Cubano Be, Cubano Bop: One Hundred Years of Jazz in Cuba

Rating:
Summary: 100 Years of Cuban Jazz Revisited
Review: When Leonard Acosta began conducting his research on the history of Cuban jazz 30 years ago, there were virtually no written or phonographic reference materials available in Cuba. As Acosta states, "I practically started from zero."

"Practically," with the exception of one crucial fact. Acosta was an accomplished saxophonist (circa 1950's to the 1970's) and an active participant in the history of Cuban jazz.

Needless to say, this paved the way for his research, which is based on 60 testimonials acquired directly from the musicians and other knowledgeable individuals.

Essentially, Acosta's objective was, "To get to know - even if only in a broad sense - the names of many of the musicians forgotten today, and to learn which bands and groups, soloists and jazz styles existed in Cuba and when. Its also important to know the places where they played, whether as part of their work or as part of that world of the jam session..."

Along the way Acosta uncovered some startling revelations. For example, the legendary Chano Pozo performed as a soloist in a show presented at the Alkazar theatre with Mario Santana's jazz quartet. This implies that Chano Pozo played with jazz groups and had an understanding of jazz prior to his arrival in the U.S. - dispelling the notion that Chano Pozo was, "just another drummer who had a lucky break" (when he was introduced to Dizzy Gillespie).

As the title implies, Cubano Be, Cubano Bop (100 Years of Cuban Jazz) begins with encounters between Cuban music and jazz at the turn of the last century and concludes with a chapter on the current musical trends in Cuba today.

Acosta's research has uncovered an enormous amount of information, which will be of invaluable assistance to writers, musicians, journalists and music aficionados.

In addition, Cubano Be, Cubano Bop is a welcome addition to the bibliography of jazz as a whole.

Despite the significance of his contribution, Acosta strongly feels that there is still a vacuum with respect to the history of Cuban jazz. Consequently, he is an avid supporter of ongoing research in this area.

This is an indispensable read for anyone who is seriously interested in the history and development of Cuban jazz, or Latin jazz, as it is currently known.

Leonard Acosta is the author of more than a dozen books on music and literary criticism, as well as fiction and poetry; he resides in Havana, Cuba.

Rating:
Summary: 100 Years of Cuban Jazz Revisited
Review: When Leonard Acosta began conducting his research on the history of Cuban jazz 30 years ago, there were virtually no written or phonographic reference materials available in Cuba. As Acosta states, "I practically started from zero."

"Practically," with the exception of one crucial fact. Acosta was an accomplished saxophonist (circa 1950's to the 1970's) and an active participant in the history of Cuban jazz.

Needless to say, this paved the way for his research, which is based on 60 testimonials acquired directly from the musicians and other knowledgeable individuals.

Essentially, Acosta`s objective was, "To get to know - even if only in a broad sense - the names of many of the musicians forgotten today, and to learn which bands and groups, soloists and jazz styles existed in Cuba and when. Its also important to know the places where they played, whether as part of their work or as part of that world of the jam session..."

Along the way Acosta uncovered some startling revelations. For example, the legendary Chano Pozo performed as a soloist in a show presented at the Alkazar theatre with Mario Santana's jazz quartet. This implies that Chano Pozo played with jazz groups and had an understanding of jazz prior to his arrival in the U.S. - dispelling the notion that Chano Pozo was, "just another drummer who had a lucky break" (when he was introduced to Dizzy Gillespie).

As the title implies, Cubano Be, Cubano Bop (100 Years of Cuban Jazz) begins with encounters between Cuban music and jazz at the turn of the last century and concludes with a chapter on the current musical trends in Cuba today.

Acosta's research has uncovered an enormous amount of information, which will be of invaluable assistance to writers, musicians, journalists and music aficionados.

In addition, Cubano Be, Cubano Bop is a welcome addition to the bibliography of jazz as a whole.

Despite the significance of his contribution, Acosta strongly feels that there is still a vacuum with respect to the history of Cuban jazz. Consequently, he is an avid supporter of ongoing research in this area.

This is an indispensable read for anyone who is seriously interested in the history and development of Cuban jazz, or Latin jazz, as it is currently known.

Leonard Acosta is the author of more than a dozen books on music and literary criticism, as well as fiction and poetry; he resides in Havana, Cuba.