Can I Catch Hand Foot And Mouth Twice

Jazz and world music. Congress, Sibe Spain

(this text is an excerpt from a paper presented at the Eighth Congress of the IASPM-LA, held at the Catholic University of Lima on June 19, 2008)

How has the process of mixing elements of jazz and traditional music in the world?

's encounter elements of jazz and world music are given from the fifties. Since then, several musicians have explored around the grouping of elements rhythms of different cultures and practice jazz improvisation itself. This trend can be seen in the proposal of musicians and projects such as Dizzy Gillispie, Mahavishnu Orchestra (1971) and Shakti, led by the English guitarist John McLaughlin, Chick Corea, Antonio Carlos Jobim (Tom Jobim) and Joa Gilberto, Chano Domínguez ( Spain), Danilo Perez (Panama), David Sánchez (Puerto Rico) Eliane Elias (Brazil) among others.

has 40 late American jazz musicians like Dizzy Gillespie came to experienced and Afro-Cuban rhythms, while in Havana Cuban musicians, blended harmonies jazz with traditional Cuban songs, producing a new vocal style called the move "fillin" or "feeling".

In the 60's are the work of Miles Davis and Gil Evans with the album "Sketches of Spain", the first recording of jazz influenced by the music of Spain.
We should also mention John Coltrane, who in his album Ole, An exploration around the mix of jazz and English flamenco music. In 1963 Stan Getz and guitarist Joao Gilberto presents an album of Jazz and Bossa nova, which are issues of Antonio Carlos Jobim.

In the 70's are the work of musicians like John McLaughlin, Chick Corea and Astor Piazzolla. John McLaughlin Mahavishnu Orchestra with their groups, and Shakti include musical elements of India's traditional instruments such as Tabla, Mridangam and Ghatam. All this thanks to their approach not only to music but the culture of southern India. Astor Piazzolla in 1974 recorded the album Summit, (1974) a mixture of tango and jazz with European classical music.

Chick Corea in Return to Forever group emphasized the mix of traditional Jazz and Latin music. This influence derived from contact with Latin musicians Chick Corea and Willie Bobo and Mongo Santamaria

In 1984 Juan Luis Guerra launches blowing hard meringues which are influenced by the Jazz. In 1989 Elias Elias, pianist and vocalist, launches its first Latin jazz recording exploring Brazilian music.

In the year 90 musicians like Chano Domínguez, Danilo Perez, Steve Coleman, David Sanchez presented proposals which are elements of jazz with rhythms and sounds characteristic of their cultures. A mid-positioned Chano Dominguez as one of the leaders of Jazz Flamenco. Recorded in 1996 Steve Coleman The Sign and the Seal with the Cuban folkloric group, Afrocuba of Matanzas. In the music of Panamanian pianist Danilo Perez and Puerto Rican saxophonist David Sanchez is given encounter elements of Post-Bop with rhythmic concepts typical of Panamanian folk music and Afro-Cuban rhythms.

All these examples show how the Jazz because of its permeability allows his meeting with various world music, creating a line of development both for the music of each country and for the Jazz. At present, the musical roots of jazz performers are of great influence, importance and interest in his artistic development.

Colombia

Currently in Colombia can identify a trend of urban musicians, mostly young, who have come to different genres and musical traditions, revive and reinterpret, experimented with new innovating elements and from these, involving in some cases urban music sounds like Jazz, Rock, Pop, Electro, Hip-hop, among others. It is important to highlight the crucial influence played by the evolution and mass media communication in these processes of change and innovation, giving the musician the opportunity to meet and come to different cultural currents generating a great mix of musical influences from different trends and genres.

This trend can be seen in the proposal of musicians and projects that emerge in the late twentieth century, when various groups and musicians combine elements of traditional local music with elements borrowed from the Jazz or Rock. Among these we find: Block, Curupira, Antonio Arnedo, Bahia, Sidestepper, electric Mojarra, First my aunt, Juan Sebastian Monsalve, Francisco Davila, Hector Martignon, among others.

Local musicians and urban musicians

The arrival of local musicians to cities and urban musicians encounter allowed the latter to expand their knowledge, contacts and interest in these demonstrations. From the academy these musicians have also been important in the development of this movement, turning the traditional local music of interest and study, carried out especially through their work and a dissertation. All these processes have ensured the memory of certain aspects that were based more on oral tradition.

Role of Academia

Academy

Historically the study of traditional local music had not been taken into account, to be excluded against the trend of implementing academic models taken from schools abroad, considering the traditional music as simple and popular little educated (Arango, 2002) Some of the 80 dispersion around these musicians gave, in some cases for personal searches of the musicians who wanted to carry out other new models as part of seeking be brought into practice, as in the case of the creation and structuring ASAB of their curriculum or the appearance of traditional music schools. Currently there has been growing concern among the musicians who are in the academy, to approach, meet, study and understanding of traditional music.