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Artist/Organization: John Santos Discipline(s): Music · PDF fileEDUCATOR GUIDE Artist/Organization: John Santos Discipline(s): Music SECTION I - OVERVIEW

Feb 05, 2018

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  • EDUCATOR GUIDE

    Artist/Organization: John Santos Discipline(s): Music

    SECTION I - OVERVIEW...............................................................................................................2 SUBJECT .........................................................................................................................................2

    CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED

    SECTION II CONTENT/CONTEXT............................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES TEXTS RESOURCES WEB SITES VIDEO RESOURCES BAY AREA FIELD TRIPS

    SECTION III VOCABULARY.....................................................................................................8 SECTION IV ENGAGING WITH SPARK ................................................................................10

    Still image from SPARK story, 2007.

  • SUBJECT

    JohnSantosandtheMacheteEnsemble

    GRADE RANGES K12

    CURRICULUM CONNECTIONS Music

    OBJECTIVE ToprovideaforumforstudentstoexploreLatinjazzmusic,itshistory,anditsintrinsicconnectiontojazz.

    STORY SYNOPSIS For20years,fourtimeLatinGrammynomineeJohnSantoshasledhis11pieceMacheteEnsembletobecomeoneoftheBayAreaspreeminentLatinjazzgroups.Nowasoneeracomestoanend,anewonebegins,asTheMacheteEnsemblebidsfarewelltoitsfansinagoodbyeconcerttoclosetheSanFranciscoJazzFestival.SparkfollowsSantosashepreparesfortheconcertandshedslightontheworldofLatinjazz.

    INSTRUCTIONAL STRATEGIES Handsongroupprojects,inwhichstudentsassist

    andsupportoneanother

    SPARK Educator Guide John Santos

    2

    Handsonindividualprojects,inwhichstudentsworkindependently

    Grouporaldiscussionandanalysis,includingpeerreviewandaestheticvaluing

    Teacherguidedinstruction,includingdemonstrationandguidance

    INSTRUCTIONAL OBJECTIVES TofosteranunderstandingofLatinjazzandits

    historyToillustratethechallengesandrewardsofworking

    asamusicianToanalyzehowmusicaltraditionschangeand

    develop

    SECTION I - OVERVIEW EQUIPMENT NEEDED SPARKstoryonJohnSantosonDVDorVHSand

    relatedequipmentComputerwithInternetaccess,navigationsoftware,

    speakersandasoundcard.CDplayerandmusicalsamplesselectedfromthe

    Resourcesectionoftheguide

    MATERIALS NEEDED Accesstolibrarieswithuptodatecollectionsof

    periodicals,books,andresearchpapersAccesstoLatinjazzrecordingsandCDplayerPencils,pens,andpaperMusicalinstruments,especiallypercussion

    (homemadeortraditional)

    INTELLIGENCES ADDRESSED LogicalMathematicaltheabilitytodetectpatterns,

    reasondeductivelyandthinklogicallyMusicalIntelligencethecapabilitytorecognize

    andcomposemusicalpitches,tones,andrhythms

    Interpersonalawarenessofothersfeelings,emotions,goals,motivations

    Intrapersonalawarenessofonesownfeelings,emotions,goals,motivations

    BodilyKinesthetictheabilitytouseonesmindtocontrolonesbodilymovements

    SeemoreinformationonMultipleIntelligencesatwww.kqed.org/spark/education.

    MEDIA MATTERS ThefollowingSPARKstoriesmayusedfor

    compare/contrastpurposes:RobertoBorrellandtraditionalCubanmusic:http://www.kqed.org/arts/spark/education/lessonplans/115.pdfZakDioufandDiamanoCouraonAfricanmusic:http://www.kqed.org/arts/spark/education/lessonplans/303.pdf

    http://www.kqed.org/arts/spark/education/lessonplans/115.pdfhttp://www.kqed.org/arts/spark/education/lessonplans/115.pdfhttp://www.kqed.org/arts/spark/education/lessonplans/303.pdfhttp://www.kqed.org/arts/spark/education/lessonplans/303.pdf

  • SECTION II -CONTENT/CONTEXT

    CONTENT OVERVIEW For over 20 years, four-time Latin Grammy nominee, John Santos and his Machete Ensemble have been at the forefront of Latin jazz in the Bay Area. His 11-piece ensemble, comprised of lead and backup singers, bass, keyboard, drumset, four horns and two Latin percussion instruments, has explored the boundaries of Latin jazz, incorporating elements of Afro-Caribbean folk, blues, Latin dance, straight ahead jazz, and experimental music. Over the years, The Machete Ensemble has developed a loyal and critical audience appreciative of music that doesnt fit into simple categories. Yet, economic factors have not been kind to large ensembles, and with reduced bookings, the ensemble has decided to end its two-decade tenure with a farewell concert closing the San Francisco Jazz Festival. Spark follows Santos as he prepares for the concert and the journey into the next phase of his music career, with the John Santos Quintet. WithfamilyrootsinCapeVerdeandPuertoRico,SantoswasinspiredbyhismusicallytalentedfamilyandtheburgeoningmusicsceneofSanFranciscosMissionDistrict.AlthoughhestartedoutplayingLatinpercussioninstrumentssuchasthebongosandcongadrums,itwasntuntilthe1960sandtheintroductionofthefunkyLatinfusionmusicofCarlosSantanawhenSantoswastrulyinspiredbythepossibilitiesofmergingtraditionalLatinmusicwithmodernforms.

