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Gato Barbieri: La Educación de un Revolucionario

13 Saturday May 2023

Posted by Fernando González in Home, Jazz, Latin Jazz, On Music

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Gato_barbieri

Foto de Pino Alpino. Wikimedia (English version)

Don Mario Bauzá, arquitecto y director musical de Machito and his Afro-Cubans, figura crucial en la mezcla de ritmos afrocubanos y armonías de jazz y pieza indispensable en el encuentro de Dizzy Gillespie con Chano Pozo, el tema lo irritaba.

“No sé de qué hablan cuando hablan de Latin Jazz. Eso no es Latin Jazz”, decía con su inconfundible gruñido en una charla en New York en los años 80. “Nadie toca ´Latin jazz´. Eso es jazz afrocubano”. Para Bauzá, no era una cuestión de dar debido crédito. Él hablaba de un “Latin Jazz” mucho más ancho y profundo, incluyendo mucha más música del mundo Latinoamericano: joropos venezolanos, huapangos mexicanos, palos del flamenco, tango.

Una conversación entre ellos hubiera sido fascinante. Barbieri, más conocido como compositor e intérprete de la banda sonora de la controversial El Último Tango en Paris de Bernardo Bertolucci, dijo más de una vez que él no tocaba jazz. Desde ya, nunca se vio como un músico de Latin Jazz. Y sin embargo, con un puñado de discos grabados entre finales de los años 60 y mediados de los 70, Barbieri marcó un antes y después en el universo del jazz.

Habiendo hecho su punto, el maestro concedía que había excepciones.

Pero su lista de artistas en su visión del Latin Jazz era corta.

Un infaltable era Gato Barbieri.

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The Shape of Jazz To Come

30 Tuesday Jun 2020

Posted by Fernando González in Home, In Other Words, Jazz, On Music

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From left: Linda May Han Oh, Kris Davis, Terri Lyne Carrington, Aja Burrell Wood  Photo by Kelly Davidson

Women have been part of jazz from its beginning. It’s a rich but complicated story framed by limited opportunity mixed with unwritten rules, sexism, and benign neglect. None of this is surprising: Generous as jazz can be, as art, it both reflects and shapes the society that produces it. 

“We live in a patriarchal society, and that patriarchal thread has run through this music as well,” says Terri Lyne Carrington, drummer, and producer, as well as the artistic director of the Berklee Institute of Jazz and Gender Justice.

She founded the institute to explore a fundamental question: What would jazz sound like in a culture without patriarchy? The question has surfaced at a moment in which society seems open to an important set of conversations and institutional changes, says Farah Jasmine Griffin, a Columbia University professor who has written extensively about issues of race, gender, feminism, and cultural politics, and who sits on the institute’s advisory board.

“Oh, I don’t know that jazz is any worse on these issues than many other parts of our culture,” says Griffin, who is also the author of If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday, and collaborated with the late composer and pianist Geri Allen on theatrical projects. “But I’ve always felt that because jazz is so capacious and it’s always been historically at the forefront of social change and modeling social change, jazz would be a great place to try and do something like [the institute] to really kind of challenge our notions of gender norms.”

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Esperanza Spalding, Fred Hersch, Jazz and the Art of Solidarity

01 Monday Jun 2020

Posted by Fernando González in Home, In Other Words, Jazz, On Music

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Esperanza Spalding and Fred Hersch

Singer, bassist, and songwriter Esperanza Spalding and pianist and composer Fred Hersch are releasing a five-song EP recorded live at Village Vanguard, with all proceeds benefitting the Jazz Foundation of America. The performances, selected from a weekend run at the Vanguard in October 2018 and offered as rough mixes, with no edits, are a reminder of what jazz can be – creative, daring, subversive, and yes, fun. These are two superior artists working at a high level, often suggesting dancers changing roles on the fly, now leading, now following, challenging, and teasing each other while tiptoeing and turning on a ledge. The results are often spellbinding.

The EP will be sold exclusively for download through Bandcamp, with all proceeds benefitting the Jazz Foundation of America and the organization’s efforts to assist members of the jazz community impacted by the COVID-19 pandemic. It will be available only through June for a minimum of $17, with additional donations encouraged on a pay-what-you-wish basis.
The EP can be purchased at https://esperanzaspaldingfredhersch.bandcamp.com

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