Paquito DRivera10 Guide

7/28/2019 Paquito DRivera10 Guide

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Latin JazzPaquito D’Rivera

Passport TO CULTURE

Teacher’s Resource Guide

Generous support forSchooltime provided,

in part, by



just imagine

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Arts Education and You The New Jersey Performing Arts Center (NJPAC) Arts Education Department presents 12th season of the Verizon Passport to Culture SchoolTime Performance Series.

With Passport to Culture, Verizon and NJPAC open up a world of culture to you anyour students, offering the best in live performance from a wide diversity of traditionand disciplines. At NJPAC’s state-of-the-art facility in Newark, with support from

Verizon, the SchoolTime Performance Series enriches the lives of New Jersey’s studenand teachers by inviting them to see, feel, and hear the joy of artistic expression. Theexciting roster of productions features outstanding New Jersey companies as well asperformers of national and international renown. Meet-the-artist sessions and NJPACtours are available to expand the arts adventure.

The Verizon Passport to Culture SchoolTime Performance Series is one of many currarts education offerings at NJPAC. Others include:

• Professional Development Workshops that support the use of the artsto enhance classroom curriculum

• Arts Academy school residency programs in dance, theater and literature,and Early Learning Through the Arts – the NJ Wolf Trap Program

• After-school residencies with United Way agencies

In association with statewide arts organizations, educational institutions, and generofunders, the Arts Education Department sponsors the following arts training program

• Wachovia Jazz for Teens• The All-State Concerts• The Star-Ledger Scholarship for the Performing Arts• The Jeffery Carollo Music Scholarship• Summer Youth Performance Workshop• Young Artist Institute• NJPAC/New Jersey Youth Theater Summer Musical Program

Students have the opportunity to audition for admission to NJPAC’s arts trainingprograms during NJPAC’s annual Young Artist Talent Search. Detailed information on these programs is available online at njpac.org. Click on

Education. The Teacher’s Resource Guide and additional activities and resources foreach production in the Verizon Passport to Culture SchoolTime Series are also onlinClick on Education, then on Performances. Scroll down to “Download Teacher Guiin Adobe Acrobat PDF format” and select desired guide.

Permission is granted to copy this Teacher’s Resource Guide for classes attending the2009-2010 Verizon Passport to Culture SchoolTime Performance Series. All other rigreserved.

To Teachers and Parents The resource guide accompanying each performance is designed

• to maximize students’ enjoyment and appreciation of the performing arts;• to extend the impact of the performance by providing discussion ideas,

activities, and further reading that promote learning across the curriculum;• to promote arts literacy by expanding students’ knowledge of music, dance,

and theater;• to illustrate that the arts are a legacy reflecting the traditional values,

customs, beliefs, expressions, and reflections of a culture;• to use the arts to teach about the cultures of other people and to celebrate

students’ own heritage through self-expression;• to reinforce the New Jersey Department of Education’s Core

Curriculum Content Standards in the arts.

CONTENTS

Foundation

Kid Power!

Through energy efficiency and con-servation, kids can help preserve our

planet’s rich natural resources and promote a healthy environment.

Tip of the DayIt is entertaining to listen to music(like the music of Paquito D’Rivera)on your television, radio, stereo, orcomputer. To minimize the amountof electricity these devices require tofunction, turn them off when youleave a room.

Made possible through the generosity of

the PSEG Foundation.



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Cuban saxophonist, clarinetist andcomposer Paquito D’Rivera returnsto NJPAC with a new project and aband he calls Cuban Jazz, the Next

Generation (CJNG). The concert willfeature Latin jazz and “Cubanized”music that will be sure to engage theaudience’s ears as well as its feet.