    SPARK Educator Guide John Santos

    3

    AsSantosstates,hearingthetraditionalinstrumentssuchascongasandtimbalesmixedwithelectricguitarandblues,legitimizedtheolderinstrumentsofmygrandparentserainanewandfreshway.AfterabriefexperienceasapercussionistinSantanasband,Santosdedicatedhimselftoalifetime

    ofstudyandpractice,andtodayisoneoftheforemostauthoritiesonLatinjazzandLatinfolkmusictraditions.Aftermanyyearsasaneducator,historian,recordingartistandperformerithasbecomepartofhismissiontoeducatethepubliconLatinmusictraditionsandtheassertionthatLatinjazzdidnotdevelopasanafterthought,butrather,thatLatinmusichasaparallelandstronglyinfluentialdevelopmentonnotonlyjazzbutallpopularAmericanmusic.Asisevidencedbyhisdiscography,extensiveresume,andcollaborations,SantoshasexploredthegamutofLatinjazz,seekingnewavenuesforexpressionwitheachnewproject.

    (Lefttoright)LuisTorres,JohnSantos,TogbajiStewart,BobiCspedes,JacquiBarneand,MarcusGordon.PrecitaPark,SanFrancisco,CAc.1977

    THE BIG PICTURE Latinjazzisageneraltermthat,likethewordjazz,doesnotdenoteonespecificstyle,butratherencompassesdifferentrhythms,eras,approachesandinstrumentations.Inthebroadestsense,itcombines

  • SPARK Educator Guide John Santos

    4

    LatinandAfroCaribbeanrhythmswithjazzharmonies.Foroverahundredyears,LatinmusichasinfluencedtheAmericas.JellyRollMortonwasoneofthefirsttomentionacertainSpanishTingeinearlyjazzmusic(andthatwithoutit,amusicianwouldbeunabletocapturetherightswing),andsincethen,theintroductionofLatin,andmostpredominantlyCuban,rhythms,stylesandsensibilitieshaveexpressedthemselvesfrominstrumentationtocompositionalstylesinAmericanpopularmusic.AlthoughattributingconcreteexamplesofLatingeneticmarkersinearlyjazzandragtimeissomewhatdifficulttoprove,thelinkbetweentheseAmericanidiomsandthoseoftheCaribbeanisclear,giventheproximityandtradebetweenNewOrleansandCuba,andtheircommonmixofSpanish,FrenchandAfricanelements.ThisSpanishtingereferredtobyJellyRollMortonwasalsopresentinragtimemusic,aswasevidencedbythesimilaritybetweenthehabaneraandragtimesyncopation.TheritmodetangoofthehabanerawasvirtuallyidenticaltotheAfricanAmericancakewalkstyleofmusicanddance,andbecameastandardrhythmicfeatureinmanypopularsongsattheturnofthecentury.OneofthemostnotablewaystotracktheinfluenceofLatinmusicisthroughthevariousdancecrazesthathittheUnitedStatesthroughoutthe1900s.Bythe1920stheUSexperienceditsfirstLatindancecrazefromArgentinathetango.Meanwhile,inCuba,thepeopleenjoyedcontinueddevelopmentofdancemusic,fromsontodanzn,andtheemergenceofsextetos,septetos,andorquestastipicas(withfluteandstrings).ItisundeniablethattherewascrossfertilizationbetweenthesebandsofCubaandearlyjazzbandsoftheUS,andonecanhearjazzharmoniesorstylisticsoloingonrecordingsfromtheperiod(suchasthetrumpetplayinginSextetoHabanero).1930witnessedtheintroductionofanauthenticCubandanceorchestraonBroadwaywithDonAzpiazsHavanaCasinoOrchestra.ThebandfeaturedacompletelineupofLatinpercussioninstrumentsthatforeverchangedthewayAmericans

    thoughtaboutLatinmusic,beginningwiththesongMamaInez,andElManiceroThePeanutVendor.HotonAzpiazsheelswasanotherpopularentertainer,XavierCugat.Cugat(himselfaSpaniard)assertedthatinorderforAmericanstounderstandLatinmusic,hegavethemessentially80%eyecandyand20%authenticity,thereforehisshowswereheavyoncharisma,andlowonwhatwastraditionalCubandancemusic.Hisinstrumentationwaseclecticandincludedaccordion,marimba,drumset,violins,trumpetandpiano.ThedancethatwassoldtotheAmericanpublicwasnowtherumba(nottobeconfusedwiththeAfroCubanformofthedanceandmusic),awatereddownversionofsonaCubandancestyle.ButregardlessofbeingsimplerforAmericanstodigest,CugatandothersweresomeofthefirsttocreatehybridsofLatinandAmericanstyles.OfgreaterimportancewasthecreationofamusicscenethatwasstylisticallyLatin,withtwodistinctcoresuptownbands(thatcateredtothegrowingLatinopopulationintheBarriosinEastHarlem)anddowntownbands(thatplayedforpredominantlywhiteaudiences).ThissawthebeginningofLatinbandleadersplayingfordiverseaudiences.TheresultwasanecessaryhybridizationofstylestomakethemmoreLatin,ormoreAmerican,dependingonwhichaudiencewaslistening.11940wasperhapsthemostsignificantdecadeforLatinmusicintheUS,notonlyfortheriseofLatinjazz,butalsotheinfluenceofBrazilanditsmusic,andtheemergenceofthedancecalledthemambo.MachitosAfroCubans,withMarioBauzasmusicaldirector,createdbigorchestrasandmatchedastandardlineupofbigbandjazzwithLatinpercussionsuchasbong,claves,maracas,andtimbales.By1952,theywereoneofthetopthreebandsplayingatNewYorksPalladiumBallroomatatimewhenthedanceclubhadissuedanallmambopolicy.TheothertwogroupswereledbyTitoPuenteandTitoRodriguez.Whatwasuniqueaboutthesebandsisthewaytheyplayed.TheytookthebigbandorchestrationsandlayunderthemanAfroCuban

    1 The Latin Tinge, John Storm Roberts, p. 86-

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