Women in music: A sweet sound

With March being women’s month, I thought I’d share a few of my favorite female composers and musicians. But, first, I’d like to take a moment to expand on a post I shared earlier this month on social media sites. It’s no secret that women have been underrepresented in orchestras around the world. Whatever the bias, it’s unfounded, as the recent blind auditions that started gaining traction in the 1990s. In fact, an article in the Princeton Review states:

Blind auditions have had a significant impact on the face of symphony orchestras. About 10 percent of orchestra members were female around 1970, compared to about 35 percent in the mid-1990s. Rouse and Goldin attribute about 30 percent of this gain to the advent of blind auditions.

Yet, the bias persists.

It’s completely unfounded. Have you heard of the Diva Jazz Orchestra? Consisting of all women, this group rivals any band of any gender combination.

These ladies can play. Check out their video recorded at Deerhead Inn. The compositions and technical merit and expression are phenomenal – and anyone listening would never care if the performers or composers were male or female. All that matters is the music is inspired. This goes beyond gender.

I mention the Diva Jazz Orchestra because I don’t think many people are aware of them. Yet, there are some fantastic popular female artists I would like to acknowledge. Here are a few musicians in all genres, in no particular order of preference. These are some of the people and groups I listen to at various times throughout any given week.

Anna Vinnitskaya – An amazing classical pianist. Here, she performs Beethoven’s Sonata No. 13.

Rachel Flowers – This young lady is best known for her renditions of the work of rocker Keith Emerson (of Emerson, Lake and Palmer or ELP). Moogs, pianos, Hammonds – it doesn’t matter. Flowers brings the energy. Here, she plays Endless Enigma with the Keith Emerson Orchestra at his tribute concert after his death.

Alicia Keys – Pianist. Singer. General inspiration to millions. I’m sharing a video here of her performance with John Mayer – of “If I Ain’t Got You” and “Gravity.” Why not?

Linda Ronstadt – Country. Rock. Blues. Opera. What a voice. What diversity. Here, she sings “You’re No Good.”

Tina Weymouth of Talking Heads – If you’ve heard “Psycho Killer,” you’ve heard Tina. She’s a solid bass player with catchy bass hooks and rhythm. This lady can keep the groove. By the way, this song is great for a running workout.

Aimee Nolte – Pianist. This lady has done more to instruct and inspire musicians on YouTube in a few short years than many college professors manage in an entire career. Her focus is jazz, but she plays everything and encourages all. I like her approach to practice, discipline, good values, and humor. Here, she teaches a lesson on the ii, V, I jazz progression.

Sia Furler – I first learned of this vocal powerhouse from her work with Zero 7. Her voice was unmistakable – and at first, a bit of a surprise for me in the trip-hop genre. She can move from sounding like silk to steel in seconds. Her harmonies are lush. In recent years, she’s become known for her work with David Guetta and has gone one to launch a successful solo career. Here, she sings “Breathe Me”, one of the first songs of hers I heard.

I could go on and on. Karen Carpenter, Sheila E., Bonnie Raitt, Orianthi Panagaris, Susan Tedeschi, Nancy Wilson, Terri Lyne Carrington, Mimi Fox… There is no end to the talent that women bring to the table.

I encourage parents to expose their children – especially their daughters – to music. Music breaks boundaries, teaches discipline and gives a sense of beauty and appreciation for art. If we spent more time creating art, we’d have less time for destruction.

And, friends, that’s the purpose of my next project, Sinfonia Latina. By the way, several women play in the orchestra and ensembles I perform with. Here is a video of Ensamble Barlovento (Sta. Fe ) Variaciones Caribe, with a female violinist, a skilled performer. I look forward to the day when the representation of men and women isn’t even a topic of discussion.

Black History Month: Motown music masters

All month in this blog and in my social media channels, I’ve been sharing some of my favorite African-American musical artists, noting some of their influences and accomplishments. From Oscar Peterson and Oliver Jones (give this “Hymn to Freedom” a listen if you want a good case of the feels) to Art Tatum to Erroll Garner, our black musicians have made our world incalculably richer.

Today, I’d like to turn up the dial on Motown, on the artists who inspire us to sing along, tap our toes and get up and groove. There are too many hits and artists to mention. I’m having a hard time narrowing it down to my top eight, but here’s my unofficial list in no particular order. By the way, if you were to ask me to name my top eight tomorrow or next week, they’ll change. But, I’m confident that you’ll agree that these folks deserve a spot on everyone’s playlists.

  1. Diana Ross and the Supremes

    Diana Ross and the Supremes

    Let’s see, from “Baby Love” to “Come See About Me” to “I Hear a Symphony,” these glamourous ladies knew a few things about harmony and how to engage audiences. They were a worthy addition to the Rock and Roll Hall of Fame class of 1988.

