The New Grove Dictionary of Jazz defines Latin jazz simply as “jazz in which elements of Latin American music, chiefly its dance rhythms, are particularly prominent." But is that definition sufficient to represent the music created by the entire diaspora of Spanish- and Portuguese-speaking people? What sub-categories make sense: Afro-Caribbean, Afro-Cuban, pan-Caribbean, Brazilian, South American? Or does the sobriquet Latin jazz fit it all?
The annual Jazz Journalists Association Awards currently recognize outstanding contributions in Afro-Caribbean and Brazilian jazz. Are these categories sufficient, or should we change?
Join the debate, led by a panel of respected musicians and scholars, as the Jazz Journalists Association convenes its second online forum for 2003.
Date: Monday, February 24
Time: 8 to 11 p.m. Eastern
Place: www.jazzhouse.org
Included on the panel are:
- Nick “Brownman" Ali - Trinidad-born trumpeter-leader of the Toronto-based Cruzao.
- Mark Holston - contributor to Jazziz, Brazilian music scholar.
- Arturo O'Farrill - New York-based pianist-bandleader, and son of the legendary Cuban composer Chico O'Farrill.
- Bobby Ramirez - Cuban-born flutist, vocalist and publisher of LatinJazzClub magazine.
- George Rivera - former editor of LaMusica, contributing writer on “Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Other Stateside Cuban Musicians".
- Bobby Sanabria - Grammy-nominated percussionist, composer and educator.
- Chris Washburne - trombonist-leader of S.Y.O.T.O.S. and ethnomusicologist at Columbia University.
For more information contact All About Jazz.
