Manteca and Tin Tin Deo.

Transcription

1 Mario Bauza Mario Bauzá (28 April July 1993) was a Cuban musician. He was one of the first to introduce Latin music to the United States by bringing Cuban musical styles to the New York jazz scene. While Cuban bands had popular jazz tunes in their repertoire for years,bauzá s composition Tanga was the first piece to blend jazz with clave, and is considered the first true Afro-Cuban jazz, or Latin jazztune. Trained as a classical musician, he was a clarinetist in the Havana Philharmonic Orchestra by the age of nine, where he would stay for three years. Bauzá traveled to New York in 1925 to record with Maestro Antonio María Romeu s band, a charanga, shortly after his fourteenth birthday. Bauzá had been hired as lead trumpeter and musical director for Chick Webb s Orchestra by 1933, and it was during his time with Webb that Bauzá both met fellow trumpeter Dizzie Gillespie and discovered and brought into the band singer Ella. Importantly, Bauzá introduced the young Havana virtuoso Chano Pozo to Dizzy, when the latter wanted to add a Cuban percussionist to his band; though Pozo was killed in a Harlem bar fight just a year later, he left an indelible and long-lasting mark on Dizzy s playing and compositions, cowriting several legendary compositions such as

2 Manteca and Tin Tin Deo. In 1938 Bauzá joined Cab Calloway s band, later convincing Calloway to hire Dizzie Gillespie as well. Bauza continued to work with Gillespie for several years after he left Calloway s band in The fusion of Bauzá s Cuban musical heritage and Gillespie s bebop culminated in the development of cubop, one of the first forms of Latin jazz. In 1941, Bauzá became musical director of Machito and his Afro-Cubans, a band led by his brother-inlaw Machito. The band produced its first recording for Decca in 1941, and in 1942 Bauzá brought in a young timbales player named Tito Puente. Cubop City and Mambo Inn Followed the success of Tanga. Machito s Afro-Cubans, often played straight-ahead big band mambo music. Many of the numbers were covers of recordings which had proved popular in Cuba. The band played mambo-style dance numbers at venues such as Manhattan s Palladium Ballroom. Bauzá kept his post as director of the Afro-Cubans until After this he worked sparingly, but was always highly respected. He recorded a few Cuban jazz albums which had limited sales. His last band made a guest appearance on a 1992 episode of The Cosby Show. Tanga and the creation of Latin jazz

3 The band had a major hit with Tanga, initially a descarga (Cuban jam) with jazz soloists, spontaneously composed by Bauzá. Tanga, which was over time, arranged with more complexity, is generally considered the first true Latin jazz, or Afro-Cuban jazz tune. The first descarga [Cuban jam session] that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club, Mario Bauza, Machito s trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play something which would serve as a permanent sign off (end the dance) tune. On this Monday evening, Dr. Bauza leaned over the piano and instructed Varona to play the same piano vamp he did the night before. Varona s left hand began the introduction of Gilberto Valdes El Botellero. Bauza then instructed Julio Andino what to play; then the saxes; then the trumpets. The broken chord sounds soon began to take shape into an Afro-Cuban jazzed up melody. Gene Johnson s alto sax then emitted oriental-like jazz phrases. By accident, Afro-Cuban jazz was invented when Bauza composed Tanga (African word for marijuana) that evening.

4 Thereafter, whenever Tanga was played, it sounded different, depending on a soloist s individuality. In August, 1948, when trumpeter Howard McGhee soloed with Machito s orchestra at the Apollo Theatre, his ad-libs to Tanga resulted in Cu-Bop City, a tune which was recorded by Roost Records months later. The jams which took place at the Royal Roots, Bop City and Birdland between , when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard of before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz. The Machito orchestra s ten or fifteen minute jams were the first in Latin music to break away from the traditional under four minute recordings. In February, 1949, the Machito orchestra became the first to set a precedent in Latin music when it featured tenor saxophonist Flip Phillips in a five minute recording of Tanga. The twelve inch 78 RPM, part of The Jazz Scene album, sold for $25 Salazar (1997). The right hand of the Tanga piano guajeo is in the style known as ponchando, a type of nonarpeggiated guajeo using block chords. The sequence of attack-points is emphasized, rather than a sequence of different pitches. As a form of

