Elio Villafranca & Arturo Stable – Dos y Más (Motéma 2012)

Review written by: Raul da Gama -

Elio Villafranca is one of the most exciting young trio of pianists to come out of Cuba in recent years; the other two being David Virelles and Aruán Ortiz. That number may well have been a quartet, had Arturo Stable chosen to remain a pianist—an instrument he started out with—before he chose percussion as his means of musical communication. But then again, Villafranca did begin his musical life as a percussionist before he chose the piano as his instrument. That both musicians appear to have chosen wisely is beyond doubt with the release of Dos y Más. Unusual maturity and erudition appear to flow through the music of this album and whether this is a result of the fact that each is sensitive to the demands and characteristics of the other’s instrument is a moot point here. However, the rarity and exquisite nature of their collaboration shines through and makes this more than merely an outstanding feature of this album. It also shows how four hands can multiply exponentially as Villafranca’s and Stable’s dazzle as they fly and move quietly and surreptitiously across keys and skins in a flurry of activity.

This is, quite simply, craftsmanship at its finest and it goes beyond mere technique, as the word “craftsmanship” may suggest. It is a matter of voices entwined like pirouetting DNA—gourds with hundreds of seeds; a chekere with a myriad seeds and shells; the glimmering swish of cymbals that accompany a dazzling arpeggio on the piano on “Yusa’s” and “Agua Marina”… These are just two examples of how magnetically attracted Villafranca and Stable are. The other outstanding aspect of the music is how inspired the compositions are. Although composed by two completely different minds the mindset appears to be almost inspirationally alike so that different and varied compositional pieces seem to have come from a person with two brains yet one personality. “1529” and “Alla”; “Saghezi” and “Vertiente” are compositions that are dramatically different on the face of it. The first and third are rhythmically complex and revel in that character; the second and fourth rely on melodic extravagance and dramatic harmonic polyphony than anything else. And yet they seem to be of one body; one soul.

Most beautiful and spectacular of all is the geometry of the compositions and the manner in which they unfold—a succession of lines, dance steps, airy curves, parabolas, sharp angles and wide elevations. Nowhere is this more superbly evident than on “1529”, a song of extreme subtle expression and dynamics and nuanced beauty for both pianist and percussionist. However, it is the gentle rousing emotion of “Cuba Linda” that stirs heart and soul. Both Villafranca, who composed the guaguancó and Stable, who anchors its stirring tide must have known this so that it must have been easy to end (sadly) this brilliant album on that note. The suspended animation might suggest something more is on the horizon in terms of a future collaboration and it is impossible to suggest how eagerly this is awaited.

Track Listing: 1. 1529; 2. Saghezi; 3. Alla; 4. Arara; 5. En la Colonia; 6. Vertiente; 7. A las Millas; 8. Yusa’s; 9. Agua Marina; 10. Cuba Linda.

Personnel: Elio Villafranca: piano, guataca, vocals; Arturo Stable: djembe, udu, dumbek, congas, bata, cajon, hand percussion, vocals; Igor Arias: lead vocals (10).

Related links: Elio Villafranca on the web: www.eliovillafranca.net
Arturo Stable on the web: www.arturostable.com

Afro Latin Jazz Orchestra Turns 10!

The Afro Latin Jazz Orchestra to Celebrate Historic 10th Anniversary Season with Special Program at Symphony Space, January 20 & 21

January 20 Benefit Concert to Feature World-Class Special Guests, Including: Randy Weston, Ray Santos, Dafnis Prieto, Claudia Acuña, Donald Harrison, Edmar Castañeda, and Fernando Otero, among others.

NEW YORK—The Afro Latin Jazz Alliance announces that it will celebrate the 10th Anniversary season of the GRAMMY® Award-winning Afro Latin Jazz Orchestra (ALJO), directed by Arturo O’Farrill, with a special program at Symphony Space on Manhattan’s Upper West Side, on January 20 & 21. Entitled “The Afro Latin Jazz Orchestra Turns 10,” the program will showcase the ensemble performing a wide range of repertoire, spanning from their earliest Jazz at Lincoln Center beginnings to their latest commissions, including works by Miguel Zenón, Dafnis Prieto, Vijay Iyer, O’Farrill, and many others. Additionally, a special world premiere will celebrate the commitment the Orchestra has made towards progressing this vital art form.

For the January 20 performance only, a star-studded lineup of some of the world’s leading musicians will join the ALJO on stage in celebration of its landmark anniversary, including: one of the world’s foremost pianists and composers today, a true innovator and visionary Randy Weston, Latin Recording Academy Trustees Award recipient Ray Santos, 2011 MacArthur Foundation Fellowship recipient Dafnis Prieto, Claudia Acuña, Donald Harrison, Edmar Castaneda, and Fernando Otero, among others. The Afro Latin Jazz Alliance will also honor Palmieri, Santos, and Robert Sancho, Vice President of Bronx- Lebanon Hospital and founding board chair of the ALJA, for their contributions to Afro Latin jazz.

Additionally, the January 20 performance will serve as a benefit concert for the Afro Latin Jazz Alliance, the ALJO’s non-profit organization committed to keeping this culturally rich tradition alive through Afro Latin jazz performance, education, and preservation. Anniversary Celebration Benefit Concert Tickets are $60, $80, and $100, and at the $100 level include a post performance reception at the home of City Council member Gale Brewer.

O’Farrill exclaims, “Ten years of existence is a milestone for the ALJO, not so much because we survived, but because we’ve created a new entry point into the cultural conversation. There is such great diversity in this music. Our embrace of an inclusive picture in jazz has welcomed many people into the fold because of this approach. This season we celebrate the finest moments in our history, which have consistently reflected a rich and comprehensive picture of Afro Latin jazz.”

The two-night January engagement is the second in a series of three landmark performances at Symphony Space, commemorating the 10th Anniversary season. The kick-off took place in October with a tribute to and featuring Andy and Jerry González, founders of the pioneering, Bronx-born Fort Apache Band and arguably the most important siblings in Latin jazz.

The final performances will take place on May 11 & 12, with a program entitled “Música Nueva 5: Big Band Poetry Slam & Beyond.” The Orchestra’s fifth annual new music concert, Música Nueva, will celebrate the spoken word tradition with a big band poetry slam curated by poet and musician Angel R. Rodríguez, Sr. and will honor the work of the Nuyorican Poets Café. Guest DJs, MCs, spoken word artists, instrumentalists, and dancers will mix the classic sound of mambo, boogaloo, and salsa with hip-hop, acid jazz, and alternative improvisation.

About The Afro Latin Jazz Orchestra:
Founded in 2002 by O’Farrill to perform the full repertory of big band Afro Latin jazz, and commission new works to advance this culturally rich genre, the ALJO was a resident orchestra at Jazz at Lincoln Center from 2002 to 2007. In 2007, the ALJO left Lincoln Center to pursue the twin goals of developing new audiences for big band Afro Latin jazz and of creating a robust educational program for young performers. O’Farrill founded the Afro Latin Jazz Alliance that same year to pursue both the performance and educational aspects of this uniquely pan-American art form.