Although Paquito co-founded andco-directed the Cuban super-groupIrakere prior to his coming to theUnited States, he has never led aCuban band of his own. This is ironic,considering Paquito has led otherbands that played all Brazilian and all

Argentinean music. Doing somethingnew and different, however, is anintegral part of Paquito’s artistry. AsPaquito says, “I’m a Gemini, so I like

doing different things all the time −from writing an opera…to playingBrahms with Yo-Yo Ma or a sambawith Leny Andrade.” Looking backis just as important as his desire forthe new, so the CJNG project is also“coming back to visit the Havananeighborhood” where Paquito wasraised. This neighborhood is full of different kinds of music including folk,classical, jazz, popular, and the manyAfro-Cuban styles of music (and dance)

for which Cuba is internationallyknown. All of these sounds fed into theyoung musician’s consciousness, alongwith the jazz and classical music thathe loved, studied and later incorporatedinto his own unique mix.

As one of the strongest music culturesin Latin America, Cuba boasts musicand musicians that have achievedprominence and influence the worldover including in Africa where –beginning in the 1930s – the Cubanson became a major inspiration forgenerations of African pop musicians.Musicians and groups such as PerezPrado, Israel “Cachao” Lopez, LosMuñequitos de Matanzas, TrioMatamoros, Mongo Santamaria,

Paquito, and many others are the “bestof the best” musicians from a countrywhere even informal neighborhood jamsessions (or rumbas) yield extremelygood music and dance.

So be prepared to hear Cuban musicas well as “Cubanized” music. PerhapsPaquito will “Cubanize” some pieces byBenny Goodman, the 1930s Americanbandleader, clarinetist and “King of Swing,” whose centenary is beingcelebrated worldwide this year. Thenagain, you might hear a jazz standard

like On Green Dolphin Street . In theNJPAC concert, Paquito intends to mixthe traditional with the contemporaryand play the music of Cuban composersErnesto Lecuona and composer/ bandleader Ernesto Duarte or possibly“Cubanized” Mozart like he used toplay with Irakere. CJNG will certainlyperform Paquito’s own compositionsand those created by members of hisensemble as well as some selectionsfrom his new CD, jaZZ-claZZ, acombination of jazz, Latino-Americanand chamber music styles.

Passport to culture • Paquito D’Rivera

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Born in Havana, Cuba, PaquitoD’Rivera began playing music at the ageof four and immediately showed talent.His father, a classical saxophonist, was

Paquito’s first teacher. At an early age,Paquito not only began playing both theclarinet and saxophone with the CubanNational Symphony Orchestra, but heco-founded the Orquesta Cubana deMusica Moderna. Later, he co-foundedand co-directed the legendary Cubanband Irakere.

When Paquito left Cuba for politicalreasons in the 1980s, he settled in theU.S., where he immediately became ajazz star. Since then, he has performedjazz, classical music and Latin music

internationally. He has won nineGrammy awards and was the first artistto win Latin Grammys in both the Latinjazz and classical categories.

In addition to Paquito on altosaxophone and clarinet, CJNG featuresthe sounds of Dave Samuels on vibesand marimba, Richard Padron onguitar, Pedrito Martinez on percussionand vocals, Alex Brown on piano, EricDoop on drums, and Charles Flores oncontrabass (acoustic upright bass).

Paquito is almost as well known for hisshowmanship and exuberance as forhis music. His descriptions of some of his CJNG bandmates reveal a bit of hisvibrant personality:

“Pedrito Martínez is a riot! A singer,dancer and percussionist extraordinaire;his grace, charisma and showmanshipare out of sight.”

“Eric Doop is one of the most reliabledrummers around these days. He has agreat sense of volume and good taste.”

The other CJNG musicians are equallyas accomplished. Pianist Alex Brown was the 2007 winner in the jazz soloistcategory of Downbeat magazine’sStudent Music Awards, and marimbaplayer Dave Samuels of the Caribbean Jazz Project is a Grammy award-winning vibraphonist.

“Richard Padron, on electric andacoustic guitars, writes music in a veryparticular way, using unusual melodic,rhythmic and harmonic approaches. His

guitar playing is compelling, powerfuland passionate.”