5 accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping. The following example is in the style of a 1949 recording by Machito. 2 3 clave, piano by René Hernández. Tanga in the style of Machito and His Afro Cubans (recorded 1949). 2 3 clave, piano: René Hernández. With Tanga, Bauzá was the first to explore modal harmony (a concept explored much later by Miles Davis and Gil Evans) from a jazz arranging perspective. Of note is the sheet of sound effect in the arrangement through the use of multiple layering. Under Bauzá s direction, Machito and his Afro-Cubans were first band to successfully wed jazz big band arranging techniques within an original composition with jazz oriented soloists utilizing an authentic Afro-Cuban based rhythm section in a successful manner. e.g. Gene Johnson alto, Brew Moore tenor, composition in Tanga (1943). Master of arranging in-clave 3-2 clave and 2-3 clave written in cut-time. The 3-2/2-3 clave concept and terminology was developed in New York City during the 1940s by Bauza while he was the music director of Machito

6 and his Afro-Cubans. Bauzá was a master at moving the song from one side of clave to the other. The following melodic excerpt is taken from the opening verses of Que vengan los rumberos by Machito and his Afro-Cubans. Notice how the melody goes from one side of clave to the other and then back again. A measure of 2/4 moves the chord progression from the two-side (2-3), to the three-side (3-2). Later, another measure of 2/4 moves the start of the chord progression back to two-side (2-3). Excerpt from Machito s Que vengan los rumberos. The first claves of the verses are in 2-3. Following the measure of 2/4 (half clave) the song flips to the three-side. It continues in 3-2 on the V7 chord for claves. The second measure of 2/4 flips the song back to the two-side and the I chord. In songs like Que vengan los rumberos, the phrases continually alternate between a 3-2 framework and a 2-3 framework. It takes a certain amount of flexibility to repeatedly reorder your orientation in this way. The most challenging moments are the truncations and other transitional phrases where you pivot in order to move your point of reference from one side of clave to the other.

7 Working in conjunction with the chord and clave changes, vocalist Frank Machito Grillo creates an arc of tension/release spanning more than a dozen measures. Initially Machito sings the melody straight (first line), but soon expresses the lyrics in the freer and more syncopated inspiración of a folkloric rumba (second line). By the time the song changes to 3-2 on the V7 chord, Machito has developed a considerable amount of rhythmic tension by contradicting the underlying meter. That tension is then resolved when he sings on three consecutive main beats (quarter-notes), followed by tresillo. In the measure immediately following tresillo the song returns to 2-3 and the I chord (fifth line) Peñalosa (2010). Bobby Sanabria, who was Bauzá s drummer during his later years, points out that Bauzá was the first to explore jazz arranging techniques with authentic Afro-Cuban rhythms on a consistent basis giving, it a unique identifiable sound that no other band in the genre of Afro-Cuban based dance music had at the time. [7] Cuban big band arranger Chico O Farill stated: This was a new concept in interpretating Cuban music with as much (harmonic) richness as possible. You have to understand how important this was. It made every other band that came after, followers. Discography

8 With Dizzy Gillespie and Machito Afro-Cuban Jazz Moods (Pablo, 1975) Sources Boggs, Vernon. Salsiology: Afro-Cuban Music and the evolution of Salsa in New York City. ISBN Gerard, Charley and Marty Sheller. Salsa! The Rhythm of Latin Music. ISBN , ISBN Moore, Kevin (2009). Beyond Salsa Piano; The Cuban Timba Piano Revolution v.2 Early Cuban Piano Tumbao ( ). Santa Cruz, CA: Moore Music. ISBN 10: X Morales, Ed. The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and beyond. ISBN Peñalosa, David (2009). The Clave matrix; Afro- Cuban Rhythm: its principles and African origins. Redway, CA: Bembe Inc. ISBN Roberts, John S. The Latin Tinge. ISBN Roberts, John S. Latin Jazz: the first of fusions, 1880s to Today. ISBN Video Links:

9 Credits Year Album The Sound of 2013America: The Singles Collection 2013The Voice of Jazz 2012Live in Hollywood 2012Simply Salsa [2012] The Ella 2012 Collection: A Tribute To Mario 2011 Bauza Ella Poncho Sanchez Ella Paquito d Rivera Primary, Tributee

10 2011El Padrino Machito Jazz: The 2011Smithsonian Anthology The Complete 2011 Masters The Complete 2011 Masters Ella Charlie Parker, 2010El Rey [Fania] 2010Original Hits: Jazz Tito Puente The Complete 78s, 2010Vols. 3-4: Tito Puente The Rough Guide To 2010 Salsa Divas Essential Cuban 2009 Anthology Primary Primary

