Manifesto in the Key of Latin Jazz
A matter of public record for discussion and debate written on January 2nd, 2004 by musician and Publisher of LatinJazzClub Magazine Bobby Ramirez
Attn: IAJE executive board

Hello and thank you for your attention to this matter.

As you may have noticed on my previous note, I included a link to my critical analysis essay of this issue that was debated as part of the Jazz Journalist Association real-time discussion forum. The points of inclusiveness and demographics pertaining to the role of Latin rhythm in Jazz were discussed in detail. A large part of my opinion on this issue is stated. Please take some time and read this essay: Go to: http://www.latinsheetmusic.com/latinjazz1.html

Other related articles of interest include:
What Is Latin Jazz?
http://www.latinsheetmusic.com/latinjazz.html
The Culture of Latin Jazz
http://www.latinsheetmusic.com/latinjazzculture.html

I would also like to expand on my analysis of this issue from my first letter to you as it pertains to the IAJE. I begin by taking a critical look at each word/phrase that directly relates to the relationship of Latin rhythms and Jazz currently as part of the IAJE.

Brazilian music
As it pertains to this phrase, please refer specifically to the JJA essay: A NOTE OF DISTINCTION. I will expand on this point later as it relates to the IAJE.

Afro-Cuban music
Actually, the phrase "Afro-Cuban music" is more conducive to describing popular Cuban dance music--more commonly known as "Salsa." As it relates to Jazz, it becomes a valid phrase specifically when substituting the word "music" for the word "Jazz." However, it is my opinion that it (Afro-Cuban Jazz) should not be used (as it pertains to this issue) because it is outdated. This phrase was one of the first words (Afro-Cuban Jazz) used to specifically describe the new relationship of Cuban rhythm and Jazz in the 1940s. It was also known as CuBop. There's no question that the influence of Cuban rhythms played a major role in bringing this style to fruition--thanks to Dizzy Gilespie, Mario Bauza, Stan Kenton, Chico O'Farrill, Chano Pozo and others. Since then, the marriage of what was initially Afro-Cuban rhythm and Jazz has evolved considerably into what is currently known as Latin Jazz: a fusion of African and/or indigenous rhythms from the entire Latin American Diaspora with the language of Jazz.

Of course, I've already mentioned that Jazz should not be used to promote any one specific country by name except in the course of study or to refer to individuals or otherwise representatives from other countries that are actively performing/promoting Jazz; in this case "Cuba" or "Brazil" because Latin Jazz is inclusive, free and open to all possibilities pertaining to the entire Latin American Diaspora.

I would also mention that at this time, the word "Afro" should not be used as it pertains to this issue (except in the course of study). In the beginning it was important to emphasize the association of Cuban rhythms directly with Africa as part of its main identity. Today, as it pertains to Latin Jazz it is still important but to a lesser degree mainly because Latin Jazz draws its influences not only from Africa; but also unique rhythms that are indigenous by nature and inherent in many different parts of the Latin American Diaspora. Therefore, the word "Afro" as it relates to Latin Jazz in our generation does not have to be visible because there is also an element of indigenous rhythms that are present as part of the Latin American Diaspora but essentially have little relations with Africa. The word "Latin" without the prefix "Afro" sufficiently represents the African influence as well as equally validating other related indigenous rhythms.

Once you insert "Afro", you automatically disqualify any other indigenous rhythm that are currently present (no matter how subtle) or eliminate the possibility of any potential cross-pollination of other less formidable but equally important indigenous rhythms that are a part of the Latin American Diaspora. In other words, the phrase "Afro-Cuban Jazz" took that sound to the limit. However, the relationship between Latin rhythms and Jazz continued to cross-fertilize. As a result, it evolved into its current popular identity as "Latin Jazz." That is not to say that a musician can recreate/perform the specific sound of Afro-Cuban Jazz. However, if a musician includes other Latin rhythms as part of a CD or performance, because it is presented in this time and place in history, the overall content of the musical work should be considered "Latin Jazz."

I mean, one does not have to refer to Jazz as "Afro-Jazz" to understand the roots of this music. But, basic Jazz education must emphasize Africa as an important source in its development. The same educational process would be used to naturally emphasize Africa as part of the roots of Latin Jazz. By just using a generic term as "Jazz", you essentially leave the door open and free to any and all creative possibilities. And this is the same result that happens when using the generic umbrella term: "Latin Jazz." Furthermore, the term "Latin Jazz" demonstrates a constant equilibrium with its contemporary surroundings and establishing a genuine and authentic metaphor for the natural evolutionary patern (people, times and places) in Jazz history. As Jelly Rolle Morton said, "the Spanish tinge was the essential ingredient that differentiated Jazz from ragtime."

"music"
As it pertains to anything Jazz in the context of describing a derivative style such as Latin "Jazz", I also suggest not using the word "music." I've commented on my JJA essay on the part called "A NOTE OF DISTINCTION." I will briefly expand on this point as it relates to the IAJE.

