What Is The Significance Of Understanding The Afro-Latin American Music Afro-Peruvian Jazz, a Child in the Family of Latin Jazz

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Afro-Peruvian Jazz, a Child in the Family of Latin Jazz

Afro-Peruvian jazz is a subset of Latin jazz that mixes the post-1980s New York jazz scene with traditional Afro-Peruvian rhythms and a penchant for improvisation.

Guitarist Richard Zellon is generally credited with introducing this particular form of jazz to the United States. Another important figure is the trumpeter Gabriel Alegria. Both of these and most of the other musicians playing this music are Peruvian, but not of African descent.

For Afro-Peruvians involved in jazz, you’ll want to see singers Susana Baka and Eva Iron.

But maybe we should start from the beginning.

Most people agree that jazz is a musical form that emerged from the African experience in America, one that included slavery, discrimination, and other hardships. But in contrast to blues, jazz generally has an optimistic outlook on life. Lively. There are many things that make me happy. It’s fun.

Additionally, rhythm and improvisation are key elements of jazz. And if we accept that jazz grew largely out of the black experience, it’s clear that many of those rhythms came from Africa.

Originally, jazz was thought to “belong” to America. It was thought to be a musical form of “American”, where “American” refers to the United States.

But jazz became more international in the late 1940s when Dizzy Gillespie collaborated with Chano Pozo and Mario Bauza to introduce Afro-Cuban jazz to the world. An increasing number of musicians began to combine the sounds and rhythms of traditional Latin American beats with (North) American jazz. Afro-Cuban jazz soon joined Cuban jazz, Puerto Rican jazz, Afro-Brazilian jazz, and Afro-Peruvian jazz. .

Again, each of these forms of Latin jazz is the result of musicians from Latin American countries coming to New York City and beginning to make music with New York musicians, transforming their traditional music into new forms of jazz. It seems to have started when

Thus, in the 1980s, and especially after 2000, Peruvian musicians in New York began to develop Afro-Peruvian jazz from traditional Afro-Peruvian music. This traditional music is vibrant, has complex rhythms, allows for improvisational riffs, and has contributed some important percussion instruments to the world. yellowfin de bro (donkey jawbone) and the Peruvian Cajon (distinguished from Cuba) Cajon).

It is interesting that the musicians who are the main proponents of Afro-Peruvian jazz are not black people, that is, people of African descent.

But this does not apply to singers. Some well-known singers from the Afro-Peruvian community who grew up on traditional singing have begun incorporating jazz into their repertoire. These include the most important women mentioned above, Susana Baka (she is not only a great and famous singer, but was Peru’s Minister of Culture for a few months in mid-2011) and Eva Irons (the lead of Singers) include Peruvian Negroes, one of the oldest and most prestigious Afro-Peruvian performance groups).

The connection between Afro-Peruvian jazz and Afro-Peruvian traditional music is important, and the traditional music deserves to be more widely known in the United States. In addition to groups such as the Peruvian Blacks, several individuals stand out for their work in keeping traditions alive and making them better known.

In Peru itself, Amador Balambrosio and Caitro Soto are best known, but they approached it from a very different perspective. I was mainly concerned with the maintenance of this church. The Patio (footwork used as percussion) and Hatajo de Negritos, traditionally held on December 24th in honor of the baby Jesus. Caitro Soto, a great drummer from Lima (the capital of Peru), was interested in Afro-Peruvian music in general.

Lalo Izquierdo is of particular importance today in terms of making the tradition internationally known. A highly accomplished percussionist and dancer, he gave masterclasses and performed in Europe as well as in the Americas, bringing this tradition to the attention of the world. In recognition of his talent and contributions, he was recently appointed Director of the National Afro He Peru Museum’s Afro He Peruvian Studies Department Institute of Cultural Expressions.

We believe it is extremely important to preserve this traditional music and accompanying dance. Both because of their intrinsic value and because they are a source of inspiration and an integral part of the richness of Afro-Peruvian jazz. Descended from the New York jazz scene, that form of jazz is a worthy addition to the family of Latin jazz.

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