Racy - Haiti - Music -Youtube

The relationship of Haitian musical expression to that of the nation’s political struggles and social processes is interwoven into a tapestry of cultural creolization. Haitian music has most accurately expressed the dynamic nature of the political, social, and religious syncretism that reflects Haitian tradition and continues to act as an agent of comfort and solace to Haitians in this time of need. Although other cultural traditions continue to shape the development of popular genres of Haitian music, the spiritual and political elements of this aesthetic expression are uniquely Haitian, and reflect the historical struggle for Haitian identity. Contemporary music of Haiti is fused with Afro-Cuban music, African-American jazz, Jamaican Reggae and Hip-Hop. And the international artist Wyclef Jean, as exposed Haitian music to a global audience. The transformational power of Haitian music has inspired this small nation to overcome many social and political struggles throughout its long history. Haitian music will continue to heal their communities and rebuild their collective consciousness across all class divides.The following video may serve to illustrate how music is expressed as an essential source of the inner strength and indomitable courage of the Haitian people.

Music From Camp Guatemala, Haiti



This next video exemplifies the capacity of music to galvanize the world community into action and launch Haitian musical tradition onto the popular cultural global stage...Check out Wyclef Jean.

GRAMMY’s Salute to Jazz: Honor Legendary Guitarist Kenny Burrell

On a cool, damp, wintery evening in Los Angeles, the Recording Academy, in recognition of the industry’s most extraordinary artists, commenced its countdown to music’s preeminent celebration. Tuesday January 26th was the first official evening of a weeklong series of festivities culminating up to the 52nd Annual GRAMMY Awards.

The evening was hosted at the GRAMMY Museum @ L.A. Live in a newly constructed two-hundred seat state-of the-art sound stage. The intimate room filled to capacity and ignited with anticipation and inspiration provided for a warm and cozy ambiance.

On this special night the Recording Academy‘s GRAMMY Salute to Jazz paid tribute and homage to legendary jazz guitarist and HASOM professor, Kenny Burrell - in recognition of his profound imprint on music in general and jazz in particular. Check out Dec. 14th press release at this GRAMMY website: http://www2.grammy.com/Press/Default.aspx.
As the honoree entered the packed house of fellow musicians, UCLA faculty cohorts, and adoring well wishers, the crowd rose in applause; appreciative of his vast body of work and tireless dedication to educating others about the historical significance of America’s original art form - jazz.

This was Kenny’s night - an evening for fans, friends, and family to pay tribute to an artist who has recorded over one hundred albums under his name and in excess of three hundred in collaborative efforts with some of music’s most recognizable names – from Dizzy Gillespie and Mile Davis to Tony Bennett and Billy Holiday. In addition to his extensive performing, recording schedule, Kenny Burrell is the founder and director of the jazz studies program at UCLA, where he created and implemented the first regularly scheduled college course, “Ellingtonia”, which focuses on the music and life of Duke Ellington.

Musical entertainment was provided in part by the 2010 GRAMMY Jazz Ensemble which was conducted by Ron McCurdy (Professor of jazz studies, USC Thornton School of Music) and Justin DiCioccio (Assistant Dean of jazz studies, Manhattan School of Music). The young talented and enthusiastic ensemble of specially selected high school students were the fortunate finalist of a nationwide search for outstanding singers and instrumentalist. Beaming with pride and wonderment, their excitement could hardly be contained, on their facial expressions or in their spirited performances - as they played on stage with the legendary jazz master.

The evening co-hosts was none other than KJAZZ, (radio personalities Bubby Jackson and Tommy Hawkins, who entertained the audience with amusing anecdotes of Kenny’s historical career, and contribution to jazz. (http://www.jazzandblues.org/index.aspx)

The musical performances began with a lively tune, “So Cool”, performed by the student GRAMMY Jazz Ensemble, an appropriately entitled number which the honoree personified. An invigorating display of skillful improvisational jazz riffs by guitarist Anthony Wilson followed, with a fresh rendition of “Kenny’s Sound”, a Burrell composition.

Finally the moment arrived for Recording Academy President/CEO Neil Portnow to make his official remarks as to the reason for the evening. Mr. Portnow proclaimed that the Recording Academy presented the President’s Merit Award to this year’s honoree “because he changed the role of his instrument in music…his sound became the sound that influenced so many other musicians…he has recorded over a hundred solo albums and countless joint efforts…he was “known as Duke Ellington’s favorite guitarist”. Furthermore, Mr. Portnow continued, “Kenny Burrell pioneered the jazz trio with lead guitar, one of the earliest practitioners of solo jazz guitar. On a side note Neil mentioned that Kenny had also inspired him (Mr. Portnow), who was himself an amateur jazz guitarist. “On behalf of the Recording Academy’s Salute to Jazz it is my honor”, continued Mr. Portnow, “to present Kenny Burrell with this year’s President’s Merit Award in recognition of his stellar career, and his contribution to jazz and American culture”.

In his acceptance of this year’s award the affable Kenny Burrell, stated that he was, “deeply honored to accept this award…it is another validation of the words of my mother…”do good work and the rewards will come”…receiving this award reaffirms that I do…and my music has connected to people in a positive way”...my deepest thanks to the Recording Academy”. Always the educator, Kenny than addressed the student GRAMMY Jazz Ensemble, “congratulations to the young musicians on this stage for their hard work and dedication in reaching this point and preparing for this program...you give us all hope in the future of jazz. You all have something deep inside that is original and unique and I hope events such as this will help you in your efforts in pulling it out...I wish you luck, thank you”.