  2. Michael Jackson
    His thriller songs span four decades. How can anyone dispute him as the “king of pop?” I’d like to give him the additional title Master of Motown. Favorite song? Can’t choose. Today, though, I’m going with “Billie Jean.”
  3. Marvin Gaye
    No one, I mean no one, can groove a mic like Marvin Gaye. Yes, we all know his hits “Mercy, Mercy Me,” “I Heard it Through the Grapevine,” and “You’re All I Need to Get By.” But, did you know he managed to groove the National Anthem at the 1983 NBA All-Star game? You’ve never heard the anthem sung like this.
  4. The Temptations
    Everyone loves The Temptations. It’s hard enough to remember melodies, harmonies and arrangments without being able to execute scripted choreography. Yet, these guys did it night after night, year after year. Favorite song? Today, I’ll go with “Papa was a Rolling Stone.” OK, I’ll add “Ain’t No Mountain High Enough.”
  5. Stevie Wonder(ful)
    I love Stevie Wonder. His songwriting. His singing. His playing. His smile. “Superstition” is always a good go-to tune to get the energy moving. But, “As (I’ll Be Loving You Always)” is a can’t-miss song to be uplifted.
  6. Billy Preston

    Billy Preston

    Anyone who jams with the Beatles is good with me. But, Billy Preston is more than a jam player. This guy had amazing technique, and could pull off anything from Bach to the Beatles. If you don’t recognize his name, you definitely know his music. Check out “My Sweet Lord” and “Nothing from Nothing.” (Cool piano riffs on that last one, huh?)

  7. Lionel Richie / Commodores
    When you’re driving, and “Brick House” comes on the radio, you better be at least tapping your fingers on the steering wheel. But, it would be better if you were singing at the top of your lungs. “Sail On” couldn’t sound more different, and it shows Richie’s versatility.
  8. Gladys Knight and the Pips
    A lead lady with three male backups? That was a bold move back in the day, and Gladys Knight not only pulled it off, but wore it with authority. Her version of “Midnight Train to Georgia” is my favorite, and “Heard it Through the Grapevine” is a great jam.

Black History Month: John and Alice Coltrane

This month in my blog, I’m paying tribute to a few of the major African-American influences in our culture’s music. There aren’t enough days to include all of them, but if I can help raise awareness of some of the world’s greatest Black musical talents, then we’ll all be a bit richer. Please follow me on Facebook, Twitter and LinkedIn, where I’m sharing short snippets of even more of my favorite African-American artists and their work.

The influence of John and Alice Coltrane

Few people have stretched the boundaries of improvisation further than the legendary saxophonist John Coltrane. His recording of “My Favorite Things” inspired countless jazz musicians to push their own frontiers. Much of his history is readily available on the internet, but I’d like to focus on how he challenged other musicians of his active period (late 1940s – 1960s).

Giant Steps

If we look at his song “Giant Steps,” the circle of fifths takes on a life of its own. The song, recorded in 1960, put pianist Tommy Flannagan in a tough spot as he tried to improvise around the circle in three different keys (B, Eb, G). When Coltrane takes over, the song flies. Today, it has become a rite of passage for jazz musicians. Numerous artists have recorded their versions of the song, with Pat Metheny’s being one of my favorites. Coltrane played with many of the great jazz masters including Thelonious Monk and Miles Davis.

Alice Coltrane

Although John is widely known, many people are surprised to learn that his wife, Alice, was equally talented. She was a pianist and harpist who eventually replaced McCoy Tyner on piano in John’s band. John adopted her daughter, and the couple had three other children together, all of whom became musicians. John and Alice studied spirituality, recording this period of their lives in the album A Love Supreme. After John’s death in 1967, she continued exploring jazz and spiritual practices. These influences merged in her albums Universal Consciousness and World Galaxy. She changed her name to Turiyasangitananda or Turiya Alice Coltrane, established an ashram, and went on to record music that left from her jazz roots and focused on promoting spirituality. Many of her later works including Turiya Sings, are now regarded as ashram classics. Alice passed on in 2007.

The originality, skill, and mastery of both of these musicians are indisputable. I have spent untold hours listening to their work. As for a favorite song from either of them, it’s impossible to choose. However, it’s hard not to love “My Favorite Things.”

Black History Month: Influence of African-American musicians is undeniable

Hazel Scott was an accomplished classical and jazz pianist who stood up for racial justice.

Working as a composer and pianist, I draw inspiration from so many who have come before me. My early training was primarily classical. I studied the famous composers like Beethoven, Ravel and Mozart, whose work most people recognize. But, it was one thing to learn what my teachers gave me, and another thing to hear the popular music that was all around me. I learned quickly that the structure of much classical music was constantly being redefined and enhanced by musicians who pushed rhythm, form and melody in new directions. Many of these innovators were and are our Black brothers and sisters.

It’s February, Black History Month, and although we can’t contain the energy and beauty of their work in a mere month, we can pay homage to some of the greats. As a Colombian, I am fortunate to have been exposed to many diverse artists and have witnessed the fusion of many styles.

This month in my blog and on social media, I will be sharing the voices and works of some of my favorite African-American influences. Of course, you can expect familiar names like Count Bassie, Ray Charles, Stevie Wonder, Art Tatum, Eroll Garner, and Etta James. But, I hope to share with you some lesser-known giants as well. In fact, I kicked off the month on my social media sites with a tribute to Ms. Hazel Scott, a talented lady who not only played across genres with style, she also stood up for social justice. Later, I’ll share the work of the late Joe Arroyo, whose salsa music carries a Caribbean tone that blends elements of jazz and rock. And, it’s this kind of slipstream music that I find exciting.

