Response to Michael Janairo

In today's Times Union, arts editor Michael Janairo posed a number of questions to readers interested in the arts locally. He is planning to use a selections from the replies in a piece assessing the arts scene in the Capital region, slated to be published December 22. Here's what I wrote in reply to his query. Feel free to share your thoughts with me or with all. Thank you.

Dear Michael,

In response to your questions in today's paper, let me begin by saying that, from my perspective, the predicament of the arts in Albany and the Capital region is about more than just dwindling financial support by government or arts organizations such as NYSCA. Ever since I started Jazz/Latino, inc. in 2007 our challenge has been more fundamental: making the Capital region public understand, appreciate, support and enjoy Latin jazz as the quintessential hybrid musical genre of the twentieth century, the product of the convergence of African American and Latino musical traditions in the United States and as such a true American art and musical form. I don't know when the Capital Region public will understand this fully and show corresponding support but, as long as we are able, we will continue to move forward to make it happen.

I think mega events such as MoHu are the wrong way to go. I got a hint of what the participation in MoHu would be for Jazz/Latino when we participated in a Schenectady arts fair that was, in my view, the same concept as MoHu writ-small. The organizers of the fair assigned Jazz/Latino a spot at the end of Jay Street, where there was the least amount of traffic, and no one even bothered to stop by our table to check us out, let alone buy any of the DVDs of past Ahora, Latin/Jazz! concerts. After an hour or so of being ignored I folded my table and went home. For fear of investing precious resources in a mega event where our presence would be diluted in a sea of concurrent activities and shows, Jazz/Latino did not participate in MoHu; the Schenectady experience weighed heavily in the decision to abstain.

For years, I've been told that Jazz/Latino should have no trouble being successful because of the growing numbers of Latinos in the Capital region. But the reality is that, despite growing numbers, the Latino community is still small and more importantly, the majority either dislikes or does not really understand Latin jazz; the majority prefers salsa, merengue, bachata, cumbia, with specific predilections depending on national origin. So, in answer to your question regarding comfort zones: I have never had a problem with that personally. I was among the handful of people who went to see saxophonist Jeff Lederer perform his Shaker-inspired jazz show, a few years ago. But around here people are so unfamiliar with Latin jazz and perceive the genre to be so foreign, that for them to get out of their musical comfort zone would be like someone who's only heard country music for a lifetime to suddenly be open to listening to and enjoying an ecola de samba performing a furious batucada.

This year I was utterly surprised to see almost a full house at the Schenectady Whisperdome for the performance of the local Latin jazz ensemble Sensemaya. Although happily, I was still surprised given that Jazz/Latino has struggled over the past five years to get even a 100 people to attend performances by internationally renowned jazz and latin jazz veterans such as trumpet players Ray Vega and Brian Lynch (Lynch is a Grammy winner), trombonists Steve Turre and Chris Washburne, or percussionists Willie Martinez, Pedrito Martinez, Bobby Sanabria and Wilson "Chembo" Corniel (Sanabria and Corniel are multiple Grammy nominees).

Don't get me wrong, Sensemaya is a worthy ensemble but the point is that, based on musical quality alone, if they were able to get a nearly full house at a 300-seat venue, the artists that Jazz/Latino has sponsored should have had standing room only audiences at Proctors or the Palace, instead of having much smaller audiences at the Whisperdome or the Emerson Auditorium at Union College; in fact, I have moved Jazz/Latino shows from the 300-seat Whispedorme to the 150-seat Emerson Auditorium to avoid demoralizing small audiences which, in that more intimate venue, look robust even if less than 100 show up. Someone may say, well, maybe Jazz/Latino shows are not as well-publicized. To that I reply: not true. In fact, in 2011 Jazz/Latino publicized its programs just as much as our sister organization, A Place for Jazz, the sponsors of Sensemaya, but more people went to their shows.