The ALJO is entering its fifth season in residence at Symphony Space, and it continues to tour nationally and internationally to critical acclaim, performing over the past several years at The Kennedy Center for the Performing Arts, Boston Symphony Hall, the Newport Jazz Festival, The Joyce Theater (with Ballet Hispanico), Megaron Concert Hall (Athens, Greece), and the Taichung Jazz Festival (Taichung, Taiwan), among countless other venues. The ALJO received a GRAMMY® nomination for its 2005 album, Una Noche Inolvidable (Palmetto), and in 2009 earned a GRAMMY for Best Latin Jazz Album for its release Song for Chico (Zoho). The Orchestra released its newest album, 40 Acres and a Burro (Zoho), this past February.

About The Afro Latin Jazz Alliance:
Founded in 2007, the Afro Latin Jazz Alliance is dedicated to preserving the music and heritage of big band Latin Jazz, supporting its performance for new audiences, and educating young people in the understanding and performance of this important cultural treasure. The Alliance maintains a world-class collection of Latin jazz musical scores and recordings, provides institutional support for the GRAMMY® Award-winning Afro Latin Jazz Orchestra, and provides education programs for young musicians and new audiences.

“The Afro Latin Jazz Orchestra Turns 10″
@ Peter Norton Symphony Space
Friday, January 20 & Saturday, January 21 – 8pm

January 20 Performance – Benefit Concert w/ Special Guests:
Randy Weston, Ray Santos, Dafnis Prieto, Claudia Acuña,
Donald Harrison, Edmar Castaneda, and Fernando Otero, among others

2537 Broadway at 95th Street
New York, NY 10025-6990
Phone – (212)864-5400
Web - symphonyspace.org

Honorees
Randy Weston
Robert Sancho
Ray Santos

Honorary Chairs
New York City Council Member Gale A. Brewer
Bronx Borough President Ruben Díaz, Jr.
United States Senator Kirsten Gillibrand
Congresswoman Nydia M. Velázquez
Danny Glover
Oscar Hijuelos
Sonia Manzano
Marta Moreno Vega
Dafnis Prieto
Tina Ramirez
Miguel Zenón
Benefit Committee
Rogelio J. Carrasquillo
Eduardo Castell
Debra S. Cooper
Elizabeth Derbes
Jane Holzka & Mark Winther
Thomas Kamber
Don Lebowitz
Eduardo J. Martí
Renee C. Martinez
Sheri Mason
Arturo O’Farrill
Eric Oberstein
Nina Olson
Santos Rivera
Leonor Rodriguez & John Figueroa
James Seeley
Diane Sylvester
James R. Wacht
Paul Walker

For more information on the Afro Latin Jazz Alliance & Orchestra, visit:
http://www.afrolatinjazz.org

For media information, please contact:
DL Media • 610-667-0501
Jordy Freed • jordy@dlmediamusic.com
Don Lucoff • don@dlmediamusic.com

Claudio Roditi – Bons Amigos (Resonance Records – 2011)

Most fans, even aficionados of contemporary music, still only vaguely know the great trumpeter Claudio Roditi as the “Brazilian who joined Arturo Sandoval in Dizzy Gillespie’s United Nations Orchestra”. It is a pity that Roditi’s musical reputation rests on so narrow a spectrum in his enormous musical career. Few know, for instance, that Roditi was one of the first Brazilian musicians to relocate in the United States of America: in 1970 as a matter of fact. Since then he has criss-crossed America playing with the likes of Tito Puente, Mario Bauzá, Ray Barretto and Dizzy Gillespie. In Brazil he played with Jose Gonzalez and a host of others. He has played in every idiom of music: from bebop to rumba, samba and was nominated for his first Grammy in 1995 for his quintessential solo album Symphonic Bossa Nova with the Royal Philharmonic Orchestra conducted by Ettore Stratta.

In recent years, Roditi has come into his own again in intimate settings that he has created with fellow Brazilians, percussionist Duduka Da Fonseca, bassist Leonardo Cioglia among others. And his work literally shines in deep bronze colors and shades. Roditi has a singular voice as melodious and spare as that of Lee Morgan and Clifford Brown, both of whom he once cited as reasons for his coming to the US. However, Roditi has forged a path of his own, melting the sensuous nature of Brazilian music into an idiom aglow with the infinite ache of saudade and alive with bebop. So stunning and inimitable is his sound that he seems to set fire to a room in which his music is heard and much of this comes in fact from the exquisite recordings he has made with George Klabin and Resonance Records.

His third album is Bons Amigos that takes its name from a gorgeous melody created by another fine Brazilian musician, Toninho Horta. Once again Roditi soars and this time, it seems, into the proverbial azure so much so that he creates a blues of his own. It is the warmth of his tone, which can be both heartbreaking and joyous at the same time, that seems to emanate from so deep within his musical soul that it brings with it a gravitas that creates splashes of color and shade of mauve and brown and gold as well as indigo and deep blue. His silken timbre is gracefully resonant and infinitely bold and his notes rise and fall like cascading waves. He is—in a word—unique. Roditi has also picked his repertoire here with such studied majesty that the charts sound positively regal even as they are quite accessible to even the casual fan.

“O Sonho,” with its brisk “maracatu-like” rhythmic attack makes a stunning beginning for the album that rises to greater heights as it progresses. Roditi’s latest drummer, the brilliant Mauricio Zottarelli gives notice here that he is a force to reckon with as he shades the piece with earthy tones and polyrhythms. Elsewhere—on “Fantasia” for instance—Zottarelli shows how sensitive he can be. Roditi is also joined by the Brazilian guitarist, Romero Lubambo, one of the finest and oddly, one of the most neglected geniuses of modern guitar. Lubambo shows his ingenuity throughout, especially on “Amandamada” where he appears almost vocal-like on electric guitar. Nicaraguan pianist, Donald Vega is another member of Roditi’s stellar cast here and wastes no time in showing how much in the pocket he is, especially on the trumpeter’s original, “Levitation”.
Then there are the two outstanding pieces on the album: the first is “Ligia,” a heartbreaking ballad featuring Roditi on vocals. With a voice so full of longing and remarkable phrasing, Roditi negotiates a marvelous piece. And then there is “Piccolo Samba” played on the piccolo trumpet, a rather difficult instrument that Roditi has appeared to have come to terms—even mastered in his own way. This chart also features a fine solo from the Italian bassist, Marco Panascia.

This album must surely cement Claudio Roditi’s reputation as a modern master of brass and win him both accolades and awards if true aficionados in this otherwise dismaying industry are paying close attention.

Track Listing:

1. O Sonho
2. Para Nada
3. Bossa de Mank
4. Ceu e Mar
5. Bons Amigos
6. Ligia
7. Levitation
8. Fantasia
9. Amandamada
10. Piccolo Samba.

Personnel:

Claudio Roditi: trumpet, flugelhorn, piccolo trumpet, vocal (6); Romero Lubambo: electric and acoustic guitars; Donald Vega: piano; Marco Panascia: bass; Mauricio Zottarelli: drums.

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Claudio Roditi on the web: www.resonancerecords.org/claudioroditi

Review written by: Raul da Gama

Duduka da Fonseca Trio Plays Toninho Horta (Zoho Music – 2011)

One of the main reasons why Brazilian music has been preserved and, more importantly, kept alive through the generations has been the readiness of newer generations of musicians to create repertory albums in homage to that country’s master musicians. Over the years there have been a slew of beautiful tributes to classical masters such as Heitor Villa Lobos, from João Carlos Assis Brasil’s legendary album A Floresta do Amazonas with Ney Matogrosso and Wagner Tiso, (Kuarup Discos) to the myriad ones to contemporary maestros from Ana Caram’s The Other Side of Jobim (Chesky), the stunning albums by Mario Adnet honoring Moacir Santos and Baden Powell (Adventure Music). To add to that ever-growing list comes an exquisite album paying tribute to one of the lesser-known, but equally masterful composer and guitarist, Toninho Horta, from one of Brazil’s greatest drummers of his generation, Duduka Da Fonseca.