Here's a weird situation: There's a band performing "salsa" music at the IAJE conference. As a Jazz musician that is coming to the conference, I ask myself, "What is this style of "music" has to do with Jazz? The answer: If you plant the seeds of music, it will grow. Meaning, if you promote the "music" of any country, soon you'll have any and all kinds of other forms of popular music that have little or no connection to Jazz wanting to participate; using the IAJE as a platform in the name of Latin "music" to promote popular Latin music artists that have very little to do with Jazz--including (as mentioned above) "Afro-Cuban music", another way of referring to "Salsa" popular dance music, or "Brazilian music" which has little to do with anything "Jazz." Thus, it is important to present (coming from the IAJE) a term (Latin Jazz) that does not leave any room for doubt or confusion especially as Jazz students begin to explore this unique style.

Using the word "music" is too broad of a term that essentially overtakes the emphasis on Jazz and opens Pandora's box to other forms of popular musics that would be better suited for a general "Latin" music appreciation class. Meaning, the IAJE is focused on Jazz. If you let it deviate from that focus, it will cause major confusion among Jazz students. I'm not saying that "salsa" is less important than "Latin Jazz." Certainly "salsa" music has some Jazz elements. But I advocate keeping strict separation between the two styles especialy from an education standpoint. In this regard, the goal would be for Jazz educators to establish the unique characteristics of Latin Jazz.

A QUESTION OF IDENTITY
There is a question of identity in term of Latin Jazz that must be firmly established now if this music is going to survive. It must start at the top with the IAJE. Teachers perhaps understand this better than anyone: education is the force of what humankind will become tomorrow. In terms of everything Jazz education, the IAJE is in the trenches.

By adopting nothing more than the simple umbrella term of Latin Jazz, you will create an important precedent as well as coming together with the Grammy awards and the Jazz Journalist Association. Thus, because the IAJE now has a clear vision on the relationship of Latin rhythm and Jazz, many more educators will undoubtedly follow its lead and adopt the inclusive phrase of "Latin Jazz" to enhance their school music Jazz programs. As more and more schools gain more students of Latino heritage, Latin Jazz in the schools will become a vital component in any music program.

Moreover, the establishment of the inclusive phrase "Latin Jazz" will help create new audiences. Thus, more bookings for Latin Jazz artists at nightclubs and festivals. This will also translate to higher CD sales including many other related educational products.

Here's one ironic thing concerning Jazz & Latin rhythm that demonstrates a disconnection between the current IAJE status quo for the Latin side of Jazz and the mainstream music scene. Arguably, one of the top exponents of Latin Jazz in the world today is not "Cuban" or "Brazilian." Mr. Poncho Sanchez is of Mexican heritage.

IN CONCLUSION:
There is not much else to say on this issue that I've not already mentioned in this article, my previous emails and the JJA essay. My vision is clear: Latin Jazz should be presented free, open and unrestricted, not only inclusive to other influential Latin rhythms, but also inclusive of anyone who wants to participate. I mean, if the IAJE is interested in spreading the gospel of Jazz education throughout the entire Latin American Diaspora, it would be wise to give forth a non-exclusive unbiased impression. What am I saying! The word "Jazz" is already and has been for decades an established term in every single Latin country in Central/South America including Spain, Even more so today, the least that we the IAJE can do is reciprocate (acknowledge) the practice and application of the inclusive umbrella term "Jazz" used by millions of Jazz fans and music students throughout the entire Latin American Diaspora with the equal adaptation of the inclusive (undiscriminating) umbrella term "Latin Jazz."

Beyond some of the technical jargon above, the IAJE is the foremost institution representing Jazz education worldwide. In terms of its growing relationship with Latin America including Spain, my vision is that it maintain an unbiased and open front for all to participate in Jazz education. This simple and most current term, "Latin Jazz" will literally open the world of everything Latin rhythm to Jazz education. This will mean that more Jazz students from all over Latin America will start considering the IAJE as an important source mainly because the IAJE gives forth an impression of inclusiveness and does not give forth a perception of favoritism to a couple of Latin American countries while overlooking others. As the Latin population grows to hugh levels in the United States--people from the entire Latin American Diaspora: Spain, Dominican Republic, Puerto Rico, Ecuador, Panama, Colombia, Venezuela, Peru, Uruguay, Chile, Cuba, Brazil, Argentina, Mexico and others--the next frontier for Jazz is Latin America.

This will also open new markets for companies that sell music products that are a part of the IAJE. Many books will be translated into Spanish. This is the face of a new Jazz music consumer; not right now, but 20 years from now. This Latino consumer (Jazz student) is being cultivated right now. They come from everywhere in Latin America. Attendance of the annual IAJE conferences will begin to grow by the numbers--musicians of Latino heritage here in America studying Bird, Coltrane, Dizzy, Cannonball. This is not hard to figure because I'm one of them. Other new sponsors that cater to the Latino market will join the IAJE--including multinational Latino-owned corporations. New branches of the IAJE will form in each and every Latin American country--Latin Jazz is everywhere, taught in every school, thanks to the pioneering vision of the IAJE.

BIEN VENIDOS A TODOS LOS LATINOS!
All Latins are welcomed at the IAJE.

Bobby Ramirez

Read the first letter sent to the IAJE reagrding this issue:
First Contact: Latin Jazz