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Latin Jazz : The First of Fusion, 1880's to Today (Hardcover)

~ (Author) "The degree too which Latin musical styles affected ragtime, pre-jazz, and very early jazz will always be unclear because the historical record is scattered, confused,..." (more)
Key Phrases: bass montuno, habanera influence, habanera bass, New York, Mongo Santamaria, Tito Puente (more...)
4.3 out of 5 stars  See all reviews (6 customer reviews)

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Editorial Reviews

Amazon.com Review

In this comprehensive examination of Latin jazz, John Storm Roberts, British-born, U.S.-based music journalist and author of Black Music of Two Worlds and The Latin Tinge, details the diversity and history of this often overlooked genre. Writing for the novice, Roberts outlines the presence of Afro-Hispanic rhythms and musical forms in African-American jazz: exploring turn-of-the-century New Orleans, where the Cuban Habanera and Argentinean tango rhythms were synthesized into the ragtime of Scott Joplin and the jazz of Jelly Roll Morton in the early 1920s; the creation of the mambo by bassist Israel "Cachao" Lopez and the incorporation of the conga drum by Chano Pozo into Dizzy Gillespie's big band and bebop combos in the '30s and '40s; and the popularization of the samba by American saxophonist Stan Getz and Brazilian composer Antonio Carlos Jobim with the 1960s hit, "The Girl from Ipanema."

In detailing the history of this Pan-American musical mélange, Roberts's definitions of key Latin jazz terms are to the point and free of music-critic jargon. For example, he describes the 3/2 or 2/3 rhythmic pattern known as the Cuban clave as "a simplification, under a Euro-Latin influence, of a common West African organizing concept that consists of a regular total number of sounds and silences, usually carried on a bell." Roberts also introduces the reader to the many Caribbean, Central, and South American musicians who have moved and grooved the U.S. for decades, including Puerto Rican pianists and percussionists Eddie Palmieri, Tito Puente, Ray Barretto, and Jerry Gonzalez; the Argentinean nuevo tango creator Astor Piazzolla; the Cubano conguero Mongo Santamaria, and the Swedish-American vibraphonist Cal Tjader. Throughout this well-researched volume, Roberts reveals how the artistic contributions of Spanish- and Portuguese-speaking neighbors have enriched American music, and impresses upon us the fact that "the Latin tinge was one of the most crucial elements in the universality of jazz." --Eugene Holley Jr. --This text refers to an out of print or unavailable edition of this title.



From Booklist

Accounting for every Latin American rhythm, instrument, song form, and harmony as it arrived in sheet music and recordings of proto-jazz and jazz might be one way to write a dull book. But Roberts, author of Black Music of Two Worlds (2d ed., 1998) and scads of album liner notes, is an enthusiast for his subject, capable of exclamations such as "Until you've heard the Lennon-McCartney `Michelle' done as a rumba abierta, you haven't lived!" Lovers of jazz, the vast range of musics called Latin, and dance music may be assured--this book is never dull. The Latin jazz story is a colorful chapter of the immigrant saga, with Cubans, Puerto Ricans, Haitians, Dominicans, and Brazilians all figuring distinctively and powerfully in it, usually surprisingly early--notice "1880s to Today" in the subtitle. Should Latin jazz nonspecialists think they won't know the music Roberts dissects, well, if they know some of Jelly Roll Morton's, Stan Kenton's, Dizzy Gillespie's, or Stan Getz's best stuff, they will be nose down in this book for days. Ray Olson --This text refers to an out of print or unavailable edition of this title.
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Product Details

  • Hardcover: 306 pages
  • Publisher: Schirmer Books; illustrated edition edition (July 1999)
  • Language: English
  • ISBN-10: 0825671922
  • ISBN-13: 978-0825671920
  • Product Dimensions: 9.4 x 6.4 x 1 inches
  • Shipping Weight: 1.7 pounds
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon.com Sales Rank: #1,940,833 in Books (See Bestsellers in Books)

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John Storm Roberts
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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Inside This Book (learn more)
First Sentence:
The degree too which Latin musical styles affected ragtime, pre-jazz, and very early jazz will always be unclear because the historical record is scattered, confused, or most often of all, nonexistent. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
bass montuno, habanera influence, habanera bass, mambo sound, street rumba, piano montuno, straight jazz, tango rhythm, son montuno, habanera rhythm, clave pattern, jazz elements, ensemble writing, jazz side, jazz samba, rumba rhythm, clave rhythm, bossa nova, title cut, rhythm section, rhythmic approach, trombone solo, trumpet section, conga player, sax solo
Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Mongo Santamaria, Tito Puente, Dizzy Gillespie, Puerto Rican, Tania Maria, West Coast, Eddie Palmieri, The Peanut Vendor, Cal Tjader, Duke Ellington, Frank Driggs Collection, Mario Bauzá, Stan Kenton, Ray Barretto, Bola Sete, Pérez Prado, Stan Getz, Chano Pozo, Charlie Byrd, Charlie Parker, Chick Corea, Flora Purim, Laurindo Almeida, Puerto Rico
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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4.3 out of 5 stars (6 customer reviews)
 
 
 