“Charles Flores has the perfect recipeof classical training, traditional Cubansabor and contemporary jazz. He’s gota very moving, warm and ‘real’ soundon acoustic bass that shows his loveand respect for the old Cuban schoolsuch as the music of Cachao and otherCuban masters of the past. I love hisplaying!”


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standard - a piece of pop or jazz musicthat is highly regarded and enduringlypopular.

swing - a rhythmic sensation of pull andmomentum found in jazz. It appearsto result partly from the push andpull between the layers of syncopatedrhythms and the constant underlyingbeat.

tango – an Argentinean musical style.

Afro-Cuban music - Cuban music withmarked elements drawn from Africanmusic.

arranger - a person who writes newmusic parts for an existing musicalpiece.

bebop - a jazz style, developed in thelate 1940s, that features irregularlyaccented, long phrases and sophisticatedharmonies.

bossa nova - an urban Brazilian musicstyle, invented in the 1960s, thatcombines samba and American jazz.

bugalú - a 1960s American musical style

that blends jazz with American Rhythm& Blues (R&B).

charanga - a group composed of piano,percussion, bass, violins, and flute.

clave - the basic rhythm of Afro-Cubanmusic that can be felt as a 2/3 pattern ora 3/2 pattern; ( pl .) the Cuban percussiveinstrument consisting of two woodsticks which are struck together tocreate this rhythm.

congero - a person who plays the conga,

a tall, barrel-shaped drum of Africanderivation that is played with the hands.

cubop - an early Latin jazz style,developed by trumpeter Dizzy Gillespiein the mid 1940s, that combines Latinrhythms with bebop.

danzon - an early Cuban salon danceand music based, in part, on thecontredanse, an 18th-century Frenchdance and music form.

ethnic - belonging to a specific cultural

group; relating to people of a specificcountry.

hybrid - the result of mixing twodifferent elements to make one newelement such as jazz and Latin musiccombining to form Latin jazz.

jazz - a syncopated style of music thatdeveloped in the United States andin which improvisational skills andharmonic structures are explored.

Latino-American music - a varietyof music from all countries in LatinAmerica (and the Carribean).

mambo - a Cuban musical stylepopularized internationally in the 1950sby Perez Prado.

percussion - the beating or strikingof a musical instrument; the musicalinstruments that produce tones whenstruck by the hand or an object.

performance practice - the elements thatan individual or a group combine tosound a musical style such as combiningCuban rhythmic concepts withAmerican jazz instruments; the act of performing that sound.

ragtime - an American musical genrepredating jazz.

sabor - literally means “flavor” inSpanish. When a person plays withsabor, he/she is playing with the right“flavor.”

salsa - a predominantly Spanish-Caribbean musical genre, incorporatingmultiple styles and forms. Developed byCuban and Puerto Rican musicians inNew York in the 1960s and ’70s, salsais popular across Latin America andamong Latinos abroad.

samba - a rhythmic dance music fromBrazil, derived from African andEuropean roots, which uses a 2/4 timesignature.

son - the major musical genre of Cuba.Originating in Oriente province in the19th century, it is the basis of muchLatin, jazz and salsa music.

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A Brief History of Latin JazzLatin jazz is a mixture of both Latinmusic and jazz in varying proportions.Since the 1940s, the “Latin” part of Latinjazz specifically refers to Afro-Cubanrhythms that are mixed with the harmony,instruments and swing of American jazzto create a hybrid style. This style is anatural mix due to the fluid boundariesbetween the Caribbean and New Orleansin the late 19th and early 20th centuries.The early New Orleans jazz pioneer JellyRoll Morton went so far as to say that alljazz had a “Latin tinge.” In Cuba at this

time, musicians and arrangers were alsodiscovering the jazz and ragtime music of New Orleans.

An important moment in the developmentof Latin jazz came in the 1940s in NewYork City, when the Cuban musicianMario Bauza and American trumpeterDizzy Gillespie played together in thebands of Cab Calloway and Chick Webb.They performed in clubs such as La Conga,the Palladium, the Roseland Ballroom,and at the Apollo Theater in Harlem,venues that featured both Caribbean and

jazz music and bands. Bauza introducedGillespie to the congero Chano Pozo,who was to become a pivotal figure inGillespie’s cubop or Latin jazz music.

