States and therefore should strive to include genres and categories of particular creative and foundational significance; and
WHEREAS, the thousands of affected musicians, engineers, manufacturers, composers, arrangers, graphic artists, publicists, distributors, and other industry professionals who work in the eliminated categories will suffer economically from not being able to participate in the GRAMMY awards; and
WHEREAS, thousands of California consumers and patrons of these important musical traditions have also been negatively affected and disrespected by this ill-advised decision; and
WHEREAS, the NARAS leadership has acknowledged that a “mistake” was made indicates that these genres should never have been eliminated in the first place;
NOW THEREFORE, be it resolved that the San Francisco Arts Commission urges the National Academy of Arts and Sciences to immediately reinstate the eliminated categories in order to restore integrity and diversity to the GRAMMY Awards and fulfill the organization’s responsibilities to its membership and as a nonprofit organization representing the interests of diverse musicians and recording professionals; and be it
FURTHER RESOLVED, that the San Francisco Arts Commission directs its administrative staff to send copies of this resolution to NARAS National Board Chair George Flanigen, Board Secretary Glenn Lorbecki, and President Neil Portnow.
# # #
Press inquiries
Stephanie Dalton, Urban Music Presents
415.796.2319 / 415.503.8207
stephanie@urbanmusicpresents.com
The John Santos Sextet – Filosofía Caribeña, Vol. 1
John Santos wants to draw attention to the virtually institutionalized segregation between Afro-American and Afro-Caribbean communities. He has always been painfully aware of this and condemns it in more ways than one. The most damning condemnation of it is his daunting experiments to unify the two communities through the most extraordinary cultural collision: and that is through Filosofía Caribeña, Vol. 1. (Machete Records – 2011), a superb musical odyssey by the John Santos Sextet, one of several ensembles that have followed his erstwhile one, The Machete Ensemble. Born in California, but with a cultural heritage that cuts deep into the Afro-Caribbean Diaspora, Santos is eminently qualified to be both socio-politically aware of the ramifications of crying foul about cultural segregation as well as wielding the enormous palette from which this music is sprung.
This is an album with a sweeping concept that cuts across a wide swathe of music’s topography from Europe and Asia to the Americas. Much of the music of today makes attempts to recreate such an enormous cultural geography, but fails because it is not privy to the mystical secrets that the spirituality inherent in the music of each diaspora. However, Santos somehow manages to bring this together. In fact he does more than manage; he succeeds in being a force or conduit in the passage of this music. That is because he is hugely creative in himself and like a modern apothecary he presides over the music’s creation from behind his enormous battery of drums. That he extracts music from the second oldest instrument (the oldest being the human voice) has everything to do with his extraordinary achievement here. Then there is the fact that the music comes via one of the touchstones in the contemporary music of the Americas: New Orleans and the Creole environment that created the melting pot that made the music bubble and boil. But not only Creole… When the Sextet—especially Dr. John Calloway on flute and the saxophone virtuoso, Melecio Magdaluyo—interweave their contrapuntal harmonies in homage to the towering figure of Ron Stallings, Santos’ so-called Filosofía is spectacularly borne out: Music is an uttering from the depths of the artist’s soul and just a soul cannot, and does not distinguish by means of color, so also does the creation itself born of the sheer joy of human triumph over all adversity, especially that which keeps people apart.
Thus the importance of the true melding of the hot blues and soul of Afro-American and Afro-Caribbean music; of swing and shuffle in music that dances celebrates ALL human existence with pure joy. And few ensembles do it better than those led by Santos. This is how this suite of music ought to be enjoyed, for this is how it was written and played—as a tribute to living La Vida Loca through mystery, magic sheer joy.
Track Listing:
1. He Was One of Us
2. La Rumba Me Lleva
3. El Esqueleto Rumbero
4. No Soy Combatiente
5. Pop’s Brim
6. Resistensia
7. The Sense of Now
8. Refraneando
9. Siete Cuevas
10. Ponme A Gozar
11. Carnaval SF.
Personnel:
Dr. John Calloway: flute (1 – 5, 7 – 11), alto flute (2), piano (6, 11); Melecio Magdaluyo: tenor saxophone (1, 8, 9), soprano saxophone (3 – 5, 7), baritone saxophone (6, 10, 11), alto saxophone (11), flute (2); Saul Sierra: bass; Marco Diaz: piano (1 – 5, 7 – 10), trumpets (6, 11); David Flores: drum set (1 – 10), kata (2), kick and snare drums (11); Joey Deleon: tumbadoras (2 – intro, 6), segundo (2), quinto (6), Iyá batá (6), rebajador (11); Javier Navarette: cachimbo (2 – intro), clave (2), batás, chékere (6), quinto (11); John Santos: caxixis, tumbadoras, batá, chékere, gong, cymbals, caja, tumbadoras (intro), quinto, cajón, bomba, pailatas, güiro, ganza, tambourine, tumba, salidor, segundo, bells, snare, maruga, miscellaneous percussion, coro; Willie Ludwig: coro (8); Beatriz Muñiz: coro (8).
