WBGO Blog
  • 5 Fun Facts About Latin Jazz: Get Ready!

    March 11, 2015. Posted by Steve Williams.

    Add new comment | Filed under: 92Y, Jazz Alive

    WBGO celebrates Latin jazz at the 92Y's “Latin On Lex” festival March 12-14.

    To get ready,  we’re brushing up on our Latin - and  invite you to join us. Here are five fun facts we found!

    The festival features Eddie Palmieri, Pedrito Martinez, Phil Woods and many others, and is curated by trumpeter Brian Lynch.

    1. WHAT WAS THE FIRST LATIN JAZZ COMPOSITION?

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    “Tanga” was written by Cuban trumpeter Mario Bauzá and first recorded in 1943.

    In the 1930s, Bauzá played in the top New York bands of Chick Webb and Cab Calloway, and wanted to combine the feel of Cuban “descarga” jam sessions with the swing feel and harmonies of North American jazz.

    Bauzá mentored the young Dizzy Gillespie and sparked Dizzy's lifelong love of Latin rhythms. “Tanga” combines the “clave” rhythmic pattern common in Cuban dance music with space for jazz solos.

    The "clave" cycle combines three long beats with two short beats in a repeating pattern, or two short beats followed by three long, over two measures. In "Tanga," the pattern is 2-3.

    2. WHO IS MACHITO?

    Machito_and_his_sister_Graciella_Grillo
    Photo by William Gottlieb, Jr.

    Francisco Raúl Gutiérrez Grillo was the son of a Havana cigar manufacturer who became a bandleader and singer. He was nicknamed "Macho" as a child because he was the first son born after three daughters. He switched to "Machito" out of respect for his new bride.

    “Machito” was also the brother-in-law of Mario Bauzá, and was the first to record Bauzá’s “Tanga” with his band, the Afro-Cubans.

    This band, which he led until 1976, was the first to consistently explore ways to combine Cuban rhythms with the harmonies and solos found in North American jazz.

    3. WHAT ARE THE BRANCHES OF LATIN JAZZ?

    latinmannMost “Latin” jazz since the 1940s falls into two categories: Afro-Cuban, often based on the “clave” and ostinato patterns of Cuban dance music, and Afro-Brazilian, which gained popularity worldwide through the success of Bossa Nova in the 1960s.

    Jazz musicians also draw from the African musical traditions of countries such as Columbia, Venezuela, Mexico and Peru, and Argentina’s tango and Brazil’s maxixe were internationally popular before jazz spread around the world in 1917.

    4. WHAT FAMOUS LATIN JAZZ INSTRUMENTS ARE AT THE SMITHSONIAN?

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    The timbales or shallow metal-shelled drums played by Tito Puente at the closing ceremonies at the 1996 Atlanta Summer Olympics are on display at the National Museum of American History in Washington D.C.

    The Harlem-born Puente, known as the “King of the Timbales,” graduated from Juilliard, was awarded the National Medal of the Arts and has a star on Hollywood’s Walk of Fame.

    5. WHO WAS THE FIRST LATIN JAZZ ARTIST ON THE BILLBOARD CHARTS?

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    Percussionist Ray Barretto scored a hit in 1963 with “El Watusi,” which was was on Billboard’s Hot 100 singles chart for nine weeks and sold more than half a million copies.

    While the song was not Latin jazz, Barretto was, for nearly fifty years, one of its most eloquent players.

    In the 1960s, he was – simultaneously – the house percussionist for the era’s top three jazz labels: Blue Note, Prestige, and Riverside, and at the same time he recorded for the top Latin dance label, Tico. Barretto recorded with Wes Montgomery, Kenny Burrell, Freddie Hubbard, and many others.

    Barretto was named a Jazz Master by the National Endowment for the Arts in 2006, the nation’s highest honor for a jazz musician.

  • Cephas Bowles Remembered

    February 24, 2015. Posted by Brandy Wood.

    Add new comment | Filed under: Jazz Alive

    Cephas Bowles at the Newark Arts Council's Art Parade
    Cephas Bowles at the Newark Arts Council's Art Parade

    Cephas Bowles, a proud Newark native with a notable reputation in public radio, is being remembered for his 20 years of leadership at WBGO. Cephas passed away on Saturday, February 21, after a lengthy illness. He was 62.

    WBGO could have had no better champion for our city and its music. A graduate of Newark’s Barringer High School, Cephas loved his home town, and was born of its culture - especially its tradition of organ music. All of us at WBGO know that it was jazz in all its forms that sustained him, and throughout the week, our announcers have played and will continue to play musical tributes in his honor.

    A staunch advocate for public radio both locally and nationally, Cephas’ contributions to the viability and growth of WBGO led to the station becoming the leading jazz radio station in the United States, and arguably the world. Under his leadership, WBGO became the primary jazz content producer for NPR. Cephas led the charge for capital improvements to the station’s headquarters in Newark,  as well as the Signal Improvement Project, which involved installing a new transmitter and antenna atop 4 Times Square in New York City.  He significantly grew WBGO’s financial and human resources, and is remembered by all who worked with him as a consummate professional.

