Don't miss the excitement of the LATIN GRAMMY EVENTS This is the official site with a interactive home page.
Mouse over some latin sounds of the city. There will be a LATIN GRAMMY Street Party in Los Angeles October 24th, 2010 and a Latin GRAMMY Street Party in Las Vegas....November 07, 2010. I need to rethink my life and my schedule. I can't imagine a more fun event....!! There has been an amazing documentary showing for a number of weeks now on the history of latin music in America. Starting with the wonderful old dance halls, on the PBS.
Monday, October 18, 2010
Latin Grammys Light Up Vegas 2009
10th Annual Latin GRAMMY awards
LINK TO VIDEOS AND FOTOS
HERE'S SOME SCOOP ON LAST YEAR...LET'S CHECK THEM OUT THIS YEAR.
Calle 13 and Rueben Blades performed with Cirque De Soleil.
Puerto Rican duo Calle 13 were the big winners at the 10th Annual Latin GRAMMY Awards, celebrated Thursday evening at the Mandalay Bay Events Center in Las Vegas. Hosted by actress/singer Lucero and actor/comedian Eugenio Derbez, the ceremony was an extravaganza reminiscent of a Las Vegas-style show, including not only music and dance but also star presenters, grandiose production, special effects, and acrobats and gymnasts courtesy of "Le Rêve" and the Cirque de Soleil show "Mystère."
Calle 13’s René Pérez (aka Residente) and Eduardo Cabra (aka Visitante) swept their five Latin GRAMMY nominations, taking home Record and Album Of The Year, Best Urban Music Album, Best Alternative Song, and Best Short Form Music Video.
Other big winners included alternative rockers Café Tacvba, veteran rock group Jaguares and singer/songwriter Caetano Veloso, who won two statues each. Also picking up Latin GRAMMYs were Mexican singer Alexander Acha, son of pop star Emmanuel, who won the coveted Best New Artist award; singer/percussionist Luis Enrique, whose comeback was rewarded with two awards including Best Salsa Album; pop rocker Fito Paez; singer Laura Pausini; former Menudo member Draco Rosa; and up-and-coming Mexican trio Reik.
There were several highlights during the milestone 10th anniversary telecast including veteran Cuban singer Omara Portuondo, winner in the Best Contemporary Tropical Album category for Gracias, becoming the first Cuban artist living in Cuba to receive an award onstage. Argentine folk singer Mercedes Sosa, known as the Voice of Latin America not only for her artistry but her championing of social causes, passed away Oct. 4 before she was able to enjoy the fruits of her latest album, Cantora 1. The recording won two Latin GRAMMYs including Best Folk Album, and Sosa was remembered throughout the show, including a touching video segment introduced by Panamanian singer Rubén Blades.
LINK TO VIDEOS AND FOTOS
HERE'S SOME SCOOP ON LAST YEAR...LET'S CHECK THEM OUT THIS YEAR.
Calle 13 and Rueben Blades performed with Cirque De Soleil.
Puerto Rican duo Calle 13 were the big winners at the 10th Annual Latin GRAMMY Awards, celebrated Thursday evening at the Mandalay Bay Events Center in Las Vegas. Hosted by actress/singer Lucero and actor/comedian Eugenio Derbez, the ceremony was an extravaganza reminiscent of a Las Vegas-style show, including not only music and dance but also star presenters, grandiose production, special effects, and acrobats and gymnasts courtesy of "Le Rêve" and the Cirque de Soleil show "Mystère."
Calle 13’s René Pérez (aka Residente) and Eduardo Cabra (aka Visitante) swept their five Latin GRAMMY nominations, taking home Record and Album Of The Year, Best Urban Music Album, Best Alternative Song, and Best Short Form Music Video.
Other big winners included alternative rockers Café Tacvba, veteran rock group Jaguares and singer/songwriter Caetano Veloso, who won two statues each. Also picking up Latin GRAMMYs were Mexican singer Alexander Acha, son of pop star Emmanuel, who won the coveted Best New Artist award; singer/percussionist Luis Enrique, whose comeback was rewarded with two awards including Best Salsa Album; pop rocker Fito Paez; singer Laura Pausini; former Menudo member Draco Rosa; and up-and-coming Mexican trio Reik.
