Jazzin' ISSUE 06/ September 2015
Puerto Rico Jazz Guide
Jazzin' Interview:
Jerry Gonzรกlez
Puerto Rico Jazz Legends: Eddie Palmieri
Jazzin Interview Jazzin: Let’s start from the beginning. How did you start in music and who inspired you? Jerry González: My first inspiration into music was my father, Jerry Gonzalez Sr. He was a singer and had a giant vinyl collection of Latin music, jazz, classical and popular music in the house. He taught me my first notes on the trumpet, I bought my first instrument and I got my first gigs playing with his group. I idolized him, he could do anything, fix everything. He always supported me. Jazzin: Did you study music formally? JG: Yes, I studied music formally since I was in elementary school. Then I went to John Philip Sousa Junior High School where I learned to play military marches with the trumpet, then I went to the Music & Art High School where I taught a lot of music theory I learned to play classical music in the format of brass quintet (Domenico Gabrielli, Bach , Mozart ...) and was a member of the school jazz band playing arrangements of Duke Ellington, Oliver Nelson and others. Music & Art High School was the best thing that ever happened in my life, I would do it again if I could and would be even a better student. Then I went on a scholarship to New York
"Fort Apache" is a group of bilingual musicians who can play bebop and rumba they can play all at the same level and with la clave always present College of Music and then at NYU. My first instrument was the trumpet but I started making money before with congas. Congas were more intuitive for me, trumpet required more study time. Jazzin: Let’s talk about your first professional experiences and first recordings? JG: When I was 12 or 13 I started playing with the quintet of Andrew Langston. We played music by Cal Tjader and Eddie Palmieri. I remember I played with that band in New York World's Fair and was there that I first felt the power of rhythm in the masses, I played the congas and people stood up and applauded enthusiastically. It was a powerful feeling. When I was 16 years I formed my first band with my brother Andy, Freddie Munar, Llew Matthew Nelson Samaniego, Rumas Barrett, Onaje Allan Gumbs and other friends. My first recordings were in the 60's with Monguito Santamería, Frankie Dante and Orchestra Flamboyan, Justo Betancourt, George Benson ...
Jerry González Jazzin: Jazz was present from the beginning in your life or came later? Jazzin: Who was the first jazz musician you heard? JG: It was there from the beginning. The first jazz musicians I heard was Charlie Parker (the album "Charlie Parker Memorial" of Savoy Records) and Louis Armstrong ("Old Rockin 'Chair" and "Saint James Infirmary" of Louis Armstrong with Jack Teagarden). I was 5 years old and listen to them all the time.
"Piratas del Flamenco" was an investigation into the common points between flamenco, jazz and guaguancó Jazzin: Early Influences? JG: Many very different: Mongo Santamaria, Dizzy Gillespie, Miles Davis, Thelonious Monk, John Coltrane, Charlie Parker, Wayne Shorter, Jackie McLean, Rashied Ali, Art Blakey, Lee Morgan, Clifford Brown, Horace Silver, Max Roach, Philly Joe Jones Booker Little, Archie Shepp, Roswell Rudd, Tony Williams, Roy Haynes, Elvin Jones, Bela Bartok, Krzysztof Penderecki, Claude Debussy, Maurice Ravel, Erik Satie, Mozart, Bach, Cal Tjader, Tito Puente, Eddie Pamieri, Machito, Willie Bobo, Barry Rogers, Marty Sheller, Patato Valdes, Totico, Puntilla, Arsenio Rodriguez, Virgilio Martí, Chocolate Armenteros, Los Muñequitos de Matanzas, Los Papines, arcane and its wonders, Candido Camero, Peruchín, Cachao, Chombo Silva, Pancho Bravo , The Black Vivar, Florecita, Niño Rivera, Charlie Haden, Llew Matthews ... and many more .