Plays Toninho Horta marks the arrival of Da Fonseca as a masterful interpreter of fine repertoire and inasmuch, as he has made Horta’s music his own, something of a “composer” as well. Da Fonseca is clearly one of the finest rhythm colorists around. He is one of several musicians who followed in the footsteps of fellow-Brazilians, Santos, Claudio Roditi and Nilson Matta in locating themselves in the United States. In bringing their artistry abroad, these musicians have become virtual ambassadors for Brazilian musical culture in that country. As is the case with this great cultural collision samba and maracatu are now virtually germane to the ever-expanding rhythmic patterns of modern music.

But Horta’s music also brings a certain elegance and graceful to the art of song as well. This is recognizable no matter whether Portuguese is spoken and or understood where his music is played. Da Fonseca proves this with his skillful handling of the repertoire here. Much of this has to do with the beautiful understatement with which he plays, whether he is driving the rhythm forward as he accompanies pianist David Feldman and bassist Wirti, or in his solos. As an accompanist, Da Fonseca creates fabulous whorls of color and shade with his melange of rolls, tickles and bombs on the drums which are offset by the joyous splashes and tinkles on his many cymbals. The Brazilian backbeat constantly reminds the body that it must keep on swerving, swaying and pirouetting to Horta’s sensuous, delicious melodies. Da Fonseca’s solos are few and when Feldman and Wirti quiet down to let him take one, he flies, unfettered as if he and his drums are floating on great gusts of wind. Bassist and pianist bring him down only to take off themselves in what is a continuous display of sublime artistry that never seems to end.

Wirti also shines as he opens con arco, the hushed, aching lyricism of “Moonstone,” a piece that is one of Horta’s most beautiful torch songs. This song also calls to mind the mastery of Toninho Horta as a melodist. Few musicians are as capable as he is of such sweet assaults on the soul. “Francisca,” “Waiting for Angela” and “Luisa” are other reminders of Horta’s genius that rank him among the sublime creators of song—with men such as Jobim and Santos themselves as well as with Americans like Green and Sour, who created such unforgettable charts as “Body and Soul”. Such is the beauty of Horta’s music and the world would have been the poorer had not Duduka Da Fonseca and his Trio brought its beauty to us with this memorable album.

Track Listing:

1. Aqui, Oh!
2. Bicycle Ride
3. Moonstone
4. Francisca
5. Aquelas Coisas Todas
6. De Ton Pra Tom
7. Waiting For Angela
8. Luisa
9. Retrato do Gato

Personnel:

David Feldman: piano; Guto Wirti: bass; Duduka Da Fonseca: drums.

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Duduka Da Fonseca on the web: www.dudukadafonseca.net

Review written by: Raul da Gama

Hendrik Meurkens – Live at Bird’s Eye (Zoho Music – 2011)

Hendrik Meurkens is, most certainly, one of the greatest musical adventurers from Europe. The harmonica wunderkind who also happens to be a fine vibraphone player seems to have almost singlehandedly rediscovered Brazil decades after Stan Getz and Joe Henderson did almost five decades ago. In doing so Meurkens along with the grandmaster of the harmonica, Toots Thielemans, has cast a refreshing light on Brazilian music, focussing on the angularity and aching beauty longing of its beloved choro. Not only has he brought a new instrument (the harmonica) to the traditional song form (the choro), he has recast the form in instrumental music by playing his instrument of choice as if he were “singing” the lyric lines of choro. And, as if this were not enough, he has added the vibraphone to choro as well. On this instrument as well he seems to dig into the depth of his soul as he creates dazzling harmonies around the melodies he plays.

Naturally, the breathless excitement of Brazil comes through in every aspect on Meurkens’ fourth Zoho release, Live at Bird’s Eye in Basel, Switzerland. Meurkens may not know it, but he has a penchant for the spectacular. This is evident from his sweeping, almost epic take on João Donato’s “Amazonas.” With his majestic runs and arpeggios on the vibraphone, Meurkens fills the heart and the mind with the breathtaking prospect of the world’s greatest, most mysterious and beautiful jungle. As a result, in one fell swoop he traverses a great landscape by creating an exquisite sound scape, urging his ensemble of pianist Misha Tsiganov, bassist Gustavo Amarante and drummer Adriano Santos to rediscover not just a memorable song, but a wonder of the world. Again, Meurkens pays an unforgettable tribute to Donato—this time on harmonica—in “Minha Saudade.” This is where Meurkens’ vocal side comes to the fore as he soars into the proverbial clouds with his “vocal” gymnastics on the harmonica.

But it is on his own composition—a choro, in fact—where Meurkens ingenuity on the harmonica shines. The composer is absolutely majestic as he is elementally sad and joyful on “Lingua de Mosquito.” Here his “vocalastics” on the harmonica are combined with his sense of aching beauty as he recreates a choro that even without vocals, recalls the great vocal choro of the likes of Nana Caymmi.

And what would a concert by Meurkens be without his classic, “Sambatropolis”? The quartet delivers this with refreshing style and aplomb, so that it sounds different from when Meurkens burst on the scene with it almost a decade ago. Moreover here, as elsewhere on this ever so memorable album, pianist Tsiganov gives a fine account of himself as he negotiates the rhythm of Brazil along with the young masters that Meurkens has brought along to Europe—bassist Gustavo Amarante and drummer Adriano Santos—in what is clearly one of the most exciting albums of 2011.

Track Listing:

1. Amazonas
2. Estate
3. Sambatropolis
4. Dindi
5. Lingua De Mosquito
6. Nôa Nôa
7. Body and Soul
8. Minha Saudade
9. Você Vai Ver.

Personnel:

Hendrik Meurkens: harmonica, vibraphone; Misha Tsiganov: piano; Gustavo Amarante: bass; Adriano Santos: drums, pandeiro (5).

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Hendrik Meurkens on the web: www.hendrikmeurkens.com

Review written by: Raul da Gama

Chucho Valdes and the ACM at the NJPAC

NJPAC Presents Grammy-Winning  CHUCHO VALDÉS and the AFRO-CUBAN MESSENGERS
with HIROMI: The Trio Project, featuring Anthony Jackson and Simon Phillips
Sunday, January 22, 2012 at 3pm

Newark, NJ (December 5, 2011) – Cuban jazz legend Chucho Valdés returns to NJPAC’s Prudential Hall for the first time since 2003 on Sunday, January 22, 2012 at 3pm with the Afro-Cuban Messengers, the band with which he recorded his latest Grammy-winning CD. Japanese jazz/pop pianist Hiromi and her Trio Project featuring Anthony Jackson and Simon Philips share the bill in an afternoon concert that spans genres and continents. The performance is part of NJPAC’s Wells Fargo Jazz Series and is made possible in part by the New Jersey State Council on the Arts and Discover Jersey Arts.