Also in the 1940s, Gillespie, saxophonistCharlie “Bird” Parker, pianist/composerThelonious Monk, and others wereinventing what would become known asbebop, by introducing a new and morecomplex sense of melody and harmonyinto jazz. Gillespie, in turn, brought theseelements to his Latin jazz experimentswith Chano, who contributed the rhythmicconcepts such as the Cuban clave. Theircollaboration marked the first genuinesynthesis of Afro-Cuban rhythms andAmerican jazz. Together, Gillespie andChano wrote some of cubop or early Latinjazz’s biggest hits including Manteca, asong that is still considered a standard.

Other musicians, bands and arrangerswere also developing the Latin jazzsound in New York during the 1940sand 1950s. They included the bandMachito and his Afro-Cubans (directedby Mario Bauza), the arranger/bandleaderArturo “Chico” O’Farrill and the PuertoRican percussionist/arranger/bandleaderTito Puente. The mambo, popularizedinternationally by the Cuban bandleaderPerez Prado in the late 1950s, increased thereach of Latin jazz into American popularmusic. Desi Arnaz, featured on the TVshow I Love Lucy, as well as many otherbands and musicians (such as Puerto-

Rican trombonist/composer Juan Tizol,who wrote such classics as Caravan andPerdido) provided light versions of Latinmusic for a large, national audience also.

After the Communist dictator FidelCastro came to power in Cuba in 1959,relations between Cuba and the UnitedStates deteriorated. The free exchangeof musicians came to a virtual standstill;New York and Cuban musicians begandeveloping their own styles in relativeisolation from each other. During thenext decade, New York musicians such

as pianist Eddie Palmieri, pianist ChickCorea, percussionist Mongo Santamaria,and Jerry Gonzalez and the Fort ApacheBand became the standard bearers forLatin jazz in the United States. The Latinjazz sound also expanded to include otherLatin American and American musicand rhythms. The Brazilian bossa nova craze led by Brazilian guitarist/composer João Gilberto and anchored by Americanjazz saxophonist Stan Getz swept theUnited States. New York-based Cuban

percussionist Mongo Santamaria becameinfluential with his mixed style known asLatin soul. This form combined the “jazzsoul” sounds made popular by saxophonistNat “Cannonball” Adderley withAfro-Cuban percussion and the flute styleof Cuban charanga groups. Bugalú,which mixed Afro-Cuban elements, jazz andAmerican R& B, also became popular.Influential musicians such as Willie Colónand Ray Barretto worked in the bugalúand Latin soul styles before moving on tosalsa and Latin jazz, respectively, in the1970s.

By the mid 1970s, the group Irakere wasrevolutionizing Cuban music in Cubawith its own experiments that mixedjazz, classical music and Cuban folkloricelements. Irakere became known aroundthe world for its sound and its directrelationship to Cuba and Cuban musical

history. Eventually, Irakere’s co-conductor/ musician, Paquito D’Rivera, and thegroup’s trumpeter, Arturo Sandoval, bothcame to the United States to contributeto the ongoing development of Latin jazzin this country.

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Tito Puente and Eddie Palmieri

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Arturo Sandoval



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Teaching Science Through Music (6-12) by Sharon J. Sherman, Ed.D.

Music is an art form developed through the medium of sound. When we study

the science of music, we study the physics of sound. When we listen to music,we hear variations in pitch, rhythm, dynamics, timbre, tempo, and texture. Bybringing together these qualities with both contrast and repetition, we createmusic that is meaningful and memorable.