11 Music That Inspired 2009Buena Vista Social Primary Club Original Album 2009 Series 2009Pure Cuba George Benson Primary Swiss Radio Days, 2009 Vol. 19 The Complete 78s, 2009 Vol. 3 Count Basie Tito Puente Boleros Romanticos, 2008 Vol. 3 Panchito Riset 2008 Jazz Tito Puente Just a Simple 2008Melody [Bonus Tracks] La Isla Bonita: 2008 Cool Latin Jazz Ella Primary

12 Latin Jazz: 2008 Essential Guide Legendary Radio 2008 Broadcasts Radio Jazz: Best 2008 Broadcasts Salsa Caliente, 2008 Vol. 4 Primary Fats Waller Primary The Buena Vista 2008 Sisters Club Anacaona The Complete 78s, 2008 Vol. 1 The Essential Guide 2008 to Latin Jazz The Kerouac 2008 Connection Tito Puente Main Personnel Primary Brew Moore

13 The Latin Giants Play the Music of 2008 the Palladium Tito Latin Giants of Jazz Lives 2008This Is Hep Bailando at the 2007 Palladium, Vol. 1 Harlem Was the 2007 Place Mambo at the 2007 Palladium, Vol. 1 Manteca: The Roots 2007 of Afro-Cuban Jazz Cab Calloway Arranger, My Stardust Melody: 2007The Songs of Hoagy Carmichael Hoagy Carmichael

14 2007Relax & Mambo Machito Member of Attributed, 2007Time Will Reveal Tropea, Vol. 10: 2007 The Time Is Right Bananas Swing: 2006 Latin Jazz Fever John Basile Steve Gadd Clarinet, Classic Jazz 2006 Archive 2006Cuba [2006] 2006Drum Monsters Golden Years of 2006 Jazz Golden Years of 2006 Jazz Golden Years of 2006 Jazz Ella Varied s Primary

15 How Low Can You Go? Anthology of the 2006String Bass ( ) [Box Set] Jazz in the Charts : 1941, Vol Lady Salsa Mambo Jambo: 2006Vintage Mambo Roots of Mambo Stomping at the 2006 Savoy [Box Set] Chick Webb Stomping at the 2006Savoy: Don t Be Chick Webb That Way

16 Stomping at the 2006 Savoy: Go Harlem Chick Webb Stomping at the 2006Savoy: Spinnin the Chick Webb Webb Stoping at the 2006Savoy: Strictly Chick Webb Jive The Complete Norman 2006 Granz Recordings The Quintessence New York Los 2006 Angeles Toronto, Vol. 2: Chico O Farrill Charlie Parker Clarinet, Main Personnel,

17 20th Century Masters The 2005Millennium Tito Puente Collection: The Best of Tito Puente 2005Career: Dizzy Gillespie Clarinet, Sax (Alto), Hep Cats and Cool 2005 Jive 2005Latino Jazz 2005Lost Paradise Main Personnel, Cab Calloway Latin Rhythms Band 2005NEA Jazz Masters Ella Prestige Profiles, 2005 Vol. 2 Red Garland The Best of Ella 2005 [Master Classics] Ella

18 The Complete Norman 2005 Granz Master Takes Yesterday s Dreams: Nostalgic Reveries Charlie Parker A Proper Introduction to Cab 2004 Calloway: Zah, Zuh, Cab Calloway Zaz A Proper Introduction to 2004 Xavier Cugat: Say Xavier Cugat Si Si 2004AfroCuban Jazz Mario Bauzá, Main Personnel, Musical Direction, Primary, Sax (Alto), Soloist

19 Coconut Grooves 2004 Viva Latin Jazz Cuba: The Essential 2004 Album Drop Me Off in 2004 Harlem Early Years: First Ladies of 2004Song [ASV/Living Era] Dizzy Gillespie 2004Live in Japan Lullabies of Birdland A 2004 Musical Autobiography Afro-Cuban All Stars George Shearing 2004Modern Jazz Archive Charlie Parker

20 2004Ritmo Afro-Cubano Producer, Sax (Alto) 2004Ritmo Pa Gozar Machito Choir/Chorus, Clarinet, Sax (Alto), 2004Romance and Rhythm Ella 2004Sensacion de Cuba, Orchestra 2004Settin the Pace The Arranger s 2004 Touch The Arranger s 2004Touch: Meet the Band George Gee Big Band The Arranger s 2004Touch: Swing That Music