Tickets are $29-$80 and are available by telephone at 1-888-466-5722, at the NJPAC Box Office at One Center Street in downtown Newark, and at www.njpac.org. To purchase tickets for groups of 10 or more, call 973-297-5804

About the Artists:

Chucho Valdés, a pianist, composer, arranger, band leader and music professor, has recorded over 80 CDs, has collaborated with other artists continually, has won five Grammy Awards and three Latin Grammy Awards, and has performed solo and with his band across the world.  He was born in Havana, Cuba in 1941 to a musical family— his mother, Pilar Rodriguez, was a singer and piano teacher, his father, the great band leader and pianist Bebo Valdés.  Valdés formed his first band at the age of 15 and in 1973 formed the Cuban genre-defining band Irakere.  With its blend of jazz, rock, traditional Cuban music and classical, the band had a major influence on Cuban music that can still be heard today. In 2009 Valdés formed Chucho Valdés & the Afro-Cuban Messenger.  The group tours internationally and recorded Valdes’ most recent Grammy-winning release, “Chucho’s Steps,” in 2011.

Japanese pianist and composer Hiromi started playing the piano when she was six years old and while still a teenager played with the Czech Philharmonic and Chick Corea. She is a Berklee College of Music graduate who has performed with Corea, Ahmad Jamal and Stanley Clarke.   She made her debut in 2003 with Another Mind (Telarc), which won the Recording Industry Association of Japan’s “Jazz Album of the Year” award and sold over 100,000 copies.  In June of this year, she released Voice on the Concord Music Group label with her Trio Project – bassist Anthony Jackson (Paul Simon, The O’Jays, Steely Dan, Chick Corea) and drummer Simon Phillips (Toto, The Who, Judas Priest, David Gilmour, Jack Bruce).  Her Trio Project collaborators join her for this performance.

Cuban jazz legend Chucho Valdés returns to NJPAC’s Prudential Hall on Sunday, January 22, 2012 at 3pm with the Afro-Cuban Messengers, the band with which he recorded his latest Grammy-winning CD.  Japanese jazz/pop pianist Hiromi and her current Trio Project collaborators Anthony Jackson and Simon Philips share the bill with Valdés in an afternoon concert that spans genres and continents.

Tickets: $29-$80

Available at www.njpac.org, 1-888-466-5722 or at the box office at 1 Center Street, Newark, NJ

NJPAC Box Office Hours:

Tuesday to Saturday: Noon to 6pm
Sunday: Noon to 5pm
Monday: CLOSED
* For special performance onsales, hours may vary.

By Phone:

Monday to Saturday: 10am to 6pm
Sunday: Noon to 5pm
* For special performance onsales, hours may vary.

Online:

Order: 24/7

New Jersey’s Town Square, NJPAC brings diverse communities together, providing access to all and showcasing the State’s and the world’s best artists while acting as a leading catalyst in the revitalization of its home city.  Through its extensive Arts Education programs, NJPAC is shaping the next generation of artists and arts enthusiasts.  NJPAC has attracted over 6 million visitors (more than one million children) since opening its doors in 1997, and nurtures meaningful and lasting relationships with each of its constituents.  Visit www.njpac.org for more information.

CHICO O’FARRILL: Arquitecto del Jazz Latino

CHICO O’FARRILL: Arquitecto del Jazz Latino

Por CHICO ALVAREZ PERAZA

PREAMBULO

En la actualidad existe una calle en la ciudad de La Habana llamada Calle O’Farrill, cuyo nombre rinde honor a un ex-alcalde de la capital cubana. Este personaje era hijo de un irlandés que arribó en aquel encantador puerto marítimo durante el siglo diecinueve. Como tantos otros emigrantes de la epoca colonial, el irlandés plantó raices y se quedó en la isla para siempre. Y, como muchos otros emigrantes, aportó su granito de arena al desarrollo de aquella diversa cultura, tan diversa que hoy dia se puede apreciar la presencia de catalánes, visigodos, romanos, gallegos, moros, célticos, judíos, yórubas, congos, vascos, ingléses, franceses, haitianos, jamaiquínos, chinos, cartageneros, canarios y hasta mayas.

Antes de la llegada de O’Farrill a La Habana esta ciudad ya disfrutaba de más de tres siglos de cultura. La confluencia de culturas que se dió no solamente en La Habana sino por toda la isla caribeña, desde el mismo momento del llamado descubrimiento, creó las condiciones para lo que a traves de largos siglos sería conocido como la “expresión criolla”. Uno de los acentos más fundamentales de aquella nueva expresión fué la música. Cuba fué, y aún es un punto focal en el contínuo desarrollo de esa música. Durante su larga trayectoria musical Cuba se ha distinguido por sus grandes creadores e intérpretes. Entre ellos, el tataranieto de aquel emigrante irlandés, cuyo nombre fué y aún es sinónimo con el JAZZ LATINO; me refiero al distinguido maestro ARTURO “CHICO” O’FARRILL.

ACLARACIÓN

Con la desaparición física de los pioneros Pérez Prado, Peruchín Justiz, Mario Bauzá y René Hernandez; Chico O’Farrill quedó por varios años como el protagonista más importante de la vieja guardia y de la nueva ola musical cubana en este pais. Su presencia en una ciudad tan cosmopólita como Nueva York – completamente comercializada – aseguró que el género sobreviviera. Su figura amistosa y jovial motivó a miles de músicos jovenes del patio a seguir cultivando el jazz afrocubano. Si existe alguna duda en las mentes de los que ahora leen este escrito, entonces los diríjo a ellos; a los seguidores y admiradores del viejo O’Farrill. Busquen sus testimonios y veran si es cierto o no. El tiempo va volando y ha pasado casi una década de su muerte, y aún, su memoria es venerada y su nombre es respetado por todo aquel o aquella que conozca de música moderna.

BUENO, Y PARA EL QUE NO SABE; HE AQUI UN POQUITO DE HISTORIA

ARTURO “CHICO” O’FARRILL nació en La Habana del 1921, cuando el són imperaba y la cónga arrebataba. Su padre fué un eminente abogado de la epoca republicana, y su anhelo era que su hijo Arturito tambien fuera abogado. El destino, que como todos sabemos no le hace caso a los mortales, llevó al joven Arturito por otro sendero y en 1941 éste se inició en el campo de la música popular. De no haber tomado esta decisión, el historial del jazz afrocubano hubiera sido algo muy diferente. Quizás no hubiera ni existido. Por más de medio siglo, este genial creador musical estuvo a la vanguardia de un estilo innovador que muchos conocen hoy como latin jazz, o jazz latino. En sus inicios este género tuvo varias etiquetas, tal como cubop, mambo jazz y afro-cuban jazz; sin embargo el título que actualmente lleva es el que lo ha colocado en un plano de popularidad a nivel mundial. Si alguna vez el latin jazz tuvo musa, su nombre tendría que ser Chico O’Farrill.

La obra musical de O’Farrill es conocida tanto en la farandula norteamericana como en el mundo bailable latinoamericano por su extensa creatividad, sensibilidad temática, complejo polirítmico y orquestación de magnitud sinfónica, que abarca no solo su amor por la musica de Lecuona sino tambien por la de Debussy y Stravinsky. Su carrera musical comienza en los Estados Unidos, cuando el joven Arturo es internado por su padre en el Riverside Military School de Gainesville, Georgia. Allí nace su amor por las orquestas de jazz (big bands) y dentro de ese ambiente es que se alimenta musicalmente, escuchando las grabaciones de Benny Goodman, Artie Shaw, Glenn Miller y Tommy Dorsey, tanto que en poco tiempo se integra como trompetista de la banda militar y en varias agrupaciones de baile. Al regresar a Cuba, cursa sus estudios con el compositor Félix Guerrero, quien le sirve como una fuente de inspiración, especialmente en el campo de la composición y en su estudio sobre armonía. Se integra como miembro de la Orquesta Bellamar de Armando Romeu y de la orquesta de Isidro Perez.

