Annotations for Dates: 1943

[Transition--Afro-Cuban jazz]

Latin jazz great Mario Bauzá died July 11 of cancer in his Manhattan home, just blocks from where I live. Mario Bauzá, an integral part of New York's Latin jazz scene, was 82 years old.

I remember this great musician sitting on a milk crate outside a bodega, surrounded by friends, drinking coffee, and enjoying the simple things of life. You would've never known it by seeing him that this small, tender, smiley man had totally revolutionized American music.

In the 1940s, he influenced popular music by innovating a new musical style which mixed popular Afro-Cuban rhythms with American jazz.

Emilio San Pedro prepared this remembrance of Latin jazz legend Mario Bauzá.

[Afro-Cuban jazz]

Mario Bauzá was first exposed to American jazz in 1926, when he visited New York. In 1930, anxious to become a part of that scene, Bauzá left his native Havana for New York, frustrated that in Cuba, Afro-Cuban music was considered merely the music of the streets, not the music of the sophisticated nightclubs, country clubs, and hotels of pre-revolutionary Havana.

Had to happen outside of Cuba before the Cuban people convinced themself what they had, themself over there. They didn't pay no attention to that. When I got big in United States, Cuba begin to move into that line of music.

[Afro-Cuban jazz]

In the 1930s, Bauzá performed with some of New York's best-known jazz musicians, like Chick Webb and Cab Calloway. In fact, in those days, Bauzá was responsible for introducing singer Ella Fitzgerald to Chick Webb, thus helping to launch her career. It was also Bauzá who gave Dizzy Gillespie his first break, with the Cab Calloway Orchestra.

During their time touring and working with Cab Calloway, Mario Bauzá and Dizzy Gillespie, along with the Afro-Cuban percussionist Chano Pozo, played around with Afro-Cuban rhythm and jazz arrangements and created something entirely new: Afro-Cuban jazz.

[Machito--Sopa de pichon]

In the early 1940s, Mario Bauzá formed the legendary band Machito and his Afro-Cubans, along with his brother-in-law, Francisco Perez, who was called Machito. Bauzá was the musical director of the band, and he composed and arranged some of the group's most memorable songs.

[Machito--Sopa de pichon]

The sensation caused by Machito and his Afro-Cubans and by other Latin musicians in the 1940s made New York the focal point of a vibrant Latin music scene.

It's the scene of the Mambo kings you know, and that's why a lot of people will say Mambo is not Cuban music or it's not Mexican music. Mambo is New York music.

Enrique Fernandez writes about Latin music for the Village Voice.

It was here that this kind of music became very hot, that it really galvanized a lot of people, that had really attracted a lot of musicians from different genres that wanted to jam with it, and that created those great encounters between Latin music practitioners and jazz practitioners, particularly Black American jazz practitioners, that brought all this stuff together that later on, generated salsa and it generated Latin jazz and a lot of other things.

[Machito--Si si no no]

Groups like Machito and his Afro-Cubans were responsible for sparking a Latin dance craze in the United States, from New York to Hollywood. Mario Bauzá's sister-in-law, Graciela Pérez, began singing with Bauzá's orchestra in 1943.

Pero jurate que la música de esta…[transition to English dub] The music made by Machito's orchestra created such a revolution that you could say people began to enjoy because dance schools sprang up to teach the mamba and the guaguanco and all that [transition back to original audio]…el guaguanco todo todo.

Graciela and Mario left Machito's band in 1976 to form their own group, Mario Bauzá and his Afro-Cuban jazz Orchestra. Achieving recognition came slowly for the new band as general audiences lost interest in the traditional Afro-Cuban jazz sounds.

But in the late 1980s, Bauzá's music experienced a resurgence in popularity. His orchestra played to packed houses in the United States, Canada, and Europe. And in the last two years, Bauzá still active and passionate about his music, recorded three albums worth of material.

Meringue, meringue from San Domingo. Cumbia's cumbia from Colombia. Afro-Cuban is Cuban. That's why I've got to keep a bunch of these Afro-Cuban rhythms. Danzón Cubano, la danza Cubano, el bolero Cubano, el cha-cha-cha Cubano, el mambo es Cubano, guaguanco Cubano, la Colombia es Cubana.So I've got to call it Afro-Cuban, yeah.

In a 1991 interview, I spoke with Mario Bauzá about his extraordinary musical output.

You've brought out these great musicians, you've helped create or created Afro-Cuban jazz, brought Latin music and Latins to Broadway.

That's it.

And you're 80 years old.

Yes.

Many people at 80 years old are sitting by the pool or in the rocking chair and whatever. You don't look like it.

