To Be or Not To Be Latin Jazz King?
commentary by Bobby Ramirez
Publisher of LatinJazzClub.com Magazine
Chess
is a game made of royalty figures and soldiers waging war through
strategic physical and psychological maneuvers aimed at toppling
the opposition troops and capturing the King and Queen. Thus,
casualties mount as one hierarchy attempts to overtakes the other
in the fierce continuum of war. And as the struggle perseveres,
heroes and villains may emerge within the battleground in declaration
of war. Some will say that the game of Chess may be a crude analogy
of the music business. However, there's no doubt that in the
game of music, the struggle for supremacy is waged on many levels
particularly in the media arena.
To be or not to be Latin Jazz King? One
such declaration of war was recently sounded sparking a flurry
of controversy when noted music writer Jesse "Chuy"
Valera wrote a headline on the cover of JazzTimes Magazine that
read: "All Hail the New King of Latin Jazz! Poncho Sanchez."
This declaration will more than likely be construed as a public
relations controversy rather than a call to arms between fierce
music business competitors and Latin Jazz fans. Here, we will
attempt to clarify some points by taking a closer look at the
issue including examination of short and long term effects.
From a music fan's point of view, this
issue may seem rhetorical. After all, it's not the first time
that a famous musician has been proclaimed "King" or
"Queen" of something. Examples include: Tito Puente
"King of Latin music" and "King of timbales (El
Rey Del Timbal)", Latin singer Celia Cruz "the Queen
of Salsa", B.B. King "King of the Blues" and Aretha
Franklin "Queen of Soul." In this case, some Latin
music fans may feel betrayed with sentiment as other deserving
musical heroes were perhaps overlooked--such as legendary conga
players Mongo Santamaria, "Patato" Valdez, Ray Barretto
and Armando Peraza. Other noteworthy contenders come to mind:
percussionist Giovanni Idalgo, flutist Dave Valentine, pianists
Chucho Valdez, Bebo Valdez and Gonzalo Rubalcaba, saxophonists
Paquito D'Rivera and Mario Rivera, and trumpeter Arturo Sandoval.
Even some young guns may be added to the list of potentials--including:
saxophonist David Sanchez, pianist Danilo Perez, trumpeter Humberto
Ramirez, percussionists Bobby Sanabria and Ralth Iryzarri. However,
before any qualification for "new King of Latin Jazz"
takes place, lets examine the demographics presented in the article
as well as establishing some criterias.
In terms of demographics, Poncho Sanchez
definitely has a long history of performing Latin Jazz both as
an apprentice with Cal Tjader, and later breaking out on his
own. From his early musical beginnings and his long association
with the Concord records label, a brief historical account expanding
over 30 years is presented in the article. One of the most impressive
things about Poncho's trajectory as a musician is his longevity
as a bandleader within the Latin Jazz genre. Also highlighted
are Poncho's important collaborations with Jazz musicians and
love for that music, and his strong emergence as a major force
in Latin Jazz. Poncho even comments that, "Latin Jazz is
American music. Latin Jazz was born in the United States with
Dizzy Gillespie and Chano Pozo in the 1940s. If you were born
in the U.S.A., that's your music. I was born in the U.S.A. so
Latin Jazz is my music, and I'm proud of that." However,
despite this carefully crafted article, the question remains:
Do you accept Poncho Sanchez as the "new King of Latin Jazz?"
This question has undoubtedly sparked
some debate between fans of this music. Even music critics are
scratching their head in amazement and questioning the viability
of this declaration. But, perhaps Jesse "Chuy" Valera
wrote it eloquently giving us the answer in one word: "new"
indicating a changing of the guard, a reincarnation, a rebirth,
the passing of the baton from the old masters to the new keepers
of the Latin Jazz flame. However, before we all rush to judgment,
lets establish some criterias for qualifying the "New King
of Latin Jazz."
1) most record sales in Latin Jazz (today)
2) has had the highest consistency of record sales in Latin Jazz
for the last ten years
3) has won a Grammy for best Latin Jazz album within the last
10 years
4) has consistent longevity (over 10 years) as a bandleader performing
Latin Jazz
5) has a history of honoring past masters and the tradition of
this music
6) most performances in music festivals worldwide as a Latin
Jazz band
7) has the potential to take Latin Jazz into the next twenty
years
In short, Poncho Sanchez meets all of
the criterias listed above to be considered the "New King
of Latin Jazz" at this point in Latin Jazz music history.
Some may argue that he does not posses the virtuosity of a Giovanni
Idalgo therefor he can never be. But as the saying goes: "a
good horse is not measured by how fast he can run, but rather
how graceful he can stride." In this case, Poncho has demonstrate
long strides through his unwavering commitment to the genre,
as well as a profound respect for its roots. Other possible candidates
deserve mention--including: Ray Barretto, Mongo Santamaria, Eddie
Palmieri, Patato. All certainly qualify from a historical perspective
and their contributions. However, we're talking about a sustained
communal relationship with Latin Jazz in this time and place:
today and the last ten years. And more importantly: tomorrow.