In the science classroom, students study sound from the early grades rightthrough high school. Young children commonly explore the pitch and volumeof sound by using commercially made and homemade instruments. As theyprogress, children identify the basic forms of energy (light, sound, heat,electrical, and magnetic) and learn that energy is the ability to cause motion orcreate change. Whenever they hear sound, they know something is moving. Asthey progress, students learn that sound is produced by vibrating objects andrequires a medium through which to travel. When an object vibrates, it pushesagainst the medium (such as air or water), creating zones of higher pressure

and zones of lower pressure that travel outward from the source of sound.These zones are called compression waves. You can show your students whatcompression waves look like by stretching out a Slinky and tapping a coil at oneof its ends, then letting the Slinky go and watching it retract.

In the middle grades, students learn that waves carry energy from place to placewithout transfer of matter. The measurable properties of waves are frequency,velocity, wavelength, amplitude, and period. In high school, students studythe nature of sound waves, the properties of sound and the behavior of soundwaves.

The properties of sound can be demonstrated through music. Have your middleschool students explore the sounds produced by different instruments. Howdoes a percussion instrument such as a drum produce sound? Wind and brass

instruments use vibrations in pipes to create the sounds. How are different notescreated in these instruments? The guitar, the base, the harp, and the piano arestringed instruments. How does the musician vary the amplitude when playing astringed instrument? High school students should answer each of these questionby applying concepts of physics. Sharon J. Sherman, Ed.D. is Dean of the School of Education and Professor of Teacher Education at Rider University in Lawrenceville, NJ. The Teaching Science Through the Arts content of this guide is made possiblethrough the generous support of Roche.

Before the Performance1. Ask students to go online and find theinstruments, including percussion, used in bothAfro-Cuban and jazz music. Make a list of theinstruments with pictures. Play at least twoexamples of music that use the instruments.Introduce and explain the context of the musicto the class, focusing on who? what? when?where? why? how? (1.1, 1.3, 1.5)*

2. Have each student pick one of the followingmusicians and put together a short biographyof the artist that includes information abouthis involvement with jazz and Latin music:Chick Corea, Tito Puente, Perez Prado,Eddie Palmieri, Dizzy Gillespie, Stan Getz,Miles Davis, Mongo Santamaria, Jelly RollMorton, Carlos Santana, Wayne Shorter,Machito, Mario Bauza, Eddie Gomez, GonzaloRubalcaba. Have each student listen to two orthree examples of his or her artist’s music andpresent one of them to the class along with thebiography of the artist. (1.1, 1.5)

After the Performance1. Ask students to identify the instruments usedin the performance by Paquito D’Rivera. Dothey think the music was or was not an evenbalance between jazz and Latin music? Askthem to explain and support their answers withexamples drawn from the performance. Didthey recognize any other styles in the performedmusic, such as classical, ragtime, Venezuelan,tango, samba, or Afro-Peruvian? (1.1, 1.3, 1.4)

2. Have students attend a local Latin jazzperformance and write a report on theexperience. Their reports should include answersto who? what? when? where? why? how? Islistening to live music different from listening torecordings at home? Why?

Following the performance, have the studentsinterview one of the musicians. (Musicians areusually willing to cooperate on a school project).Students should prepare two or three originalquestions prior to the interview. Students shouldalso ask: How did you become a musician? Howdid you become interested in jazz and Latinmusic? Which artists have influenced your musicaldevelopment? (1.1, 1.3, 1.4, 1.5)

*Number(s) indicate NJ Core Curriculum ContentStandard(s) supported by the activity.

Additional Before and After activities canbe found online at njpac.org. Click on Education,

then on Performances. Scroll down to “DownloadTeacher Guide in Adobe Acrobat PDF format”and select desired guide.