Is there something I hope not to see again? With all due respect and appreciation to its organizers, who I truly believe have the best intentions for the arts, I wish mega events like MoHu, which benefit disproportionally the big fish in the Capital Region's arts sea and make either negligible or no difference in exposure for the smaller but worthy fish, would go away. I just don't see how packing so much, concurrently, in a few days, helps open up people's minds about what they could enjoy but don't because it is not familiar to them.

I would like more people to be willing to step out of their traditional jazz, rock, blues, and classical comfort zone to explore the world of Latin jazz. At the Sensemaya performance in Schenectady I was greeted by a volunteer for the organization sponsoring the show with the words: "We have your music tonight!" She did not mean that in any but the best possible way but I was still taken aback. My reply was: "My music is all music." I think she realized that she had taken a faux pas and quickly and somewhat apologetically clarified: "Well, we associate you with Latin jazz." Ultimately, I don't mind being pigeonholed as a Latin jazz person; after all, that is the niche Jazz/Latino has sought to occupy. I am as comfortable with Varese as with Machito, but that is for me to know and for others to find out. I'd be happier If I could get at least 500 people in the Capital Region to move out of their comfort zone and embrace Latin jazz for what it is: not just the music of Latinos but the music of all of us. This may be too modest a goal; there may already be 500 people in the Capital Region that are capable of such a cultural leap of faith. But if that is the case, they still need to put their money where their heart is, to coin a phrase, by supporting Jazz/Latino and coming to see our shows.

Live Latin Jazz in New York City

This was posted by Willie Martinez on Facebook on June 17, 2011. It is reprinted here by permission.

I'm writing today to encourage all lovers of live music to particularly support live Latin Jazz in New York City. Over the years there have been some iconic venues that have featured live Latin Jazz weekly.  Their numbers have dwindled down to almost nothing today.  I remember the days of Salsa Meets Jazz at the Village Gate and the Latin Jazz jams at Mondo Perso and it makes me sad to think about how all of these venues and musical presentations have just disappeared over the years.
 
As I write, the last of the Sunday performances of the great Chico O'Farrill Orchestra led by his son, pianist Arturo O'Farrill at Birdalnd are coming to an end after some fifteen years.  Some months back Chris Washburne and his awesome group SYOTOS also ended their weekly residency at Smoke after ten years. Back at the turn of the century :) I was blessed to be a part of the Tuesday night hangs at the now defunct Kavehaz led by my good friend, trumpeter Ray Vega that lasted weekly for about two years.  I've also only just recently learned that one of the most promising newcomers to the latin jazz scene, the FB Lounge in East Harlem has closed its doors.  
 
Any bandleader will tell you: it's not easy to have a weekly gig for an extended period of time.  There are always the challenges of confirming musicians weekly and coming up with new repertoire to keep the creative juices flowing and dealing with management at the end of the night when it seems that there were more people in the band than in the audience!  That said, it's our labor of love and we choose to do it because of our love for and dedication to the music.
 
Right now, to the best of my knowledge, the Nuyorican Poet's Cafe will soon become the only venue in New York City that features live Latin Jazz on a weekly basis.  Every first Thursday of the month the Nuyorican presents master percussionist Chembo Corniel and his group Chaworó.  The second Thursday of the month brings the wonderful group of young lions, the Curtis Brothers to the stage at the Nuyorican.  On the third Thursday of the month the great pianist Hector Martignon and Foreign Affair picks up the reins.  Hector has also been alternating Foreign Affair with his new project: the BANDAGRANDE Big Band.  The last Thursday of each month brings me with my La Familia Sextet.  The Nuyorican also presents Bobby Sanabria and his New School Afro-Cuban Jazz Band on the last Sunday of every month.
 
Bobby, Hector and Chembo are all Grammy nominated bandleaders.  We've all paid our dues over the decades and are presenting world-class Latin jazz at bargain basement prices at an iconic venue that certainly deserves the support of lovers of live latin jazz as well as the broader community at large.  
 
Please come out and support live Latin jazz in New York City as often as you can before it's no more.  That indeed will be a very sad day, so do all that you can to assure that this day never comes!  Que Viva La Musica and may God bless the music, the musicians and all of you, always!
 
Peace & love always,
Willie Martinez