HIPNESS REPORT... WARNING: This is long. So if you dont have the time, well you know what I mean.... Wynton Marsalis is a genius. Yes I said it, hes a genius, in the best sense of what that word entails. Just take a step into the complex at Jazz at Lincon Center and it is undeniable. That a person could even convince businesses, investors, well to do supporters, and finally the fans to donate to construct a virtual living, breathing monument to a music that is Americas greatest art form, yet ironically virtually absent from the mindset of said countrys mainstream, is simply incredible. Take note pilgrims - I said living, breathing. This is not a museum. Its firing on all cylinders. Like the city that never sleeps, J@LC doesnt either. From the simultaneous presentations (all varied) at club Dizzys, to the Allen Room, and Rose Hall, to the constant educational, outreach through social media and in the classroom, to the public and the behind the scenes school programs that no one knows about - both here, across the country and abroad, its monumental. The work opportunities given to players, composers, arrangers, copyists, choreographers, libretists, writers, teachers, support staff, lighting, stage, sound, youd freakin need Yul Bryner from The King and I to say etc., etc., etc.... on a constant loop. If it were for that alone, he deserves the title, but he is also an accomplished composer, arranger, bandleader, virtuosic instrumentalist, advocate, mentor and cheerleader, to so many young people in jazz its ridiculous. Those of you who know me personally know that Im not kissing ass, bullshitting or blowing smoke. As Buddy Rich would say, It is, what it is. The truth will set you free, but depending on ones own personal proclivities, it may piss you off. You listening, you haters out there? Deal with it. That said, the presentation this past Thursday, Friday, and Saturday of the J@LCO, under his leadership, is worthy of special attention. It was a collaborative piece by Mr. Marsalis, Cuban pianist Chucho Valdes, and fellow NY based (though he lives in NJ) Cuban percussionist Pedrito Martinez. The theme of the concert was adapting traditional liturgical melodies from the Nigerian Yoruba based religion, known as Ifa, as it manifests itself in Cuba and NYC, where it is known as Santeria and also known as La Regla De Ocha or Lucumi, to big band jazz treatments. Santeria is the most visible and most populist African tradition in our so called New World. In other words, it is our closet and most visible tie to Africa and informs much of what we do in Afro-Cuban based dance music (salsa) and Afro-Cuban/Latin jazz. There are numerous devotees here in NYC as well as all throughout Latin America, the U.S. and throughout the world, as well as obviously in Cuba where it coalesced and thrived. But it is not the only African based religious tradition that lives in Cuba, or for that matter NYC. Arara, from Dahomey/Benin, Abacua (a secret fraternal order and religion) from the Calabar region in Nigeria, as well as Palo Mayombe from Bantu Congo/Zaire roots also are present and live here, are practiced, and thrive. And of course the Vodun tradition from Haiti with its roots in Dahomey/Benin culture also lives here in NYC, and to a certain extant in varied manifestations in Nawlins. Dr. Marta Moreno Vega, founder and director of the Caribbean Cultural Center, has said that NY is the secret African City. That was affirmed by the J@LC Orchestra these last few nights in one of the most majestic displays of compositional, arranging, and playing virtuosity that I have witnessed. That it was also live streamed by J@LC speaks to the concept of sharing and educational outreach that I mentioned before. That it was sold out all three nights in an over 2,000 seat auditorium speaks to the hunger that the public has to be in touch with great art that speaks to them on a deeper, cultural level. This was the deepest, going back to the source, Africa, through Cuba, New Orleans, to the most cosmopolitan city of the world, NYC. Nu Yawk - the place where Elegua - guardian of the crossroads, the ultimate spy boy of the Gods in the Yoruba pantheon, the trickser and hipster, the owner of ache (positive energy), the most complex of the Orisha (deities) - rules. The complex bata drums of the Yoruba - a set of 3 doubled head drums made up of what could be described as truncated cones from large to small - Iya (played by the master drummer, usually an elder)), Itotole (a.k.a. omelenko), okonkolo (a.k.a omelenko), mimicking in many ways the Yoruba language in a complex dialogue, were featured in this concert. Acknowledged master and elder, Roman Diaz played Iya, Pedrito Martinez performed on the Itotole and fulfilled a dual (and physically demanding) role as akpwon (lead vocalist in Yoruba ceremony), and Clemente Medina played the humble Okonkolo, with its ever driving rhythm corresponding to the deity being sung to, providing the rock solid timeline for the Iya and Itotole to converse. But here the drums conversed not only with themselves and Pedritos soulful vocals as they would in a bembe (Yoruba ceremony, feast), but with the orchestra as Maestro Marsalis lush arrangements respected the original melodies adding the lush orchestral colors of modern jazz harmony, touches of New Orleans through the blues that he has mastered from his studies of Americas greatest composer, Duke Ellington. There was even a small reference to Machito in a brief cha-cha-cha section doubling the ache to the 10th power in a display of spirituality meeting the secular, high art and yes, science, that Im sure was making Joseph Schillinger and Albert Einstein (both were masterful musicians besides being great theorists) proud! But I must also mention the person, who in my opinion is Americas second greatest composer, and its most forward thinking - the late Don Ellis. Dons vision was ever present the last three nights. Like Wynton, Don was a masterful trumpeter, composer, arranger, bandleader and if that wasnt enough, drummer. His vision was to incorporate all of the worlds traditions under the umbrella of jazz in a big band setting. His love of Afro-Cuban, Brasilian, Indian, Greek, and any other cultures folk traditions, combined with jazz arranging technique and the virtuosity of the jazz improvisor as well as his experiments in odd meters knew no boundaries. It is fitting that Ted Nash, Sherman Irbys alto sax counterpart in the J@LC Orchestra, was a former member of Dons orchestra. Dons spirit was indeed in the house of swing and I know he mustve been smiling along with Schillinger and Einstein and of course Duke along with Mario Bauza, Machito, Tito Puente, Tito Rodriguez, Julito Collazo, Jesus Perez, Pablo Roche, Puntilla, Mongo, Milton Cardona, etc. all slapping five. The collaborative efforts of Mr. Marsalis working with Chucho Valdes and Pedrito, with some assistance of J@LC bassist Carlo Henriquez, bore much fruit and led to this incredible project being realized. I was told that for three straight weeks Mr. Marsalis worked 20 hour days to orchestrate, with respect and reference, this music that is over 500 years old. Special mention must be made of the J@LCO saxophone section who doubled on clarinets, piccolos, flutes, and soprano saxes, bringing forth orchestral colors that at times sounded like strings. I was privileged to witness all of this as I was asked to give the pre-concert lecture all three nights which was free and open to the public. As a musician, scholar, forever student, it is my duty to besides preserve, perform, to teach/share AND move forward the art form. It is also my duty to also defend and champion those who are righteously defending and championing our collective culture. As the ancestors and Elegua, Ogun, Ochosi, Obatala, Ochun, Oya, Yemaya, Agayu, and Chango were honored the last three nights, so to must be Wynton Marsalis and entire J@LCO for having the vision and cojones to collaborate with Maestro Chucho Valdes, Omo Añas Roman Diaz, Pedrito Martinez and Clemente Medina, Ankori (chorus singers) Amama McKen, Denis DeJean, dancers Yesenia Fernandez Seiler (Yemaya), Dreiser Durruthy Bambole (Chango) in a triumphant display of culture, majesty, soul and the essence of what best represents us as a country - jazz. Thats how its done son, deal with it. Bravo y ache alafia oñi - Bobby Sanabria
Posted on: Sun, 21 Sep 2014 23:19:50 +0000
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