21 The Big 3: Live at 2004 the Blue Note The Palladium Orchestra Guest, The Chu & Dizzy 2004 Years Main Personnel, Cab Calloway Soloist, The Greatest Songs 2004 Ever: Cuba [2004] 2004The Latin Kings Machito 2004The Look of Love The Rough Guide to 2004 Mambo 2004Vital Signs Robby Young, Primary Jaime Valle 50 Sublimes 2003Chanteurs de Jazz:

22 2003Cuba Early Ella: Lullaby of Birdland 2003 [Giant Steps] 2003New York Forever Smo-o-oth Vintage 2003 Jazz: Ella Director, Stomping at the 2003 Savoy [Fabulous] The Alternative 2003 Takes: The Birth of Bebop: Chick Webb Cab Calloway 2003The Diva Series Ella

23 The Finest Vintage 2003 Jazz Story, Vol : 1926/ Urban Still Life Lou Caputo 2003Vol. 2: Cab Calloway Afro-Cuban Jazz 2002 Suite [Proper] 2002Boss Bird Colors of Latin 2002 Jazz: Mambo Mania! Cotton Club 2002[Fremeaux & Associes] Machito Charlie Parker 2002Cubop City Machito De Cuba: Su Música, 2002 Vol. 1

24 Ella : 2002 Portrait From Avenue A to the Great White Way: Yiddish & 2002 American Popular Songs From Ella Sax (Alto), Gimme Dat Harp Boy: 2002Roots of the Captain Latin Jazz: La 2002Combinación Perfecta Mambo Mucho Mambo: 2002The Complete Columbia Masters 2002Mambo en la Habana Machito & His Afro- Cubans,, Musical Direction,

25 Mi Musica Es Para 2002 Ti Oxfam Latin Dance: Essential Salsa, 2002 Mambo, Samba and Tango Johnny Pacheco Primary Ray Brown, Monty 2002Alexander & Russell Malone Ray Brown 2002Ritmo Caliente Stompin at the Machito, Oboe, 2002Savoy [ASV/Living Chick Webb Era] Telarc Celebrating Years: The Jazz Collection

26 The Alternative 2002Takes, Vol. 4: The Definitive 2002 George Shearing The Dizzy Gillespie 2002Story: [Box Set] The Legendary, Vol The Legendary, Vol The Legendary, Vol Charlie Parker George Shearing Dizzy Gillespie Ella Ella Ella The Original Latin 2002 Dance King Xavier Cugat The Pablo Original 2002Jazz Classics Producer, Reeds Sampler

27 The Quintessence: 2002New York Chicago Verve Latin Sides Dizzy Gillespie Charlie Parker 2002 Wah-Dee-Dah Cab Calloway Who s the 2002Swinginest Man in Cab Calloway Town? A Tribute to Mario 2001 Bauza Rudy Calzado 2001Best of Mr Paganini Ella 2001 Hi-De-Hi! Cab Calloway Jazz Latino: The 2001 Hottest Latin Jazz 2001King of Mambo Tito Puente

28 Latin Lounge: Hot Hispanic Originals 2001Make Mine Mambo New York Legends, Perfect Sax Solos Roots of Afro-Cuban 2001 Jazz Rough Guide to the 2001 Cuban Music Story Primary, Saoco! Masters of 2001 Afro-Cuban Jazz Musical Director, Selection of Xavier 2001 Cugat Xavier Cugat

29 Swinging Big Band 2001 Leader The Incredible Cab 2001 Calloway Cab Calloway Cab Calloway The Legends Collection: The 2001 Tito Puente & Celia Tito Puente Cruz Collection The Very Best of 2001 Xavier Cugat Xavier Cugat Very Best of Ella 2001 [Crown Japan] Big Band [Box Set] 2000Blen Blen Blen Ella Charlie Parker Machito,

30 Complementary 2000Tracks [Classics Records] Con su Conjunto y 2000Chano Pozo, Machito & Orchestra 2000Early Rhythms Arsenio Rodríguez Johnny Pacheco 2000From Havana to Rio Ernán López- Nussa Her Best 2000Recordings: Jazz Cities: New Orleans, Chicago, 2000 New York, Kansas City Ella

31 Jumpin at the Woodside: Original Big Band Hits Just for You: Live 2000 in the 1950s 2000Ken Burns Jazz 2000Ken Burns Jazz Ken Burns Jazz: The 2000Story of America s Music George Shearing Dizzy Gillespie Ella 2000Kings of Mambo Tito Puente La Fiesta! The Jazz 2000Giants in a Latin Mood 2000Latin Abstract Tito Puente