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John Santos on the web: www.johnsantos.com
Review written by: Raul da Gama
John Santos – The Filosofía Caribeña Project
The Filosofía Caribeña project still needs your help!
We are very excited about the progress of Filosofía Caribeña, but we are about $4000 short of matching the East Bay Community Foundation’s grant to complete the project ($10,000). The foundation has generously extended their deadline to March 18th, so please consider contributing any amount large or small and helping us spread the word to make Filosofía as big and beautiful as it can be. Donations are tax deductible as allowed by law through our fiscal sponsor, the Eastside Cultural Center. You can make your contribution online, by clicking on the following link to do it safely and directly . . . https://secure.groundspring.org/dn/index.php?aid=21444 and make sure to also click the Special Donation Filosofía box! You can also send a check to the Eastside Cultural Center, PO Box 17008 Oakland, CA 94601, and please remember to put Filosofía in the memo. In either event, please drop me an email as well, to facilitate a simple back-up list.
At the $250 level, we are very humbly offering a set of four CDs of your choice from my Machete Records catalog that can be found on the music page of my website (www.johnsantos.com). At $500 and above, in addition to the four CDs, we offer 2 preferred seats to the official World Premiere of Filosofía Caribeña at the SF Jazz Festival on April 2, 2011. We will keep all donors informed as to the progress of Filosofía.
Your support is critical to the success of Filosofía and HIGHLY appreciated. Funds raised allow us to invite more collaborators and spend much more time writing, rehearsing and developing the concept, performance, and compositions. This is a unique project from a creative standpoint and more importantly, because of the unprecedented grassroots support from patrons and friends that is directly responsible for the existence and trajectory of Filosofía Caribeña. Thank You.
John Santos, Saul Sierra, Ramon Ramos Alayo, John Calloway
Filosofía Caribeña News
We will be making the East Coast Premiere of some of the Filosofía material at the Smithsonian Institution in Washington DC on April 15th.
As of the moment, our special guests for the World Premiere at the SF Jazz Fest include: Jerry Medina from Puerto Rico, Ramon Ramos Alayo from Cuba, Nuyorican transplants to the Bay, wordsmiths Rico Pabon and Sandra Garcia Rivera, Los Angeles-based jazz spoken word artist Kamau Daaood.
The CD, Filosofía Caribeña Vol. 1 will be officially released on May 1, International Worker’s Day, in honor of the history of labor centered in the Caribbean area as well as among migrant Caribbean communities. We hope to release Vol. 2 next year. Here is what the beautiful cover will look like . . . the painting is by Bay Area DJ, patron of the arts, and artist extraordinaire, Jose Ruiz, and the wonderful graphic design is by Nadia Khastagir of Design Action Collective in Oakland.
In addition to the awesome musicians of my Sextet, Dr. John Calloway, Saul Sierra, Marco Diaz, David Flores and Melecio Magdaluyo, we are honored that the CD also includes the artistry of special guests Steve Turre, Pavel Urkiza, Claudia Gomez, Javier Navarrette, Joey DeLeon, Willie Ludwig and Beatriz Muñiz Godinez.
Filosofía Caribeña is a cross-disciplinary project (original music/spoken word, dance) that aims to illuminate Afro-Latino presence, identity, and the marvelous, undeniable, and unheralded historical connections between Black and Latino communities; communities that are so often pitted against each other due to lack of information, and direct competition for government services such as housing, education and healthcare.
The Afro-Latino theme of Filosofía is especially relevant and urgent at this time because the separation in the US between Black American communities and those of Hispanic origins is stark, and perceived to be representative of American culture. However, the commonalities of our American history of labor, displacement, identity, struggle and spirituality far outweigh the real and perceived gaps in communication, understanding and empathy. Knowledge of our historical and current bonds empowers us all to move forward as a positive cultural and political force.
Filosofía is directly connected to the Creole culture that firmly emanates from the Caribbean heart of the Americas, where huge Spanish speaking communities have directly integrated African culture in myriad forms. Our national art form, Jazz, was born in the major Caribbean port of New Orleans and as such, represents the living, resilient tradition of Caribbean music. The Caribbean example is the epitome of American migration, adaptation and survival with Indigenous, African, European and Asian roots. This story must be revealed as an important link in the identity and fragmented history of the Americas. Through Filosofía, we hope to creatively convey the powerful celebratory and documentary nature of Caribbean art as well as the community it reflects and inspires.