Then, there are a crop of young musicians mentioned above like
saxophonist David Sanchez or pianist Danilo Perez whose talent
offer good promise and a bright future for the genre, but lack
longevity as bandleaders.
Others may debate that Poncho is not
an innovator of Latin Jazz. This is true. Musically speaking,
Poncho has never been known as an innovator. But then again,
who has? Certainly not Ray Barretto or Giovanni (within the last
ten years). Maybe saxman David Sanchez, trombonist William Cepeda,
or pianist Omar Sosa come to mind as possible innovators. But
they lack longevity as established bandleaders and certainly
do not sell as many records as Poncho.
A close possible candidate is trumpeter
Humberto Ramirez. A great musician that has longevity as a bandleader,
has released over ten Latin Jazz CDs, and is young enough to
take this music into the next twenty years. Unfortunately, he
has never had substantial record sales let along win a Grammy.
The fact is that even these great musicians
like Eddie Palmieri, Ray Barretto, Giovanni Idalgo, Mongo, Patato
and others have made great contributions to la musica, but lack
one or more of the above list. Moreover, some like Barretto and
Palmieri have recorded Latin Jazz, but their careers have been
mostly centered around Afro-Cuban dance music rather than Latin
Jazz. On the other hand, Poncho has stayed true to Latin Jazz
roots for many years. Some have attempted to make a seminal Latin
dance record and call it "Latin Jazz" thinking they
could gain wider appeal from a Jazz audience and keeping the
Latino dance audience satisfied, except for Tito Puente, everyone
else pretty much has failed.
The reality is that through no fault
of their own, many of these musicians have been prostituted by
record labels trying to make a quick buck as opposed to staying
true to that musician's vision of creating Latin Jazz. In that
regard, Poncho has had the suerte (luck) that a record label
(Concord) has stuck with him for a long time helping to build
his career around Latin Jazz. Most labels today sign an artist
for a two record deal and if you don't sell--no matter who you
are--is "hasta la vista baby." Perhaps this is a lesson
for record companies: stay true to the music and your artist's
musical vision. The only musicians that come a close second to
Poncho, only because of lesser record sales, but meet all the
criterias above are Paquito D'Rivera and Arturo Sandoval.
If you look around, it would not be
hard to see that this is a pivotal moment in this music's history.
The great masters have left the new generation of Latin Jazz
musicians some big shoes to fill. During their time, the great
masters like Cal, Tito, Machito, Tito Puente, Mario Bauza, Antonio
Carlos Jobim, Chico O'Farrill and many others had their own challenges
of honoring the past, as well as promoting the music. And sure
enough, make no mistake that the baton has been handed to Poncho
and others.
The naming of a "new King of Latin
Jazz" may be viewed as a symbol, nonetheless it is an unprecedented
event in itself--perhaps even bigger than Poncho himself in some
level. And here's proof of why this is so: ask yourself, how
many times have you read the word "Latin" on the cover
of any leading Jazz magazine in the last ten years (JazzTimes,
Down Beat and others)? Without a doubt, there's a renewed conscienceness
arising about Latin music and its inter-relationship with American
Jazz further establishing the viability of Latin Jazz as a quintessential
and important style of music. However, lets not think that we
can ride on the shoulders of a few musicians like Poncho--even
if he was named "new King of Latin Jazz."
Having said all this though, I think
that this "King of Latin Jazz" thing is all hupla that
may help sell some records. In the process, this propaganda may
even help garner a few additional fans for the music. And that's
a good thing for all involved in this business. Another question
arises: are you going to buy into all this propaganda by either
criticizing it or supporting the claim? After all, a King is
only "King" if you believe in your mind that he is.
Not by proclamation.
I also think that there's a certain
negative stigma that follows these hollow proclamations--especially
in Jazz. For, a Jazz musician spends his or her life in constant
search of musical enlightenment--Jazz is art, it is the road
less traveled. Is it fair to stamp a performing artist with such
a title? Why can musicians just be regarded by the media as individual
artists without creating lables for them or such art? We have
made the argument that Poncho Sanchez qualifies for the title
of Latin Jazz King. However, did anyone take into consideration
his feelings as an artist before parading his name in such manner?
Will this proclamation serve to seriously discredit Poncho's
musical work in the future? What meaningful purpose did naming
Poncho Latin Jazz King serve? Does Latin Jazz really need a "King?"
After all, the house that build "Jazz" never had a
King, only many innovators and master musicians that contributed
to the sum of its parts.
written by Bobby Ramirez
Publisher
LatinJazzClub.com Magazine
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