Ya desde el 1948 Chico viajaba a Nueva York. Trabajó brevemente como arreglista para varios directores de orquesta, entre ellos Gil Fuller, Noro Morales, Frank “Machito” Grillo y Benny Goodman. En el año ’50 compuso su famoso “Afro-Cuban Jazz Suite” para el empresario Norman Granz y dicha obra fué grabada para el sello de este, utilizando como la base rítmica y acompañante a la orquesta de Machito y como solistas a los jazzistas Charlie Parker, Flip Philips y Buddy Rich.

LOS FABULOSOS AÑOS CINCUENTAS

Entra la siguiente década, y Chico forma su propia orquesta. Mantiene un fuerte horario de trabajo. Para el ’54 se arríma al jazzista Dizzy Gillespie y juntos realizan el famoso “Manteca Suite”. Regresa de nuevo a Cuba en el ’56 e inmediatamente comienza a trabajar para las mejores empresas disqueras de la isla como Panart y RCA Victor, participando en aquellas famosas descargas que hicieron tanta historia. Realiza además una formidable grabación para el popular Cuarteto D’Aida. Esta producción es lanzada de nuevo en disco compacto por BMG durante la última década del siglo veinte. En el 1958 el inquieto O¹Farrill vuelve a mudarse, esta vez para Méjico, y ahi su vida cambia radicalmente. Entra en un periodo de semi-retiro, aunque nunca deja de crear música. Allí compone su famosa “Azteca Suite” para el trompetista Art Farmer, y de nuevo hace historia.

LOS AÑOS ’60: ERA DE EXPERIMENTACIÓN

Durante la siguiente década se manifestarían varios géneros que por su novedad e inmensa popularidad en los Estados Unidos lograrían imponerse alrededor del mundo. Los arquitectos de la nueva moda utilizaron nuevas técnicas, estilos y sonidos, especialmente en el campo de la armonización. De repente la música popular dejó de ser exclusivamente para el salon de baile. Y por supuesto, aparecieron varios icónos del “nuevo sonido”; en el campo del jazz solo hay que mencionar la colaboración de Gil Evans y Miles Davis. El cubísmo y la africanía de Picasso durante las dos epocas anteriores se asociaron misteriosamente con el modernísmo musical; mientras tanto, en el cinema Marlon Brando explotaba con elocuencia y rebeldia sensual.

En el conglomerado latinoamericano, citamos la influencia de los antes mencionados pioneros, en su mayoría cubanos. Desde los años treinta la tradición cubana y el modernísmo americano iban formando una síntesis; los dos géneros caminaban las mismas calles en líneas paralelas que nunca se cruzaban; sin embargo su destino era la fusión. El lugar perfecto para esta convergencia, Nueva York. Conste, los intérpretes serian muchos; pero los arquitectos del sonido “nuevayorquino” lo formarían un grupo selecto, entre ellos el maestro O’Farrill.

Pero, porque Nueva York? Era lógico, y tenía que ser así. Porque Nueva York siempre ha sido la meca, el imán. De la misma manera que se habla del cine antes y después de la llegada de Marlon Brando a Nueva York, a la música moderna cubana se le aplica la misma analogía. El jazz afrocubano antes y después de Chico O’Farrill.

NUEVA YORK: LOS AÑOS FRUCTÍFEROS

Desde Mexico Chico O’farrill continúa escribiendo música para artistas y compositores tan diversos como Beny Moré, Bola De Nieve, Stan Kenton y La Lupe. Vive alli hasta el ’65, cuando decide regresar de nuevo a Nueva York. Su rol, principalmente es el de arreglista y no vuelve a grabar como director de orquesta hasta el 1995, debido a su colaboración con artistas de alta talla como Cal Tjader, Clark Terry, Gato Barbieri, Ringo Starr, David Bowie, Glenn Miller Orchestra, Mario Bauzá y Count Basie (laborando en las ultimas once grabaciones del pianista). Durante un espacio de treinta años, aporta un tesoro musical en el campo del jazz afrocubano, siendo además responsable por varias obras sinfonícas que han recorrido todo el hemisferio. En el campo de la radio y la televisión, su nombre es asociado con un sinnúmero de anuncios comerciales, programas y películas.

Sin embargo su inquietud lo lleva de nuevo al estudio de grabación, y en el ’95 Milestone Records lanza su primer disco compacto “Pure Emotion” (Pura Emoción), ganando el prestigioso premio GRAMMY. Su último disco llevó por titulo “Heart Of A Legend” (Corazón De Una Leyenda) y contiene catorce fabulosos temas, una formidable orquesta de dieciocho profesores y un elenco de artistas internacionales, tales como Paquito D’Rivera, Freddy Cole, Alfredo “Chocolate” Armenteros, “Puntilla” Ríos, Arturo Sandoval, Gato Barbieri, Israel “Cachao” López y Carlos “Patato” Valdés. La participación de todos estos baluartes logró que este disco fuera uno de los mejores de su carrera. De los arreglos se encargó el propio maestro Chico y la dirección musical se la encargó a su hijo, Arturo O’farrill Jr., un formidable pianista y heredero del trono y la batuta.

Luego de su muerte el 27 de junio del 2001, la empresa lanzó otro disco más; “Carambóla”; con música netamente cubana, para el deleite de los bailadores y de un sinnúmero de fanaticos y amigos del arquitecto del jazz latino. El pasado mes de junio se comemoraron los diez años de su fallecimiento, en la casa de su esposa y compañera Lupe, aquí en Nueva York. Como siempre, le doy gracias por haberme invitado y por su gentileza. Espero que este humilde reportaje sea no solo de su agrado, sino de ustedes tambien, y que me perdonen si se me ha quedado algun detalle sin mencionar.

TRAYECTORIA MUSICAL: DESDE EL BEBOP A LA FUSIÓN JAZZISTICA

Dicen que recordar es vivir, y que hacer música es un privilegio. Creo que el que lo dijo no miente. Sin embargo, debido al comercialísmo y a las demandas del mercado disquero, las composiciones musicales a veces son sometidas a reglas estrictas de armonía, aunque la libertad del compositor, en ocasiones, se esconde por estas restricciones. La excepción seria el género de jazz, que desde sus inicios en los prostíbulos de New Orleans ya le habia brindado al musico (tanto como al compositor), cierta libertad de expresión. De hecho, liberó no solo a los integrantes sino a los participantes de una restricción que intentaba instituir normas por las que todos debian de regirse. Como un reto a la perpetuación de actitudes de matiz victoriano, el jazz impactó dentro de la sociedad anglosajona; su orígen africano dejó una huella profunda. Esto quedó más claro que el agua durante aquella locura de los locos años veinte (the roaring twenties) y lo veo muy lógico, pues el jazz de aquella epoca era música de festejo, de baile, tal como lo fué la música nuestra. El jazz americano, en sus inicios, era como una rumba sin tambores, fuera del escrutínio de las autoridades racistas.