Filosofía supports and reflects pan-Caribbean philosophy with a forceful alliance of original music, spoken word, ancient/contemporary rhythm and movement, and improvisation. It is a significant work that peacefully and joyfully celebrates life, honors the elders and ancestors, human rights, liberty, love, and resistance to colonial mentality. We are attempting to demonstrate our great respect for the African-based cultural practices that have brought so much wisdom, spirituality and joy while counteracting the tendency towards separation, violence, and the selective, non-inclusive writing of history. Marginalized traditional instruments, rhythms, dances and musical forms have always been strong voices against war and other violations of human rights. The songs, chants, and poetry will be sung and recited in English, Spanish, Kongo, and Yoruba (Nigeria). The music and language evolve, but the basic relevance of the message is essentially the same. It is about unity.
I am doing the bulk of the composing, with musical arrangements in collaboration with Dr. John Calloway and Saul Sierra. The first few compositions of the work-in-progress debuted at the Eastside Cultural Center in East Oakland on August 21st and 22nd, 2010 to capacity houses and wonderfully enthusiastic response. The collaborators for the first phase of Filosofía were the wonderful musicians of my Sextet and two brilliant writers and cutting-edge spoken-word artists; long time Los Angeles-based Jazz poet, Kamau Daaooud, and Oakland based Puerto Rican poet, Rico Pabón. They each represent a wealth of Afro-American experience and expression from unique perspectives. We share a deep mutual respect and friendship. The music and poetry (and newly-added choreography) are all-original, born of the Caribbean experience that has informed, and continues to greatly influence, pop culture throughout the Americas.
This is a project several years in the making and has been a work-in-progress for the last year and a half. It has come into being through support from the East Bay Community Foundation in the form of a matching commissioning grant at the end of 2009, along with significant support from the National Association of Latino Arts & Culture (NALAC), the Ford Foundation, and private donations from dozens of generous and enthusiastic individual donors.
The completed work will have its official World Premiere on April 2, 2011 at the Herbst Theater as part of the San Francisco Jazz Festival. For this momentous occasion, we will add choreography by top Cuban choreographer Ramon Ramos Alayo, and the unique voice of the legendary Jerry Medina from Puerto Rico (who collaborated with us a few years ago on the 20th Anniversary double CD by JS & The Machete Ensemble and live at the San Francisco and San Jose Jazz Festivals).
Filosofía Caribeña Vol 1, by The John Santos Sextet, is slated for a May 1st, 2011 release on Machete Records (we hope to release Vol 2 in 2012). To date, we have guest appearances on the new CD by Claudia Gomez of Columbia; Cuban singer, arranger, and guitarist, Pável Urkiza; Los Angeles based Puerto Rican percussionist Joey DeLeón; and Bay Area percussionist Javier Navarrette. The Sextet’s steady line up is Saul Sierra on bass, Dr. John Calloway on flute and piano, Melecio Magdaluyo on saxes, Marco Diaz on piano and trumpet, David Flores on drumset, and me on percussion.
I hope you will follow the work’s progress, and I invite you to become a supporter of Filosofía Caribeña and to help us spread the word to potential donors, supporters and/or presenters. Together we can realize the dream of celebrating our rich Afro-Latino culture and sharing it with a broader audience.
With much love and respect . . . John Santos
composer, producer, bandleader, musician, educator
THANK YOU FOR MAKING ALL THIS HAPPEN!!!
www.johnsantos.com – February, 2011
Mike Marshall – An Adventure 1999—2009 (Adventure Music – 2010)
Few musicians deserve a retrospective more richly than the mandolin player, Mike Marshall. The ground-breaking, genre defying instrumentalist and composer has melded his prodigious skills with musicians as far removed as David Grisman and Darol Anger, Bela Fleck and Caterina Lichtenberg… to where his heart lies most comfortably and gracefully, with Brasilian musicians such as Hamilton de Holanda and Hermeto Pascoal. Marshall’s career has spanned much more than a decade. However, this album, An Adventure 1999—2009 features his work in various contexts for just the years that he helped form the Adventure Music label with Richard Zirinsky, and recorded with that truly artist-oriented label.