There were several highlights during the milestone 10th anniversary telecast including veteran Cuban singer Omara Portuondo, winner in the Best Contemporary Tropical Album category for Gracias, becoming the first Cuban artist living in Cuba to receive an award onstage. Argentine folk singer Mercedes Sosa, known as the Voice of Latin America not only for her artistry but her championing of social causes, passed away Oct. 4 before she was able to enjoy the fruits of her latest album, Cantora 1. The recording won two Latin GRAMMYs including Best Folk Album, and Sosa was remembered throughout the show, including a touching video segment introduced by Panamanian singer Rubén Blades.
Sunday, October 17, 2010
Thursday, October 14, 2010
Blame It on the Bossa Nova
Excerpt from JAZZ The Complete Story....
"In 1956, the Bahian guitarist/composer Joao Gilberto relocated from Salvador to Rio de Janeiro, where the colourful cultural mix was inspiring another brilliant guitarGilberto recorded Jobim and Vinicius de Moraes's 'Chega de Saudade' (No More Blues). which became the hit single (backed by his own 'Bim Bom') widely considered to be responsible for launching the bossa nova movement in Brazil."
Their follow-up single, Jobim's 'Desafinado' ('Off-Key') ws a fully formed materspiece that floated on Gilberto's distinctive, syncopated guitar rhythm, which would become the basis for this new, hybrid form. Momentum for the movement picked up the following year with the popularity of the Oscar winning film Black Orpheus, a romance set in Rio de Janeiro during Carnival, featuring a beguiling score by Jobim, and fellow Brazilian guitarist/composer Luiz Bonfa, and introducing such enduring bossa nova anthems as 'Manha de Carnaval' and 'Samba de Orfeo'. Then, in 1960, Gilberto and Jobim, recorded 12 original bossa nova pieces on the largely overlooked Capital release, Samba de Uma Note So.
Meanwhile, this 'quiet revolution'continued to unford. In 1961, the US State Department sponsored a good-will jazz tour of Latin America that included American guitarist Charlie Byrd. A swing through Brazil on that tour was a revelation to Byrd, igniting the guitarist's love affair with bossa nova. Back in the States, Byrd played some bossa nova tapes to his friend, the soft-toned tenor saxophonists, Stan Getz, who then convinced Creed Taylor at Verve to record an album of the alluring Brazilian music with himself and Byrd. Their historic 1962 collaboration, Jazz Samba enjoyed immense popularity on the strength of the hit single, Jobim's 'Desafinado'(Off-Key), prompting a rush by American jazz record labels to repeat its success, which produced a flood of copycat releases between 1962 and 1963, including Gene Ammons' Bad! Bossa Nova ,Dave Brubeck's Bossa Nova USA, Herbie Mann's Do The Bossa Nova With Herbie Mann and Eddie Harris' Bossa Nova."
"Versed in rural blues as a boy, Charlie Byrd turned to jazz in 1945 after meeting Django Reinhardt in Paris."
"In 1956, the Bahian guitarist/composer Joao Gilberto relocated from Salvador to Rio de Janeiro, where the colourful cultural mix was inspiring another brilliant guitarGilberto recorded Jobim and Vinicius de Moraes's 'Chega de Saudade' (No More Blues). which became the hit single (backed by his own 'Bim Bom') widely considered to be responsible for launching the bossa nova movement in Brazil."
Their follow-up single, Jobim's 'Desafinado' ('Off-Key') ws a fully formed materspiece that floated on Gilberto's distinctive, syncopated guitar rhythm, which would become the basis for this new, hybrid form. Momentum for the movement picked up the following year with the popularity of the Oscar winning film Black Orpheus, a romance set in Rio de Janeiro during Carnival, featuring a beguiling score by Jobim, and fellow Brazilian guitarist/composer Luiz Bonfa, and introducing such enduring bossa nova anthems as 'Manha de Carnaval' and 'Samba de Orfeo'. Then, in 1960, Gilberto and Jobim, recorded 12 original bossa nova pieces on the largely overlooked Capital release, Samba de Uma Note So.