Este fenomeno se volvio a manifestar durante la epoca de rebeldía de los años cincuenta. El pueblo norteamericano había soltado sus inhibiciones y la libertad de expresión venía a toda velocidad, sin frenos. Chico O’Farrill lo comprendió mejor que ningún otro compositor o arreglista cubano, inclusive Dámaso Pérez Prado, quien sólo buscaba popularizar el baile del mambo. Sin quitarle su mérito, Prado se vinculó a la formula mágica y se hizo millonario, mientras O’Farrill se involucró en el desarollo de un género que perduró más alla de los años y que finalmente se escapó, volando por fuera de los muros del salon de baile, abriendo horizontes para el futuro, extendiendo aquel concepto musical más allá de los límites geográficos de nuestro continente.

Precisamente hoy, dentro de esa libertad (aunque ya muy lejos de aquella época) se encuentra el fenómeno de la fusión. Lamentablemente, el elemento fusionístico, por lo menos dentro de la corriente popular (mainstream), estuvo constantemente en guerra con lo que muchos le llamaron la “tradición” (y aún lo esta). Es aqui donde el arreglista se destaca y se vuelve un mandrake cualquiera. Sin lugar a dudas, Chico fué (y aún lo perciben asi) un personaje muy solicitado y privilegiado que vivía en dos mundos diferentes a la vez. Su mente creativa recibía influencias de varias razas, culturas y etnias, y aunque no se plantó en ninguno de los dos campos, vagó por ambos mundos como un espíritu libre. De tal manera, la síncopa y las sonoridades de la tradición cubana y el concepto armónico del jazz moderno se iban fundiendo en las ideas del maestro O’Farrill.

La verdad hay que decirla; el jazz afro-cubano fué su especialidad. Los grandes maestros e interpretes de la nueva ola musical de la urbe nuevayorquina lo buscaban para que Chico les diera luz a sus creaciones. En esencia, lo que los nuevos pinos (en la jerga cubana, los nuevos pinos significa la nueva cosecha) querían era colaborar con pleno derecho en el desarrollo de aquella metamorfosis y así definir el camino que deberían de tomar para llevar esa fusión a la popularidad. No era nada fácil, cuando miramos el panorama musical del pais en aquellos años. El público en general no comprendió la nueva fusión, y el jazz latino estuvo en decadencia por varios años. Con el tiempo se logró la transformación que muchos escépticos creian imposible, y afortunadamente estamos viviendo en la actualidad un renacimiento musical del híbrido jazz-latino. A la vanguardia de esa transformación estuvo Chico O’Farrill, pero ya nadie se acuerda de eso. Dicen que nadie es profeta en su tierra, y la triste realidad es que la Cuba que Arturo O’Farrill conoció en todo su esplendor no fué la misma Cuba que logró borrar su nombre del pentagrama histórico. Vaya, que caimán cruel!

Recuerden, no es fácil lograr en tan corto tiempo crear obras musicales o fundir géneros o elementos musicales a la perfección. Esa meta requiere cierta dedicación y el conocimiento de varias formas musicales, además de un estudio profundo de disciplinas como la armonía, el contrapunto y la orquestación. En lo que concierne al jazz afrocubano y en general a cualquier música basada en la improvisación que se cataloga como una composición musical instantánea, ahí esta el anteproyecto y el sello del maestro O’Farrill.

La acción de componer, o sea, de hacer una página de la música y reunir todos estos elementos dentro de una obra musical es un don muy especial que le pertenece al arreglista. En este mundo de computadoras y de pro-tools, cualquiera hace una grabación y la vende, pero no cualquiera puede crear música para concierto e integrarla con rumba de callejón. A los futuros privilegiados que se dediquen a la tarea de ligar varios elementos y hacerlos funcionar en un complejo musical de optima belleza se les requiere mucho más que el mero talento, se les requiere una mente genial. Todo intérprete, musico o compositor que se dedique a esta faceta de la música, o sea a la fusión, no solo cultiva y aporta a su desarollo, sino que inventa nuevas modalidades. Eso es el jazz latino. Hay quienes opinan (erroneamente) que no es nada más que una serie de solistas soplando para el deleite de ellos mismos. La cosa va más alla de eso, pues el jazz latino es el arte de armonizar e improvisar sobre los rítmos más complejos que existen. Es la fusión de Africa y de Europa.

EPÍLOGO

Mirandolo bien, el jazz latino ha sido el legado más bonito que nos dejó el maestro ARTURO “CHICO” O’FARRILL. Hoy, gracias a la diplomacia de su hijo Arturito, Cuba ha colocado de nuevo al arquitecto del jazz latino en sus archivos. Si tomamos en cuenta que el maestro O’Farrill ha sido uno de los más destacados compositores del siglo pasado, y echando las ideologías políticas a un lado, me parece muy lógico este reconocimiento.

Andy and Jerry’s: A Tribute to the González Brothers

ARTURO O’ FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA
ANDY AND JERRY’S: A TRIBUTE TO THE GONZALEZ BROTHERS
PETER NORTON SYMPHONY SPACE, NEW YORK
OCTOBER 14 AND 13, 2011

Performance Review and Commentary by New York Co-Editor, Tomas Peña (11/11)

Arturo O’ Farrill, the Afro Latin Jazz Orchestra and guest conductor, Miguel Blanco paid a heartfelt tribute to cultural warriors, Jerry and Andy González at Peter Norton Symphony space, a performance space on New York’s upper West Side. The highly anticipated event was promoted as “Andy and Jerry’s: A Tribute to the González Brothers,” an allusion to Andy and Jerry’s apartment in the Bronx during the 1970s, a place where veteran and second generation, musicians congregated, experimented, participated in rumbas and jam sessions and created the environment for the birth of El Grupo Folklorico Nuevayorquiño, the Fort Apache Band and Conjunto Libre.

O’ Farrill’s relationship with the González brothers, dates back to his early days as a pianist. “When I began to play I rejected my father (Chico O’ Farrill’s) inherited (Cuban) music and culture,” said O’ Farrill, “at the time I was making my name around Manhattan’s downtown loft scene, then a magical thing happened when my father got elderly, I heard our music as if it was new to me.” Andy was instrumental in encouraging O’ Farrill to embrace his culture. “I remember telling him that it was OK to play clave inspired music,” says Andy, “that it was part of him.”

The tribute was presented in two-parts. The first half featured the music of the Fort Apache band as interpreted by the Afro Latin Jazz Orchestra, tunes such as Pedro Flores’s Obsesion (Obsession), Thelonious Monk’s Let’s Call This and Larry Willis’s Isabel the Liberator and Nightfall. Fort Apache is the product of Jerry’s vision, a mixture of progressive jazz and Latin (Afro Caribbean) music, or as musicologist René López describes the band, “the only group that sounds like a jazz group, and never stops sounding Latin.” The Fort Apache Band figured prominently in the film, Calle 54 and is the recipient of numerous awards, including the World Beat Group of the Year in Downbeat’s Annual Reader’s Poll and the Grand Prix of the French Academie du Jazz.

Jerry, looking dapper in a suit, matching hat and trademark sunglasses was front-and-center throughout the presentation, alternating between the trumpet, the flugelhorn and five congas. Andy joined the orchestra for Vieques, an original composition that navigates Afro Puerto Rican and Afro Cuban rhythms and took a deep, thoughtful solo that clearly demonstrates why he is considered one of the most recorded and respected bassists in Latin music.