Marshall’s work during this time was truly distinct. There is work here with artists such as the virtuoso violinist Alex Hargreaves and also the wondrous violinist, Darol Anger that was recorded just over a year or two ago—albums such as Big Trio and Woodshop that produced tracks such as “House Camp,” “Back to the Castle” and “Peter Pan” as well as “Borealis” that contain some of the finest work that has bluegrass inflected. Further back, in 2007 there is collaboration with the Scandinavian group Väsen, together with Darol Anger that explores more exotic avenues such as the ululations of Middle Eastern sounding melodies such as “Egypt” and the Nordic mythical elements brought delightfully to life with “Loke’s Troubles.” The violinist, Anger, is more than a casual collaborator with Marshall and he is featured again in an earlier Adventure album with Marshall. This one is 2005’s Psychograss, a voluptuous album that yields “Into the Lion’s Den” and “Stroll of the Mud Bug,” both of which are moveable feasts for Marshall fans and feature rich harmonies with Anger as well as banjo player, Tony Trischka and guitarist, David Grier.
Then there are the memorable Brasilian albums. The earliest is the 1996/2005 album, Brazil Duets from which the two duets—with Andy Narell on piano this time—“Um a Zero,” Pixinguinha’s wonderful choro, and “Indifference” with the great banjoist, Bela Fleck are culled. In 2004 Marshall recorded an album of some of the best-known choros, Choro Famoso and this album produced two of the finest tracks on this retrospective, “Sarau Para Redamés” and “Um Abraço Seu Domingos.”
But the most memorable of all the work represented here is on the 2003 album with fellow Adventure Music alumni, Jovino Santos Neto, the extraordinary Brasilian-born and raised multi instrumentalist, who was formally musical director of the legendary Hermeto Pascoal’s group before lighting out on his own. The album, Serenata also yields two tracks, “Serenata” with Santos Neto on piano and “Quando Mais Longe, Mais Perto” which also features Pascoal himself on bass flute. The other unforgettable album is “New Words” (2006) with magical duets featuring the new sensation, Brasilian bandolim player, Hamilton de Holanda. The traditional track and an extended medley with Ernesto Nazareth’s “Blackberry Blossom/Apenhei-te Cavaquinho” is a fascinating reminder of the unbridled genius of both de Holanda and Marshall. The crowning moment must surely be the Irish jig-inflected, “Brejeiro,” which features de Holanda on an Irish bouzouki, a lute that he has mastered and on which he waxes eloquently.
Significantly, Marshall also excels on the air, “Angels We Have Heard on High,” from the 1997/2008 album, Midnight Clear, but this time he is heard on acoustic guitar, an instrument he rarely plays. However this is one instrument that might be grist for his grinding in the near future—perhaps a pensive solo album from the ingenious fingers of Mike Marshall.
Tracks: House Camp; Back to the Castle; Peter Pan; Borealis; Egypt; Loke’s Troubles; Blackberry Blossom/Apenhei-te Cavaquinho; Brejeiro; Into the Lion’s Den; Stroll of the Mud Bug; Sarau Para Redamés; Um Abraço Seu Domingos; Serenata; Quando Mais Longe, Mais Perto; Angels We Have Heard on High; Um a Zero; Indifference.
Personnel: Mike Marshall: mandolin (1 – 7, 9 – 12, 14, 16, 17), 10-string mandolin (1), mandocello (2); nylon string guitar (13), acoustic guitar (15); Paul Kowert: bass (1, 2); Alex Hargreaves: violin (1, 2); Darol Anger: violins (3 – 5, 9, 10), baritone violin (5, 6); Phil Asberg: piano (3); Todd Sickaloose: bass (3); Aaron Johnston: shaker, cymbals (3); Olov Johansson: nykelharpa (5, 6); Mikael Mann: 5-string viola (5, 6); Roger Tallroth: 12-string guitar (5, 6); Hamilton de Holanda: 10-string mandolin (7), Irish bouzouki (8); David Grier: guitar (9, 10); Todd Phillips: acoustic bass (9, 10); Tony Trischka: banjo (9, 10); Carlos Oliveira: nylon string guitar (11, 12); Andy Connell: clarinet, soprano saxophone (11, 12); Michael Spiro: percussion (11, 12, 14); Brian Rice: percussion (11, 12); Jovino Santos Neto: piano (13, 14); Hermeto Pascoal: bass flute (14); John Santos: percussion (14); Andy Narell: piano (16); Béla Fleck: banjo (17).
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Mike Marshall on the web: http://mikemarshall.net
Review written by: Raul da Gama
PBS presents the documentary “Cachao: Uno – Más”
Watch the full documentary celebrating the Father of Mambo, Israel “Cachao” Lopez.