A performance of Kenny Burrell’s “The Peace Maker”, followed, a composition which is part of larger body of work, Kenny’s Ralph Bunche Suite; dedicated to the Nobel Peace-Prize recipient. The passionate and virtuosic solo by flutist Hubert Laws, together with the tasteful and masterful guitar of Kenny Burrell was a showcase of seasoned musicianship.

The next piece was the Kenny Burrell composition, “Dear Ella”, the title tune for the 1997 GRAMMY-winning album by Dee Dee Bridgewater, a spirited heartfelt performance by Jazz Ensemble singers of a jazzed up arrangement by HASOM professor Michele Weir. The evening of musical tribute concluded with an upbeat composition by Duke Ellington, “It Don’t Mean a Thing (If it Ain’t Got That Swing)”, in celebratory performance that enlivened the crowd and bridged generations. Tonight, all was well with the state of jazz, as Kenny smiled approvingly.

Podcast - Tuba Jazz

I recorded this podcast using the digital audio editor Audacity. The sound clip is a sample from the recently released album my Tony Underwood "Tuba Mirum". This project featured the tuba as the leading instrumental voice, which show cases the tuba within the framework of various settings and genres. The album was recorded using Pro-Tools and only using the studio for mastering. The title of song presented in this podcast is "Keepit Low to Tha Ground", a reference to the low frequency of the tuba which was used for many years as the bass or bottom, before the string bass gained popularity throughout the jazz world. It is a subtle merging of jazz riffs and phrasings with a contemporary R&B groove and an under current of vocal reflections. All of the tracks on this album showcase the tuba in setting not customary for the Tuba. This is one of the reasons we decided to do this project. To acquaint listeners with the beautiful rich full sounds of the melodic and soothing and unique sound of the tuba. By the way the Tuba player, Tony Underwood, is a classically trained Yale grad. who has also performed and recorded with some of the premier musicians in jazz. Hope you like the clip. My podcast voice sounds so contrived, like a radio personality or something. Anyway, it was fun.

I just posted my Flickr slide show on my blog. It was a fun process and in the mean time i learned a lot. The pics i chose are mostly of some of my favorite jazz artists, though there are so many more that i did'nt include. The ones that i chose played a significant role in developing my musical cognizance of jazz in its defiance of popular song structure and innovative approach to dissonant sounds and improvisation. Miles Davis and Duke Ellington for me represent the quintessential meaning of "coolness" and their vast body of influential work is testimony to their elevated status which transcends the boundaries of musical categories. The following is a video I downloaded from YouTube that typifies embodiment of coolness and the minimalist approach to harmonic structure with allowed for greater freedom of improvisation. I hope it plays.



The singers I chose as part of my Flickr slideshow are all female, as these are the artist who have influenced my approach to interpretation and phrasing. Billy Holiday, Sarah Vaughan, Ella Fitzgerald and Carmen McRae are some of my favorite vocalist among jazz musicians. Eric Dolphy is musician known for his avant-gard approach to harmonic and melodic structure, his innovative solos were said be "outside of the changes". Kenny Burrell the director of the HASOM jazz department has taught jazz courses entitled "The History of Jazz", and "Ellingtonia" which give a comprehensive historical and musical contribution of these and other great pioneers in the development and evolution of jazz. He has also performed and recorded with all of the jazz greats in my slide show. I have to give a shout out to Dan in my ethno 188 class for being one student @ UCLA HASOM who can appreciate the value of learning from a primary source of historical and personal references. Anyway, if any of the musicians in my slide show are new to you, please take some time to check 'em out.

Wanda Bryant HASOM interview

It should be no surprise that James Cameron's science fiction Block Buster "Avatar" is one of the leading 2010 Academy Award Oscar nominees for Best Picture. It has also surpassed Cameron's 1997 film Titanic as the highest grossing film of all time. But what is a surprise, is that his ex-wife, Kathryn Bigelow's film "The Hurt Locker" has also been nominated for this years Best Picture. Is this a first in Academy history? A women directing a film nominated as Best Picture, and in the same category as her (ex) husband. I thought that was intriguing news to share. And did you know that Cameron and James Horner (score composer) are both Leo's, born in the month of August (leadership)? Things that make you go hmmm. I know that Avatar is also nominated for best film score, and this is one category that certainly hope it wins. For this may heighten the chances of my UCLA #HASOM class to interview James Horner, the composer of this phenomenally successful project. Well don't be surprised. We did have the opportunity to interview the delightfully candid and gracious ethnomusicologist Wanda Bryant. Who is Wanda Bryant? She is the only ethnomusicologist to contribute to the film score as the Avatar Film Score Assistant to James Horner who helped to create the musical universe for the Na'vi. It was a rewarding experience to sit and chat with her as she graciously shared with our ethno 188 class this exciting and grounding breaking event. Did you know that they use Finnish women voices and African mining songs among other example of culturally specific music in the film? These were some of the inside processes that Wanda shared with us. I think that Wanda's contribution to creating this eclectic sound source in the film enhanced the other-worldly musical experience that has captivated movie goers globally. Thanks Wanda for a great interview and congratulations on your success.