Meanwhile, this 'quiet revolution'continued to unford. In 1961, the US State Department sponsored a good-will jazz tour of Latin America that included American guitarist Charlie Byrd. A swing through Brazil on that tour was a revelation to Byrd, igniting the guitarist's love affair with bossa nova. Back in the States, Byrd played some bossa nova tapes to his friend, the soft-toned tenor saxophonists, Stan Getz, who then convinced Creed Taylor at Verve to record an album of the alluring Brazilian music with himself and Byrd. Their historic 1962 collaboration, Jazz Samba enjoyed immense popularity on the strength of the hit single, Jobim's 'Desafinado'(Off-Key), prompting a rush by American jazz record labels to repeat its success, which produced a flood of copycat releases between 1962 and 1963, including Gene Ammons' Bad! Bossa Nova ,Dave Brubeck's Bossa Nova USA, Herbie Mann's Do The Bossa Nova With Herbie Mann and Eddie Harris' Bossa Nova."
"Versed in rural blues as a boy, Charlie Byrd turned to jazz in 1945 after meeting Django Reinhardt in Paris."
Brazilian Jazz
From JAZZ The Complete Story....Brazilian Jazz. "In the mid 1950s, a cultural crossfertilization of Brazilian samba rhythms, American cool jazz and sophisticated harmonies led to the development of bossa nova. In the early 1960s the bossa nova movement swept through the United States and Europe producing a strain of Brazilian-influenced jazz that remains a vital part of the jazz scene.
By the early 1950s, a few pioneering Brazilian composers began listening seriously to American jazz, particularly the limpid-toned west coast variety practiced by Chet Baker, Gerry Mulligan and Shorty Rogers. In absorbing that cool influence, composers such as Antonio Carlos Jobim, Joao Gilberto, Baden Powell and Luiz Bonfa stripped the complex polyrhythms of Afro-Brazilian samba down to their undulating essence and offered a more intimate approach, in which melodies were caressed rather than belted out in the raucous Carnival fashion.
Around the same time, American jazz saxophonist Bud Shank (from the west coast branch of cool jazz) had joined forces with Brazilian guitarist Laurindo Almeida(appearing with the Modern Jazz Quartet and one of my vibraphone influences, Milt Jackson) in a quartet that blended Brazilian rhythms and folk melodies with cool jazz improvising. Recorded five years before the term 'bossa nova' was even coined, their 1953 collaboration on the World Pacific label, Brazilliance, would have a significant impact on the ultimate architects of the bossa nova movement."
Stan Getz said, on his first involvement with Brazilian music, the album Jazz
Samba, "I just thought it was pretty music. I never thought it would be a hit."
"Black Orpheus was an updating of the Orpheus & Eurydice myth, set against the background of a Brazilian Carnival. The intense vitality of the music in the film fascinated viewers and the soundtrack sold in the millions."
By the early 1950s, a few pioneering Brazilian composers began listening seriously to American jazz, particularly the limpid-toned west coast variety practiced by Chet Baker, Gerry Mulligan and Shorty Rogers. In absorbing that cool influence, composers such as Antonio Carlos Jobim, Joao Gilberto, Baden Powell and Luiz Bonfa stripped the complex polyrhythms of Afro-Brazilian samba down to their undulating essence and offered a more intimate approach, in which melodies were caressed rather than belted out in the raucous Carnival fashion.
Around the same time, American jazz saxophonist Bud Shank (from the west coast branch of cool jazz) had joined forces with Brazilian guitarist Laurindo Almeida(appearing with the Modern Jazz Quartet and one of my vibraphone influences, Milt Jackson) in a quartet that blended Brazilian rhythms and folk melodies with cool jazz improvising. Recorded five years before the term 'bossa nova' was even coined, their 1953 collaboration on the World Pacific label, Brazilliance, would have a significant impact on the ultimate architects of the bossa nova movement."
Stan Getz said, on his first involvement with Brazilian music, the album Jazz
Samba, "I just thought it was pretty music. I never thought it would be a hit."
"Black Orpheus was an updating of the Orpheus & Eurydice myth, set against the background of a Brazilian Carnival. The intense vitality of the music in the film fascinated viewers and the soundtrack sold in the millions."
Tuesday, October 5, 2010
You Love This One
PAQUITO D RIVERA-JORGE DALTON-MARIO BAUZA & EL MAREITO More contemporary. Great Latin arrangement. I love it.
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