The Grammy-winning bassist Israel “Cachao” Lopez died in Coral Gables, Florida in March 2008, almost 90-years old. A maestro of legendary status and ultimately considered one of the greatest Afro-Cuban musicians of all time, he had made his home in the United States for the past four decades. American Masters pays tribute to the Father of Mambo in the series’ bilingual film, Cachao: Uno Más.
More information about this documentary and about Cachao at: http://www.pbs.org.
Watch the full episode. See more American Masters.
Kristina – Offshore Echoes (Patois Records 2009)
A female vocalist with a low vocal spectrum is not supposed to sound as joyful as Kristina does on Offshore Echoes. And she sounds joyful no matter what she sings. Many singers would sound solemn. However, Kristina, being the wonderful practitioner of the vocal arts that she is gives a fine account of herself. Not only is she a versatile vocalist in terms of how many languages she can actually sing with accurate diction, but to be able to communicate the soul of the song, no matter what that language… And this is truly special. The secret is probably the fact that Kristina is three: part Cherokee, part African and part German. Not that this specific cultural mixture matter, but that she has a soul dipped in the spirits of the ancients of African and Native American and German gives her fearless courage and a true sense of alegria.
Offshore Echoes is one of the most infectiously happy records of the year. The amazing driving capoeira samba rhythm of “Ilu Ayé” is a perfect case in point as it spins like a colorful top of ecstacy. “Take me to Aruanda” is no less ebullient and Kristina has a particularly sassy way of letting quarter tones slide by with majestic glissandi here. “Cherokee,” that incomparable song that has brought so much spirited joy through the ages–especially since the legendary Charlie Parker recast it–gets a further refurbishment. Kristina can claim to have sung this one with true soul, being Cherokee herself. In fact the vocalist may have turned this version into one of those songs that renters the vocabulary of modern music in much the same way as “Wichitai-to” did after Jane Bunnett recast the John Pepper classic.
Kristina goes native once again in the beautiful landó, the Afro-Peruvian, “No Valentin.” This is a significant vocal as it is equivalent to a delta blues in the US and Kristina renders her version with sublime authenticity. Her tribute to Sarah Vaughan, “Tenderly” may be the most definitive version since “Sassy” did hers. It is by this song that Kristina shows why she may possibly be the true successor to Vaughan herself. Kristina has that smokey hush that combines with her often-authoritative inflection and undulating phrasing that sets her apart and recalls the great “Sassy” herself. In “The 59th Street Bridge Song (Feelin’ Groovy),” which Kristina sings in a swaggering reggae/calypso rhythm and shows just how uncannily close to Vaughan she can come in all her soulful splendour.
The music on the record is made all the more memorable by the magnificent artists who appear with Kristina. The instrumental ensemble is exquisite as is the choral backing–especially on “Ilu Ayé.” Then there is the outstanding percussion work of John Santos and Michaelle Goerlitz as well as the brass and woodwinds including Wayne Wallace and Mary Fettig, who shine bright.
Offshore Echoes is an experience that far outlives the echoes of the notes that hover in the air long after the last note is played and sung.
Tracks: 1. Tea in the Sahara; 2. Cherokee; 3. Love Everlasting; 4. Open Your Eyes You Can Fly; 5. Take Me to Aruanda; 6. Tenderly; 7. Ilu Ayé; 8. The Performer; 9. Valentin; 10. The 59th Street Bridge Song (Feelin’ Groovy).
Personnel: Murray Low: piano (2-5, 7, 8), electric piano (4); Frank Martin: piano (1, 6); Paul van Wageningen: trap drums (2-5, 7, 8); Deszon Claiborne: trap drums (1, 6, 10); David Bedlove: bass (2-5, 7, 8); Rich Girard: bass (1, 6, 10); Rick Vandiver: guitar (1, 6, 7, 10), palmas (9); Michaelle Goerlitz: percussion, palmas (9); John Santos: percussion (2-5, 7-9), palmas (9); Mary Fettig: horns (2, 4), flute (3); Danny Bittker: horns (2, 4), clarinet (3); Alex Murzyn: horns (2, 4), clarinet (3); Louis Fasman, John Worley, Dave Martell: horns (2, 4); Wayne Wallace: trombone (2, 4, 5); Garrett McClean, Stephanie Antoine, Erin Benim, Jory Fankuchen: violins (2, 6); Madeline Prager, Mimi Dye: violas (2, 6); Eric Gaenslen, Laura Boytz: cellos (2, 6); Kristina: vocals, background vocals (7), palmas (9); Sandy Cressman, Ed Johnson, David Chaidez: background vocals (7, 9); Wayne Wallace, Sheryl Lynn Thomas: background vocals (10); David Pinto: palmas (9).
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Kristina on the web: www.kristinasgroove.com
Review written by: Raul da Gama