You know me. It ain't going to be like that.

What else could you do at this point, what more?

I don't know. I ain't through, I ain't through. I just wanted my music to be elevated. That's why I want to record this suite now. I want to see the word, music is music. You tell me what kind of music. I like any kind of music that we're playing. And that's what I tried to do, present my music different way. Some people might don't like this, don't like that, but when they hear that, they have a right to choose for. That's what I want them to do.

[Mario Bauza--Carnegie Hall 100]

Mario Bauzá worked steadily until his death. He recently released a compact disc on the German record label Messidor called My Time is Now.

For "Latino USA," I'm Emilio San Pedro.

[Mario Bauza--Carnegie Hall 100]

We've just heard a report about relations between the police and Latino community in the city of Dallas, Texas. With us on the phone to address the issue from the perspective of other communities, our attorney, Juan Milanes, legal counsel for Washington DC's Latino Civil Rights task force, and from California, professor Gloria Romero, chair of the Hispanic Advisory Council for the Los Angeles Police Commission. Welcome to both of you. Is there a problem, a historical problem between the Latino community and police departments across this country, or is it just a question of isolated incidents in certain areas?

In my mind, there's no doubt that it's a national issue, and I think that if we look at Washington D.C., if we look at Miami, Florida, if we take a look at Houston or Dallas or Albuquerque, Denver, LA, San Jose; in every community, historically, the issues of tensions between police and community have arisen. And that's not only in the contemporary period, but historically within the last 50 years. We can even go back to the Zoot Suit Riots in Los Angeles. So there is a legacy I think that's present.

Why is that legacy there? What is the root of the tension between police departments and the Latino community?

I think if you want to take a look at the underlying issues of police community tensions, you're looking at not simply the police, but what police symbolize. And to me, that comes down to taking a look at perhaps an institution of society that is there to maintain what people perceive to be an unjust order. And over the last 50 years, we have seen movements to raise the quality of life, to equalize conditions between Latinos and others in this society, and in that sense, as long as you're going to find inequity in just the day-to-day living standards of people, it's not surprising to find challenges to that order, which is there to maintain.

In Washington D.C. you saw a very large influx of new immigrants, which is the predominant group of Latinos here in Washington, that the city truly just wasn't prepared to deal with because the increase in the population has been exponential when compared to any other group. So that in the last 10 years, Hispanics have doubled in size here, especially with regard to the police department. So few Hispanics and so few bilingual police officers has led to the problem of cultural clashes as well as a language barrier.

In both of your communities, there have been studies and recommendations made about how to deal with the issue of police and Latino community relations. In the aftermath what has been done to address those issues?

Well, I think on one hand we still have to look at quote, unquote the aftermath. The aftermath is more immigrant bashing than ever. In Los Angeles you're looking at the picking up just recently of skinheads accu- basically ready to bomb. It was focused on the south central African-American community, but the issues around which this aroused the greatest sentiment was around issues of Rodney King police brutality. So I think we have to look at the aftermath. There is the criminalization of the Latino that is not new. We can go back 50 years again and it's still the Frito Bandito. You still have the Latino, the Mexican, the Salvadorian as the criminal illegal alien. That's the language that's being used. So I believe that yes, in Los Angeles and nationally we had the Christopher Commission report. We've had the Colts report, we've had the Webster's report and decades before we had the McCone Commission and the Kerner reports. We have had study after study after study, and these are significant and important, but the bottom line is I will continue to take a look at, until we as a society at all levels, federal and state and local, take a look at some of the underlying complications of economic, social, political, racial inequity. We can put all the reports we want in impressive array in our library shelves, but we're not getting to the root causes and consequences of tensions in the community into which police immerse themselves.

And in Washington D.C., Juan.

Not that different. One of the things that we found when we did our investigation was that officers would compete in the third and fourth police districts, which are the police districts with the largest Hispanic populations in the District of Columbia, would compete for what was known, Officer of the Month Award. The Officer of the Month Award is based on a number of different factors, one of which is number of arrests, and one practice would be that officers would routinely go into the poorer, most immigrant sections of the Latino community and pick up individuals on disorderly conduct arrests to basically hike up their own arrest records to be able to compete for that Officer of the Month Award, and would ultimately trump up charges against anyone for anything.

Well, thank you very much for joining us on Latino USA. Attorney Juan Milanes, legal counsel for Washington D.C.'s, Latino Civil Rights Task Force, and Professor Gloria Romero, chair of the Hispanic Advisory Council for the Los Angeles Police Commission. Thanks again, for Latino USA.