 
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2 of 2 people found the following review helpful:
4.0 out of 5 stars A history of surprising, delightful musical connections, November 11, 2002
A masterful work by John Storm Roberts, whose early-'70s books on Latin American music were "world music" landmarks, and whose Original Music record label has reissued some of the most precious African and Latin American popular and traditional music one is ever likely to hear. The introductory chapters are a little slow-going, as Roberts twists and gyrates to avoid anticipated critical jabs. His qualifications and defensiveness may make sense to enthnomusicological insiders, but to the average reader, they seem fairly unnecessary, or at least a bit hard to follow. After that, though, the book picks up steam and is quite captivating. The main point of contention is the fascinating (and convincing) idea that *_Latin American_* influences were every bit as present at the inception of American jazz music as were African ones. In Roberts' world, the term "latin jazz" isn't exactly redundant, but it is misleading: Latin Jazz didn't spring forth in the 'Forties and 'Fifties out of whole cloth. Rather, Latin American influences on North American musicians can be found as far back as the Antebellum period, and are present at all the major junctures of jazz history. In addition to combing through historical records (such as newspapers, journals, and the records sheet music publishers), Roberts offers a clear critical narrative of the cross-pollination of Latin American dance music and Afro-European jazz. He touches on the major trends and significant collaborations of the last 120 years: ragtime, the tango, the rumba, the thunderous New York "CuBop" scene of the 1940s, and of course the bossa nova craze of the 1960s, and the gradual formalization of "Latin Jazz" as a genre. Along the way he sheds some light on famous artists such as Machito, Dizzy Gillespie and Tito Puente, as well as dimly-remembered pioneers like Antonio Machin, Don Azpiazu and gives favorable nods towards big banders who "got" the drift of the oncoming tide of Latin American crossover. Along with Sue Steward's "Musica!," this book can go a long way to fill in the gaps for folks who are new to the sound, as well as those who want to dig deep down. Recommended!!
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1 of 1 people found the following review helpful:
4.0 out of 5 stars Crabby, dense, but richly informative, too!, August 10, 2001
A masterful work by John Storm Roberts, whose early-'70s books on Latin American music were "world music" landmarks, and whose Original Music record label has reissued some of the most precious African and Latin American popular and traditional music one is ever likely to hear. The introductory chapters are slow-going, as Roberts twists and gyrates to avoid anticipated critical jabs. His qualifications and defensiveness may make sense to enthnomusicological insiders, but to the average reader, they seem fairly unnecessary, or at least a bit hard to follow. After that, though, the book picks up steam and is quite captivating. The main point of contention is the fascinating (and convincing) idea that Latin American influences were every bit as present at the inception of American jazz music as were African ones. In Roberts' world, the term "latin jazz" isn't exactly redundant, but it is misleading: Latin Jazz didn't spring forth in the 'Forties and 'Fifties out of whole cloth. Rather, Latin American influences on North American musicians can be found as far back as the Antebellum period, and are present at all the major junctures of jazz history. In addition to combing through historical records (such as newspapers, journals, and the records sheet music publishers), Roberts offers a clear critical narrative of the cross-pollination of Latin American dance music and Afro-European jazz. He touches on the major trends and significant collaborations of the last 120 years: ragtime, the tango, the rumba, the thunderous New York "CuBop" scene of the 1940s, and of course the Brazilian bossa nova craze of the 1960s, and the gradual formalization of "Latin Jazz" as a genre. Along the way he sheds some light on famous artists such as Machito, Dizzy Gillespie and Tito Puente, as well as dimly-remembered pioneers like Antonio Machin, Don Azpiazu and gives favorable nods towards big banders who "got" the drift of the oncoming tide of Latin American crossover. Along with Sue Steward's "Musica!," this book can go a long way to fill in the gaps for folks who are new to the sound, as well as those who want to dig deep down. Recommended!!
Comment Comment | Permalink | Was this review helpful to you? Yes No (Report this)



 
1 of 1 people found the following review helpful:
5.0 out of 5 stars The Seminal Work on Latin Jazz, October 27, 2000
By Paul Austerlitz (Providence, RI United States) - See all my reviews
North America has long pertained to Latin-America as well as Anglo-America: large areas of the country were colonized by Spaniards before English-speakers arrived. Today, the United States is the fifth largest Spanish-speaking country in the world, with a Latino population estimated from 22 to 30 million. John Storm Roberts's brilliant earlier work demonstrates a pervasive "Latin tinge" in North American music. This new book meticulously documents the history of Latin jazz. The famed New Orleans composer and pianist Jelly Roll Morton argued that "Spanish tinges" were essential to jazz already in the early twentieth century. Latin influences on jazz grew when Dizzy Gillespie and Machito put Afro-Cuban rhythms on center-stage at mid-century, and again when the bossa nova boomed in the 1960s. Today, Latin tinges provide what is arguably the most vital strand in new American music. Both an invaluable research tool and a good read, Roberts has given us the seminal, single most important work on this subject.
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Most Recent Customer Reviews

4.0 out of 5 stars Good Info Source
While I can't say I'd recommend this book for a cover-to-cover read, it proved an excellent aid during my research of Latin Jazz this year. Read more
Published on December 14, 2001

5.0 out of 5 stars Great Book
This is a great book both someone like me who knows little about the subject or for the music scholar.
Published on November 4, 2000

4.0 out of 5 stars Fairly good work
The history of salsa, latin jazz, afrocuban music, and latin music in general, tends to get sandblasted by scholarly works that read more like Ph.D theses than history. Read more
Published on September 21, 2000 by William Jones

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