Arthur Ryan ……………......... .................…………………………………………………………………….Chairman

Lawrence P. Goldman ………..................…………………………………..President & Chief Executive Officer

Sandra Bowie………………….....................……………………………………..Vice President for Arts Education

Sanaz Hojreh ……………..................….……………………………..Assistant Vice President for Arts Education

Donna Bost-White……......................….……………………………….Director for Arts Education/Special Projects

Jeffrey Griglak……….................. ....……………….………………………………..……..Director for Arts Training

Verushka Spirito……......................…………………………………………...Associate Director for Performances

Ambrose Liu………………........................……………………………………....Associate Director for Residencies

Caitlin Evans Jones………….......................………………………………….…Associate Director for Residencies

Faye Competello……………........................…………………………………....Associate Director for Arts Training

Mary Whithed………....................………..………………………………….....Program Coordinator for Residencies

Joanna Gibson.......................................................................................Manager of Wachovia Jazz for Teens

Laura Ingoglia…………..............................................…................………......Editor of Teacher’s Resource Guide

Writer: Cristian Amigo

Editor: Laura Ingoglia

Design: Pierre Sardain,

66 Creative, Inc.66Creative.com

NJPAC Guest Reader:

Joanna Gibson

Curriculum Review Committee:

Judith IsraelMary Louise Johnston

Amy Tenzer

Copyright © 2009

New Jersey Performing Arts CenterAll Rights Reserved

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Delving Deeper Acknowledgmentsas of 8/05/09


For even more arts integration resources,please go to Thinkfinity.org, the Verizon

Foundation’s signature digital learning platform,designed to improve educational andliteracy achievement.

Some Recordings by Paquito D’Rivera

Funk Tango. Sunnyside Records, 2007.

Riberas. Espa, 2005.

Brazilian Dreams. MCG Jazz, 2003.

Paquito D’Rivera Quintet, Live at the BlueNote. Half Note, 2001.

Tropical Night. Chesky, 2000.

Portraits of Cuba. Chesky, 1997.

jaZZ-claZZ, Timba Records, 2009.

Website

paquitodrivera.com

worldmusic.nationalgeographic.com/view/

page.basic/genre/content.genre/world_

jazz_801 - Students can read about and hear

examples of world jazz music on the “World

Music” from National Geographic, an artsintegrated resource of Verizon’s Thinkfinity.

org.

Films/DVDs Jazz: A Film by Ken Burns. PBS, 2000.

Cuba: The Cradle of Latin Jazz. (Directed byTorsten Esse), Cuba, 2002.

Additional resources can be found onlineat njpac.org. Click on Education, then onPerformances, then on Curriculum Materials.Scroll down to “Download Teacher Guidein Adobe Acrobat PDF format” and selectdesired guide.

NJPAC Arts Education programs are madepossible by the generosity of: Bank of America, Allen & Joan Bildner & The BildnerFamily Foundation, The Arts EducationEndowment Fund in Honor of Raymond G.Chambers, Leon & Toby Cooperman, TheHorizon Foundation for New Jersey, AmyC. Liss, McCrane Foundation, The MerckCompany Foundation, Albert & KatharineMerck, The Prudential Foundation, The

PSEG Foundation, David & Marian Rocker,The Sagner Family Foundation, Schering-Plough, The Star-Ledger /Samuel I. NewhouseFoundation, Surdna Foundation, TheTurrell Fund, Verizon, Victoria Foundation,Wachovia, The Wal-Mart Foundation andThe Women’s Association of NJPAC.

Additional support is provided by: C.R. BardFoundation, Becton, Dickinson & Company,The Frank and Lydia Bergen Foundation,Bloomberg, Chase, The Citi Foundation, TheGeraldine R. Dodge Foundation, VeronicaGoldberg Foundation, Meg & Howard Jacobs, Johnson & Johnson, Kraft Foods,The MCJ Amelior Foundation, The New Jersey State Council on the Arts, The GeorgeA. Ohl, Jr., Foundation, Pechter Foundation,PNC Foundation on behalf of the PNCGrow Up Great program, The ProvidentBank Foundation, E. Franklin RobbinsCharitable Trust, Roche, TD CharitableFoundation, Target, The United Way of Essex& West Hudson, Lucy and Eleanor S. UptonCharitable Foundation, Andrew Vagelos,The Edward W. & Stella C. Van HoutenMemorial Fund, and The Blanche M. &George L. Watts Mountainside CommunityFoundation.

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Paquito DRivera10 Guide