The second-half featured the music of Conjunto Libre; a dance band that integrates traditional Latin rhythms with alternative influences and embodies the spirit of its former leader and founder, Manny Oquendo. Vocalists Quique González, bass player and former Libre alumni vocalist Jorge Maldonado and flutist Dave Valentín joined the orchestra for a medley Libre’s “flag wavers,” including Alabanciosa, Que Humanidad and Freddie Hubbard’s Little Sunflower. Andy passed the baton to bass player Luques Curtis (of the Curtis Brothers) and sat in on coro (chorus). Libre’s music electrified the room, beckoned the dancers and had the entire audience clapping to the beat of the clave.

In addition to directing the orchestra and hosting the event, O’ Farrill composed a piece dedicated to Jerry and Andy’s parents, titled Fanny and Oscar. Guest conductor, Miguel Blanco, contributed two compositions, “Alma Vacía” and “Gnossienne 3,” featuring the soulful vocals and saxophone of Antonio Lizana. Blanco is the leader of the Afrodisian Orchestra, a big band founded in Madrid. In 2007 he collaborated with Jerry on the landmark recording, Music for Big Band, which has yet to be released in the U.S.

On a more serious note, the tribute could not have occurred at a more appropriate time. Earlier this year the National Academy of Recording Arts and Sciences (the Grammys) eliminated the Latin jazz category, causing a firestorm throughout the Latin music community. Tributes such as this fly in the face of those who seek to undermine the majesty of the genre and the artists who create it. As events continue to unfold we celebrate the lives and music of Jerry and Andy González, two artists who symbolize dedication, passion, risk, artistic integrity and respect for tradition and innovation.

The show ended with the Afro Latin Jazz Orchestra’s scorching interpretation of Tito Puente’s “Para Los Rumberos” and some words of wisdom from Arturo O’ Farril, “This music does not die, it lives in on our hearts and you can take it with you in your soul.”

THE AFRO LATIN JAZZ ORCHESTRA IS:

Arturo O’Farrill (Piano, Musical Direction), Seneca Black, (Trumpet), Peter Brainin (Tenor Saxophone), Vince Cherico (Drums, Timbales), David DeJesus (Alto Saxophone), Joe González (Bongos, Percussion), Roland Guerrero, (Congas), Reynaldo Jorge (Trombone), Tokunori Kajiwara (Trombone), Jason Marshall (Baritone Saxophone), Earl McIntyre (Bass Trombone), Michael Mossman (Trumpet), Bobby Porcelli (Alto Saxophone), Ivan Renta (Tenor Saxophone) , Ricardo Rodriguez, (Bass), Jim Seeley (Trumpet), Gary Valente (Trombone), John A. Walsh (Trumpet).

SUPPORT THE AFRO-LATIN JAZZ ALLIANCE!

The Afro Latin Jazz Alliance (ALJA) is dedicated to preserving the music and heritage of big band Latin jazz, supporting its performance for new audiences, and educating young people in the understanding and performance of this important cultural treasure. The Alliance maintains a world-class collection of Latin jazz musical scores and recordings, provides institutional support for the Afro Latin Jazz Orchestra, and provides education programs for young musicians and new audiences.

Against All Odds: Angelito y La Timba de Ayer

Latinjazznet.com profiles a dedicated griot and master percussionist
By Chico Alvarez Peraza

Mr. ANGEL RODRIGUEZ is a Brooklyn resident whom I met many years ago when I began performing with the LATIN JAZZ COALITION, a creative music ensemble led by trombonist Demetrious Kastaris. We used to do a lot of those city park gigs together and Demetrious would always feature Angel on an array of percussion instruments; most worthy of mention was his artistry on the shekeré. That’s when I learned that he was also a dedicated teacher and a devotee of traditional Afro-Cuban cult music.

Until recently, Angel was director of Mind-Builders Creative Arts Center, in the borough of the Bronx, in their music department, where he worked closely with the executive director, facilitating and coordinating the music departments, instructions, recitals, program activities, equipment, materials, and community service mini-performances. Angel figured importantly in the recruitment, hiring, and supervision of all new staff, as well as work development at the work place for an ongoing assessment, and quarterly evaluations of music instructors.

An accomplished performing artist and a committed master drummer whose main goal is to preserve the traditional Afro-Cuban rhythms and to see more and more young people become involved in the proper learning of African hand percussion, he has actively sought out, recruited, registered and auditioned hundreds of students for merit/talent scholarships.

In 1990 Angel traveled as a percussion instructor from New York to California, on through Florida, Texas, Connecticut and Washington DC, giving formal and informal instruction in world percussion, with specialization in Afro-Caribbean styles. In 1997 he toured for five weeks in Poland as a percussionist and actor.

On the local New York salsa scene he regularly performed with such luminaries as Paquito Guzman, Lalo Rodríguez, Hector Tricoche, Junior Gonzalez and Marvin Santiago. In 1990 and 1991 he appeared on “Buenos Dias Mediodia” an entertainment service; namely, a Spanish-language television program associated with Univision.

But Angel Rodríguez the musician was always attracted to literature and writing, as well as academia. In 2002 Angel authored “Musicians in the South Bronx,” published in the New York Post’s 200th Anniversary Edition. There were, for example, multiple articles that he authored from 2000 through 2006 for “Hunt’s Point Alive” (in the Bronx); he was mentioned by Nina Siegel in her New York Times article “In the Footsteps of The Mambo Kings”; as well as by Steven Sapp/La Colora “Universes” – referencing “The Point C.D.C. (The Point Community Development Corporation – more on that organization in a moment).

Angel’s work experience has roots that extend beyond the high school, university and intermediate school level in New York. Obviously, he is a product of the streets. While still very young he performed for patients at various hospitals and institutions. He appeared at Harlem’s famed Apollo Theatre in 1987 through 1989, and in 1993 he appeared on Univision’s Channel 41 in New Jersey. From 1996 to 2004 he worked as a teacher, councelor and producer for Arts Connections, Inc., here in New York City.

When I first met Angel he was hosting the “Mambo to Hip Hop Tour”, a musical heritage tour of the South Bronx helping to preserve latin, jazz and hip hop history. Right around that time he was also busy creating, coordinating, producing and hosting the “Living Legend Series”, a musical tribute to the many unsung heroes of music, dance and poetry. He did this while he was still the music program director and coordinator at The Point Community Development Corporation. I personally witnessed the joy he brought to those musicians and other artists who had been overlooked by the mainstream for years, and I could relate to their appreciation for having been recognized “while they were still able to appreciate it”. From 1995 to 2002 Angel was more than just an administrator; he booked, produced and managed every facet of the series. A man with tremendous energy and a positive attitude toward getting things done right.

By 2003 he had gone on to become an independent contractor in New York and Los Angeles, working as a consultant, educator, organizer, performer and producer; helping to conceptualize and produce projects related to community, youth, gangs, and issues of inner city living. He counselled educators to empower children so that they could steer away from drugs, stay out of gangs and in school; he also assisted students and aspiring musicians with career development.

Angel’s additional responsibilities with the Point CDC included teaching percussion workshops to youth ages 14 to 21, coordinating performances, creating intergenerational support values, and assisting with the re-envisioning project at Hunt’s Point in the South Bronx – helping others get directly involved with the redevelopment of their own community. One might say that he was a pillar of the community, in a strictly non-political sense of the word.