Jazzin: How did you get to work with Dizzy and how was the experience? JG: Dizzy called me one day asking me to play that night with him in Washington DC at a club called The Cellar Door. At first I thought it was a joke, but it was really Dizzy Gillespie. I rushed to the airport with my conga and arrived at the club four hours earlier. I was sitting at the door waiting to Dizzy. It was very exciting. The experience of working with Dizzy was amazing, to hear how he built his solos, observing his use of rhythm, his eloquence, his humor ... I learned a lot. Jazzin: After Dizzy, with whom you worked before getting into Libre? JG: Mainly with Eddie Palmieri, from which I learned a lot. He taught me the importance of Tumbao, to keep up with the congas. In those years I also played with Bobby Paunetto, Tony Williams, Rashied Ali, Clifford Thornton, Archie Shepp, Jayne Cortez, Justo Betancourt, Larry Young, The Beach Boys ... After Andy, Manny and I left Palmieri Group, we formed the Conjunto Libre. So we call it Libre (free ofPalmieri, just as a joke). Continues on page 6
We also created the Grupo Folklorico Experimental Nuevayorquino, more focused on the roots of Afro-Cuban and Afro-Puerto Rican music. Jazzin: Can you describe the concept and music Libre compared to what was happening with Latin music in those years? JG: In those years on many groups the guaguancó was missing, the feeling of the rumba was missing instead of just mambo and cha cha cha. In many groups it was very closed, was only melody and arrangements behind the singer and there was no room for solos metals and percussion. With Libre we opened that: a lot of rhythm and a lot of improvisation and jazzeo. Only Barry Rogers (who also was part of Libre) did that at that time, he understood the key and the phrasing of the old Cuban son musicians and Muñequitos de Matanzas. Jazzin: Tell us about your work in recent decades with your groups Fort Apache, The Pirates of Flamenco, and El Comando de La Clave and the concept in each. JG: "Fort Apache" is a group of bilingual musicians who can play bebop and rumba they can play all at the same level and with la clave always present. Everyone in the group have some common experiences and musical (and generational) references. We have evolved together for more than 30 years and have a very deep and even our own language. Our last album was "Rumba Buhaina" in honor of "Art Blakey & The Messengers". Soon Half Note Records will release our new album, recorded at the Blue Note with Jeff "Tain" Watts and Miguel Zenon as special guests. "Piratas del Flamenco" was an investigation into the common points between flamenco and jazz guaguancó; an exchange of knowledge between Flamenco artists (Niño Josele, Diego El Cigala, the Piranha package ...) and me. It happened in a very natural, intuitive and innocent way. It was a very exciting project but then it was difficult to reconcile the group with the solo careers of each. The concept of "El Comando de la Clave" is similar to Fort Apache but a quartet with bass and vocals without much brass as "Fort Apache". Since I'm the only brass I have more freedom in phrasing. With three Cuban musicians are younger than me, with their own musical experiences different from my generation. All of them have gone through the great Cuban musical instruction system, they know rumba, timba, have played a lot with flamenco but, unlike musicians Fort Apache, have much influence of bebop and blues. Alain Perez is a great sonero, has a voice that transports you to another era. That combination of personalities in the band creates a special sound that is different from Fort Apache. Jazzin: How was the experience of working with Trueba in Calle 54? JG: Very positive. Trueba knows a lot about music, he is a music collector and has lots of imagination and vision. The film gave high visibility to my music and that of everyone involved, especially in Spain. Continues on page 8 phone: (00) 002.003.004 fax: (00) 002.003.004 email: info@namehere.com www.domainname.com address: 5the Avenue 10001 NYC New York
JAZZIN' INTERVIEW JERRY GONZÁLEZ Jazzin: How does the fascination with flamenco started? And what is the connection with Latin music? JG: Flamenco came into my life when Trueba took me to Spain to promote "Calle 54". The last day of the tour, backstage at the Teatro Albéniz, through Trueba and Javier Limón I met Niño Josele, Diego El Cigala, Piranha and other musicians. Together they convinced me to stay and explore what we could do together. In a few days we were in the studio Javi Limón sharing ideas and almost without realizing we recorded "Jerry Gonzalez y Los Piratas del Flamenco". Papo Vazquez years before and Dave Valentin had showed me "Potro de Rabia y Miel" the last album of Camarón de la Isla and I was fascinated. I feel there is much in common between some of the flamenco of the bulería and guaguancó clave. There are also similarities between the lament of flamenco and blues feeling. In both jazz and flamenco there is a soloist and a rhythm section that accompanies and there is some solos. It is the same thing on many typical Caribbean music too. There is much to explore in that direction, I'm taking note of ideas for a second flamenco album. Jazzin: Can you describe your creative process? How you get your ideas and develop your compositions? JG: In my case the ideas comes from live shows. At home I think of themes I'd like to try with my musicians and ask them to listen to them. When I make a record I like to get into the studio with very clear ideas and we just record what we’ve been doing live. The record El Comando de La Clave, for example, we recorded it in two days. I like to record all the musicians together at the same time. I do not like to record all tracks with metronome and cut and paste and build the record with ProTools as many do now, that does not work for jazz. The only thing I regret is not being able to play trumpet and congas at the same time, I need two more arms! Jazzin: Finally, what are your future projects? JG: On the one hand I have this new album recorded on the Fort Apache Blue Note issued by Half Note Records. On the album there is a version of "Cocktails for Two" that I really like. Next year marks the 50th anniversary of the start of my career. To celebrate we are preparing a very special album, a documentary and a world tour "Jerry Gonzalez 50/50" which are musicians like Javier Colina, Kirk Lightsey, Famoudou Don Moye musicians "Command Key" and "Fort Apache" and many special guests, musicians of different styles that have strongly influenced my music and my life. I want Puerto Rico to be part of the tour. I miss a lot the island and have many friends there: Jerry Medina, Furito Rios, Cachete, Freddy Gumbs, Tony Batista, Endel Dueño, Eric Figueroa, Jimmy Rivera, Polito and Gregorio Huerta, Toñito and Victor Vazquez, Tempo Alomar, Pupy Cantor Ramon Vázquez…