    Cephas’ career in radio spanned over 40 years, beginning at CBS News in New York City in 1974 as Assistant Producer for Spectrum.  In 1978, he moved to Tucson, Arizona to work for KUAT, ultimately serving as the Radio Station Manager there from 1983 through 1990, as well as the University of Arizona’s Acting Director of the Division of Media Studies.  Cephas also served on a number of policy and programmatic committees and advisory boards for the City of Tucson, the University of Arizona, NPR, and the Corporation for Public Broadcasting. He was a co-founder of Blacks in Public Broadcasting, and a longstanding committee member of the Tucson Community Foundation. Cephas relocated to Newark in 1993 taking over as General Manager at WBGO, and was named President and CEO in 2009.

    Cephas served on the board of directors of National Public Radio, Inc. where he was the Chairman of the Investment and Administration/Finance Committees.  He served as a longstanding member of the Newark Regional Business Partnership Board of Directors, and was a board member of the Syracuse University Jazz Appreciation Society.  Bowles also offered his expertise to various community Boards, including the Newark Arts Council, Dover Zoning Board of Adjustment, State of NJ Martin Luther King Committee and National Jazz Museum of Harlem.

    Bowles was the recipient of countless other awards including a Jazz Hero Award from the Jazz Journalists of America (2014); the New Jersey Performing Arts Center Ryan Community Service Award (2013); WBGO Champion of Jazz Award, (2013); Syracuse University Jazz Leadership and Alumni Jazz Appreciation Society awards (2012). Other honors included Recognition Award from NPR (2007); Associates in Mental Health and Developmental Disabilities, Inc. Executive Leadership Award (2006); Newark School of the Arts Shining Star Award (2006); Eller MBA Alumni Achievement Award from the University of Arizona's Karl Eller Master of Business Administration Program (2004). The Star-Ledger named him one of New Jersey's most influential arts leaders (1998) and the City News tapped him as one the 100 Most Influential people (1997).

    Cephas was never far from a radio. "As we spent our last few hours together, Cephas was comforted by the sounds of jazz wafting throughout the room," said Linda Bowles, his wife of nearly 18 years. "He bobbed his head and tapped out the beats with his finger while his beloved WBGO played to the very end."

    Bowles is survived by his wife, Linda Arrington-Bowles, and five siblings: Carey Bowles Jr., Ruth Hall (Jerry), Paul Bowles, Elizabeth Gaskin (Orrett), and Deborah Bowles; and a host of cousins, nieces, nephews, great nieces and great nephews. He was preceded in death by his father, Carey C. Bowles, Sr., mother, Sarah Rosa Bowles and sister Sarah Wilson.

    Visitation will be held at Fountain Baptist Church, 116 Glenside Avenue, Summit, NJ, on Thursday, February 26, from 4:00 - 8:00 p.m. Funeral services will begin at 10:00 a.m. on Friday, February 27, at Fountain Baptist Church with internment immediately following at Evergreen Cemetery, 1137 N. Broad St., Hillside, NJ.

  • Bourne's Mohonk 2015: Better Than Ever

    February 9, 2015. Posted by Michael Bourne.

    This is the first of several highlights from this year's Jazz On The Mountain festival.

    I was afraid I was jinxing myself, as I got ready for this year's JOTM at the Mohonk Mountain House.

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    This year's line-up looked to be one of the best I've emceed, performed at, and "curated" - more like "fantasized" - at Mohonk in 16 years. Almost too good to be true.

    But this year’s JOTM turned out to be, indeed, one of the best.

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    L-R: Amy Niles, Michael Bourne, Guy Davis. Photo: Cynthia Lewis & Byron Smith

    This year’s Jazz On The Mountain was enjoyed by more WBGO’ers than ever before.

    About half of Mohonk’s enormous castle on the lake was filled with folks who'd come on the WBGO trip package, and something like 140 folks attended the Saturday evening dinner with the artists.

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    L-R: WBGO Dinner with Terry Dawson, Rita Annan-Brady & drummer Dennis Mackrel

    Kudos to the indefatigable WBGO travel troupe: Amy Niles, John Newcott, Carmen Balentine, and Jennifer Spiegler.

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    WBGO's Jen Spiegler

    My mantra about the artists I invite to Mohonk is that "they don't come to play a gig, they come to play!"

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    The Butler-Bernstein Hot Nine On Parade

    And the artists who get into the spirit of the jazzfest, in their own shows and often joining in other shows, while also enjoying being with their loved ones in the  Mountain House - we call these artists "Mohonk-y."

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    L-R: Scott Robinson, Martin Wind, Helen Sung, Dennis Mackrel

    And about that Mountain House… it was built in 1869, and it always looks beautiful!

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    Photo: Carmen Balentine

    Coming up: more on our favorite Mohonk-y moments and musicians, including Dave Stryker, Martin Wind, Scott Robinson and Catherine Russell, so stay tuned!