Beginning in 2000, he performed for three consecutive years with the aforementioned Latin Jazz Coalition; as well as with Tito Puente, raising money for children with Leukemia, HIV/AIDS, etc. In 2003 he worked with Hip Hop at the New Victory Theatre as percussionist, actor and dancer. And then again in 2004 with Hip Hop at Lincoln Center, as a percussionist, actor and dancer (for Full Circle Productions, New York).In 2005 he was featured with the Welfare Poets at the Venezuela 16th Annual Youth Festival, as well as with the V89 Summer Soulstice Celebration in 2005, where he was featured as a guest performer, at WVFS Tallahassee/621 Gallery in Florida.

In 2007 Angel joined renowned scholars such as Dr. Jack Chen, David Montgomery and Dr. Juan Flores as a panelist with the New York University Panel of American Historians. Several discussions were held with grass roots organizations through out New York City and the country. The premise was to conserve these organizations that service communities through Arts and Community Organizing and what impact it has on a community without any resources.

Soon, he began to receive more recognition, and in 2007 and 2008 he became the coordinator for the Fine Art Center at the University of Massachusetts‘ New World Theatre Youth program Project 2050, an organization whose goal was to bring together local and international artists, scholars, youth participants, theatre production teams and New World Theatre staff in an exciting ten day summer intensive that culminates into a wonderful performance, manifesting community engagement and social activism with various summer intensives, workshops, projects, programming, youth meetings, parent meetings, and community partners meetings throughout the year. Youth participants are also hired as office associates where they learn structure, systems, strategic planning, decision-making processes that ultimately give them positive outcomes for future references.

Angel also served as the director of the Music Department at the Mind-Builders Creative Arts Center, in the Bronx from 2008 to 2009. He continued to perform, turning in some fine performances in 2007 with Etienne Charles and Culture Shock at MOMA; Harlem Week Trinidad and Jazz Riverside Theatre in 2009.

Since the beginning of 2010 up until to the present time Angel has been working on two musical projects; LA TIMBA DE AYER, which encompasses traditional Afro-Cuban genres such as guaguancó, makúta and yambú, among others; and THE ABRAZOS ORCHESTRA, a multi-genre ensemble that he describes as having mas salsa que pesca’o (more sauce than fish).

Mr. Rodríguez was recently made a grandfather and has been hanging out with his first grandson Angel Ruben Rodríguez III, who is now three years of age and is already playing congas and surfing the internet. Angel is scheduled to begin work at a men’s shelter for young veterans of war who have found themselves to be homeless and in need of transition back into society. Using theatre and music as his forum, Angel has succeeded in creating an impetus environment wherein our society will see positive results in such areas as high self-esteem, respect for one’s self and moral values. This is the work that Angel loves the most, to help humanity in any way that he can. Some might argue that it is a rough road that he has chosen to travel on, and others might even wonder how the hell he does it. The word that immediately comes to my mind is dedication.

Music is the pill that he takes daily to deal with work, love, friendships, and life itself for that matter.

Angel has recently begun coordinating the LIVING LEGENDS TRIBUTES through The Women Health and Education Co. (WHEDCO) and The Bronx Music Heritage Center, in association with Bill Aguado, Bobby Sancho, Alvan Colon of Pregones Theater and Wally Edgecomb of Hostos Community College. He is also working on curating  a show at Symphony Space with the great Mr. Arturo O’Farrill called “LITTLE BROWN PEOPLE”, toward the end of the year. This project will include performing artists in all related genres, plus a special tribute to The NeoRican Poets Cafe. It has been planned to be a two day festival, where Mr. Rodríguez will also be performing on percussion and vocals as well. It is scheduled to take place from May 11th-12th, 2012 at Symphony Space in Manhattan.

Latinjazznet.com takes a great deal of pride in highlighting ANGEL RODRIGUEZ, and we proudly salute this energetic artist for his many contributions to the Afro-Caribbean Experience, American Jazz and the arts in general.

Eddie Palmieri – 50th Year Anniversary DVD

Nine-Time Grammy Award Winner
EDDIE PALMIERI
Celebrates the Release of his Official
50TH YEAR ANNIVERSARY DVD

TUESDAY, AUGUST 16TH, 2011

Eddie Palmieri is one of the most exciting and renowned Latin pianists and leader of both Latin Jazz and Salsa Orchestras. He will be releasing his first official DVD on Tuesday, August 16th, entitled "Eddie Palmieri 50th Year Anniversary DVD."

The DVD captures a unique live performance filmed at the Bushnell Memorial Theater in Hartford, CT. Mr. Palmieri and his Salsa Orchestra perform many of his greatest hits on this anticipated DVD, a portion of the proceeds from Mr. Palmieri’s DVD will be contributed to the Hispanic Professional Network’s arts and culture fund. The DVD also features an intimate interview of Mr. Palmieri where he shares his life story with poignant reflections, along with his creative inspirations for songwriting. The legendary nine-time Grammy award winner is a groundbreaking composer and arranger who has carved a signature musical style that is unequivocal in its inventive and at times, avant-garde approach. As such he has consistently challenged the boundaries of both Salsa and Latin Jazz.

Mr. Palmieri, a venerated Puerto Rican icon, will be promoting and celebrating this release at Best Buy located at One Union Square South (Corner of 14th Street and 4th Avenue), in New York City. The first 200 people to buy the Eddie Palmieri 50th Anniversary DVD will receive a wristband which will guarantee admission to the DVD signing at Best Buy where Erica Gonzalez, the Executive Editor of El Diario/La Prensa, will moderate a Q&A. This special event will be taped and streamed live on BestBuy.com.

LIVE @ BEST BUY
EDDIE PALMIERI IN-STORE Q&A SESSION
& AUTOGRAPH SIGNING

Tuesday, August 16th

Doors Open at 5:00pm
Where: Best Buy Union Square – 1 Union Square South, at the 14th St & 4th Ave
Hosted by: Erica Gonzalez (Executive Editor, El Diario/La Prensa)
Retail Price: $24.99

Sponsored by El Diario/La Prensa (www.impre.com/eldiariony) & The Copacabana (www.copacabanany.com)
This is a ULM LLC & Global Rhythm Group produced event.

Later that evening, the Publisher and CEO of El Diario/La Prensa, Rosanna Rosado, will host the official DVD release party at the newly reopened Copacabana nightclub located at 268 West 48th Street, where Mr. Palmieri will perform with his Orchestra. This extraordinary evening will also benefit the EXODUS program, an East Harlem project that assists ex-offenders readjust to the demands and challenges of every day society.

EDDIE PALMIERI LIVE PERFORMANCE
WITH HIS SALSA ORCHESTRA

Tuesday, August 16th

Doors Open at 6:00pm
Where: The Copacabana – 268 West 47th Street, at 8th Avenue
Hosted by: Rossana Rosado (CEO/Publisher, El Diario/La Prensa)
LIVE Remote from La Mega 97.9FM from 7PM to 9PM
General Admission: $20
Dress Code Strictly Enforced. No Jeans, No Sneakers.

Sponsored by El Diario/La Prensa (www.impre.com/eldiariony) & Best Buy (www.bestbuy.com)
This is a ULM LLC & Global Rhythm Group produced event.

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