Another thing is that I have pending is writing my memoirs. Many books has been published on Latin jazz and the music scene in New York where I lived, written by people from academia and musician who lived those times directly. Together they are rewriting history, exaggerate the importance of some musicians and erased from history to others that were more important. I think those who lived through those times have a responsibility to tell our story. Overall my future project is to continue touring and recording and enjoy my family. I have a 1 year old daughter, Julia Amelia, and there are many things I want to enjoy it. Interview by Wilbert Sostre for Jazzin' Magazine
LEGENDARY CUBAN ORCHESTRA BUENA VISTA SOCIAL CLUB® IN PUERTO RICO FOR THEIR LAST WORLD TOUR Featuring Omara Portuondo, Eliades Ochoa, Manuel "Guajiro" Mirabal, Barbarito Torres and Jesus "Aguaje" Ramos The legendary Cuban Orchestra Buena Vista Social of fílin in Cuba and Latin America Club® will present their last concert of the Farewell Tour in Puerto Rico on Saturday, The Orquesta Buena Vista Social Club® came after November 7 at Coliseo Roberto Clemente in San the highly acclaimed project and 1997 Grammy Juan. winner, and today the orchestra still includes several of the artists who were part of the After nearly 20 years thrilling audiences around the world, the Buena Vista Social Club® began his historical recording and the film by German "Farewell Tour" in the summer of 2014, appearing director Wim Wenders. This was nominated for an Oscar in 1999. since then in a series of concerts and cultural The Farewell Tour is a synthesis of more than a events celebrating the legendary journey of the thousand concerts that involved some forty orchestra as main ambassadors of Cuban music. musicians in the past 18 years. During this time the This tour is considered today one of the major group has become a dynamic and multimusical events of the world, with more than 80 generational big band, where veterans and concerts scheduled, many of them sold-out younger have come together to celebrate with tickets in Australia, New Zealand, Japan, Europe, elegance traditional Cuban music. Latin America and the United States "We want our music to endure over time and continue enchanting the world. And this is what we have achieved with our concerts (The Buena Vista Social Club®) has been an incredible part of my life and my career," said enthusiastically singer Omara Portuondo, one of the leading exponents
Under the artistic direction of Jesus "Aguaje" Ramos-leader of the band and trombonista-, the orchestra has several of the original musicians of the orchestra, including Omara Portuondo (voice), Eliades Ochoa (guitar) Manuel "Guajiro" Mirabal (trumpet) and Barbarito Torres (lute). Accompanying them on stage are some of the musicians who over the years have joined the project as the master veteran of “tres” Papi Oviedo, the virtuoso pianist Rolando Luna, an excellent rhythm section composed by Pedro Pablo (bass), Andrew Coayo (congas), Filiberto Sánchez (drums) and Alberto 'Night' (bongos), plus a set of trumpets led by Luis Alemany, the young famous sonero Carlos Calunga and the singing sensation Idania Valdés. Continues on page 14.
The music of the orchestra includes guajiras, danzon, bolero, cha cha cha and rumba; the Buena Vista Social Club will present their most famous classics, unreleased songs and own versions of popular Cuban songs. The repertoire is a reflection on the past and present of the orchestra, with tributes to many of the great musicians who have contributed in a very special way in the history of the band and who have died. Tickets for the concert are available in Puerto Rico Ticketpop in www.ticketpop.com address or 787-294-0001. --The author Rosalía Ortiz Luquis is president of OMIO Music World LLC, producing artistic events and performances.
Buena Vista Social Club Farewell Tour "Vibrant performance. A music that undoubtedly still lives and breathes " THE TIMES "They create an atmosphere that takes your breath away" THE INDEPENDENT "The great international sensation" THE NEW YORKER
Puerto Rico Jazz Legends
When talking about Latin Jazz Legends, Eddie Palmieri, known as “El Rumbero del Piano” must be at the top of the list. In his long history in music, Palmieri has 36 recordings, 9 Grammy Awards including the 1975 The Sun of Latin Music, 1976 Unfinished Masterpiece, 1984 Palo Pa Rumba, 1987 La Verdad, and 2000 Obra Maestra. A Puerto Rican born in Harlem, New York, Palmieri move with ease across different music forms, especially Latin Jazz and Salsa. Palmieri worked for a year with another Puerto Rican music legend,Tito Rodriguez. In the 50’s worked with the Eddie Forrester Orchestra, in 1955 with the Johnny Segui Band and in 1961 formed his own band La Perfecta. Palmieri has recorded with big names like Tito Puente, Cal Tjader and Giovanni Hidalgo among others. Some of the best latin singers also has been part of the Palmieri recordings, Lalo Rodriguez, Cheo Feliciano, Ismael Quintana, Tony Vega and La India. Palmieri received an honorary Doctorate Degree from the Berklee College of Music, the Eubie Blake Award by jazz pianist Billy Taylor, and was a consultant in Paul Simon 1990 CD Rhythm of the Saints. In 1988 the Puerto Rico Heineken Jazz Fest was dedicated to Palmieri and in the same year the Smithsonian Institute recorded two of his performances for their catalog of the National Museum of American History in Washington DC. Palmieri music achievements are so vast, it is impossible to include them all in one article, for more information about El Rumbero del Piano go to eddiepalmieri.com.
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