Today, it’s impossible to appreciate music without recognizing the influence of numerous cultures. My Colombian heritage and interaction with people in various communities has allowed me to interact with talent across the spectrum. I dedicate this month to all the African-American musicians – known and unknown – who have added to the musical pool. When I compose pieces like Ensamble Barlovento, I know that I’m drawing upon my appreciation of the work of people like Erroll Garner, Art Tatum, Duke Ellington, Fats Waller and Jimi Hendrix.

Ultimately, we are all humans on the same planet. Black, white, whatever … We are all connected. We need to appreciate all the diversity around us. By focusing on the best that connects us, we can enjoy all the facets of a rich, varied experience. I am deeply thankful for the work of so many Black musicians who have carved the musical landscape of my life.

I leave you with one of the most uplifting tunes by anyone of any race: “Love Train” by the O’Jays.

Ray Charles’ music has inspired me for decades.

Latitud 01 de Febrero de 2015

Latitud 01 de Febrero de 2015

El cóndor de los Andes

http://revistas.elheraldo.co/sites/default/files/2015/01/31/articulo/orquesta_correcta.jpg

Bajo la batuta de Germán Gutiérrez, la Filarmónica Joven de Colombia se presentó el 21 de enero en el Colegio Alemán de la ciudad de Barranquilla.

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Redacción

Una interpretación audaz en cuanto a repertorio hizo en su reciente presentación la Filarmónica Joven de Colombia, en el Colegio Alemán de Barranquilla.

De Nueva York a los Andes peruano y colombiano, luego Kiev, y Argentina, con la majestad de un cóndor, visión de un águila y el ritmo incesante de jóvenes en cabalgata en coordinada búsqueda de excelencia comenzó el programa de la Filarmónica Joven de Colombia, proyecto de la Fundación Bolívar Davivienda.

El programa despegó con excelente despliegue de percusionistas y cobres deslumbrando en rapsódicas sincopas caribes, también típicas de los blues de los años veinte y treinta. Con el sentimiento de un danzón rápido, cuerdas luchando por la atención (característica de la pieza en sí), un correteo entre familias instrumentales cada vez tanteando terreno más alto y más ‘forte’ a un final —exuberante, tal como el temperamento de su compositor Leonard Bernstein— empezó un Fantastischen Abend (Vesper Fantástico), el 21 de enero de 2015 en el auditorio del Colegio Alemán de Barranquilla.

Ensamble de colores sonoros, cálidos y hondos: intensos, vibratos expresivos, proyección profunda –es decir un sonido guiado a la tradición europea central, vienesa, o hasta berlinesa, en las cuerdas– distinción sutil especial.

Luego, la audazmente orquestada pieza Lord of the air, López, joven compositor peruano, con la sensación de vuelo de un ave, jóvenes cuerdistas con la guía del director Germán Gutiérrez, mezclaron sutilmente con el sonido ‘francés’ del chelista Castro-Balbi, sensible solista. Al aterrizar, un último aleteo, el Bourree de suite de cello en do, de Bach –quasi religiosamente interpretado– y continuando ruta vecina (más cerca de Barranquilla con relación al Perú, porque Atehortúa es de Antioquia). Fugas, tal vez algo de dodecafonía, mezclado con toques y cánones andinos e inclinaciones de jazz cubano, al pausar en casa Atehortúa interesantes anomalías musicales –lo clásico y autóctono– en erudición.

Largo y extenso viaje a Kiev desde los Andes, con gnomos, castillos embrujados, jardines, marchas y mercados bávaros, hasta conversaciones sepulcros y gallinas al baile, un Disney sonoro sensacional, y tour de forcé para el público, los jóvenes y el conductor establecieron las virtudes de la excelente disciplina guiando el cinemático programa de Mussorgsky Cuadros en una exhibición. Y nuevamente hacia el Caribe, un merengue de López. Y, a propósito de Texas, como suelen decir los de allí, el petróleo, las joyas y las excelentes o buenas mujeres se asemejan –siempre–, se encuentran inadvertidamente: el ensamble hizo sonar un arreglo del tango La cumparsita pasando por multitonalidades y tempos….

Pasos, miradas atenuantes, cortejo íntimo, sensual –el ritmo de la búsqueda del alma gemela– expresión que me dio ganas de danzar. Solos sobre las profundas sonoras cuerdas (sol y re principales) del violín con expresivo vibrato y lánguidas sonoridades sensuales.

Un joven violinista rindió tres solos fortuitos que  fue la cús
pide de la velada. ¡Qué gusto!…

La capacidad de conectar con la audiencia y hacer sentir la humanidad de nuestras emociones y pasiones con inteligencia y rigor es la existencia de la música. En este ámbito el ensamble cumple con su meta, el público se deleita felizmente y los jóvenes se transforman.