32 , 2000Latin Affair, Pt. 1 Performer, Primary Music 2000Latino Blue Direction, 2000Latino Erotico 2000Les Incontournables Dizzy Gillespie 2000Lo Que Tu Esperabas Anacaona 2000Machito Y Graciela Machito Y Graciela 2000Mega Latino Clarinet, Sax (Alto) Musical Director Primary New Mo Swing: The 2000Ancient and Modern Moabites, Vol. 1 Napoleon Revels-Bey

33 Stomping at the 2000 Savoy: 1934/1939 Tango & Mambo 2000 Caliente! The Swinging Big 2000 Bands: The Myths The World of Swing 2000 [Sony] Chick Webb Guest, Soloist, 1999A Brighter Day Afro Cuban Jazz: Ronny Jordan 1999 Bucabu Machito, 1999 Carnival Tito Puente 1999Circle Chant Santi Debriano

34 Cuba, I Am Time, 1999 Vol. 4: Cubano Jazz Cuba: More Latino 1999 Songs Cuban Revolucion 1999 Jazz, Performer, Primary Primary, Performer, Primary 1999Cuban Rhythms Desvelo de Amor 1999 [Musica Latina] I m in the Mood for 1999 Swing Chano Pozo Cuarteto Machin Unknown Contributor Role 1999 Jiveformation Please: King of Hi-De-Ho: Cab Calloway Cab Calloway

35 1999Latin Carnival Latin Essentials 1999 [Charly] 1999Margarita Mambo 1999Mi Timba More Fabulous 1999 Ballroom Original Sounds of 1999 Harlem 1999Orta Descarga San Francisco Jazz 1999Festival, Vol. 4: 1999 Miriam Bayard Arthur Murray Orchestra Orquesta Riverside Primary Primary Conductor, Guest 1999Se Formo el Rumbon Miguelito Valdés

36 Something to Live 1999 For Ella 1999Strictly Jive Chick Webb The Engine Room: A History of Jazz 1999Drumming from Storyville to 52nd Street The Jazz Singers 1999 [Jazz World] 1999Tropicana Nights Tropics for the 1999 World, Vol. 2 Ultimate Charlie 1999 Parker Viva Cubop!: Jazz 1999 the Afro-Cuban Way Paquito d Rivera Charlie Parker Guest

37 Pedro Flores Cuba: Por la Musica 1998 Siempre Dancemania 99: 1998 Live at Birdland 1998Here s Johnny Laksar Reese 1998 Quintet Latin Jazz: Latino 1998 Heat Meets NY, Performer, Primary Tito Puente John Padilla Laskar Reese Unknown Contributor Role Live in Yokohama 1998 Japan Nettai Tropical Jazz Big Band 1998 Machito Machito

38 Rough Guide to the 1998 Music of Cuba Sabroso: The Afro Latin Groove 1998 Swingsation Topaz Jazz: Great 1998 Bands Topaz Jazz: Great 1998 Vocalists Topaz Jazz: 1998 Legendary Sidemen Topaz Jazz: 1998Memorable Recordings Ella Performer, Primary, Guest, 1998 Yambeque Tito Puente , Vol. 9 Benny Carter

39 Years of Swing: Dizzy Gillespie Great Years & Tito Puente Tracks Ambassadors of 1997 Rhythm 1997 Barbarisimo Frank Emilio Flynn Chanteuses de Jazz: Cuba: I Am Time Les Chanteuses De Jazz, Performer, Primary Drums Parade,

40 Latin Jazz Highlights: 1997 Messidor s Finest, Vol. 5 Latin Jazz for 1997Lovers: Messidor s Finest, Vol. 4 Les Chanteurs de 1997Jazz: L Art Vocal, Vol. 8 Director, Performer, Primary, Director, Performer, Primary Chanteurs De Jazz (Les), Director, Musical 1997Messidor s Finest Mario Bauzá Director, Primary, Vocals (Background) 1997Percussion s King Tito Puente

41 Radio Years Cab Calloway Rhythm & Romance 1997 [ASV] 1997Rock It for Me Rough Guide to 1997 Salsa The Golden Age of 1997 Swing, Vol. 3 [EPM] 1997Thru My Eyes Yo Soy del Son a La 1997 Salsa Ella Ella Michel Camilo Louis Jordan & His Tympany 5 Guest Performer, Primary, Performer, Primary

42 Ella Source: