Showing posts with label music/música. Show all posts

10.17.2011

Encuentro NYC Colombian Music Festival

Encuentro NYC Colombian Music Festival

EncuentroNYC

(VIII Encounter "Encuentro" of Colombian Musicians in NY)

Oct 22-23 Queens and Manhattan

visit our Facebook page: Encuentro de Músicos Colombianos en NY

find the 2-day event on Facebook: Encuentro Familiar/Encuentro Gala

DAY 1: Saturday, Oct 22, 1-5pm

Encuentro Familiar/Family Day

Flushing Town Hall

Flushing, Queens

Family Day Tickets $10 adults/$5 kids in advance or at the door

Produced in collaboration with the Center for Traditional Music and Dance and FolkColombia, this is your chance to learn about the traditions of Colombia, with groups representing each of the four main musical regions of Colombia, including dance workshops. The programming is kid friendly, so come with the family! Empanadas by Mama's Empanadas in case you get hungry...

FLUSHING TOWN HALL---main stage and art gallery

1:00 PM Daniel Fetecua Soto (of the Limon Dance Company and Pajarillo Pinta'o)

Pacific coast dance workshop, main stage

1:20 PM Grupo Chonta Performance (led by master marimba player and multi-instrumentalist Diego Obregon/Afro-Colombian music from the Pacific Coast)

main stage

2:00 PM Meet the Artist with Diego

2:15 PM Torbellino/Ribbon dance main stage with Daniel Fetecua and Alejandro Florez guitar trio (virtuoso guitarist of his group Tibaguí, playing traditional torbellinos for the kids dance activity) Main stage

3:00 PM Gaita performance with Martin Vejarano (of La Cumbiamba eNeYe and Chia's Dance Party) (Gallery)

3:30 PM Songs from Los Llanos with Johanna Castañeda y su Grupo Llanero (traditional music from the Plains region of Colombia with harp, cuatro, and percussion) (Gallery)

4:00 Caribbean dance workshop with Lucy Cruz (learn to dance to such rhythms as the cumbia!)

4:20 Grupo Rebolú Performance and Carnival parade (representing the traditions of Colombia's Caribbean coast, led by Ronald Polo and Moris Cañate)

DAY 2: Sunday Oct 23, 5pm-1am

Encuentro Gala Showcase

Le Poisson Rouge, Manhattan

(Bleecker between Thompson and Sullivan in the West Village)

Encuentro Gala Tickets

$25 in advance, $30 at the door, minors $15 at the door only

tickets also available at the box office in advance

Eight Hours of the best of Colombian music, traditional and modern, in New York City in one night at one of NYC's most renowned music venues. This year, we're incorporating music and dance on the floor between acts, with Daniel Fetecua Soto and Pajarillo Pinta'o, Jonathan Gómez y su Papayera la Original, guitarist Nilko Andreas Guarin, and Daniel Rojas and his joropo ensemble. There's a great dance floor, a nice "tapas" style menu with a variety of small dishes from empanadas to sushi, and a bar. Come eat, drink, dance, and celebrate! Here's the breakdown:

Doors 4:30pm

5:00 Joropiada with Daniel Rojas (traditional llanero music)

5:20 Alejandro Flórez-Tibaguí (modern, sophisticated, and original Andean guitar-based music)

5:50 Daniel Fetecua and Pajarillo Pinta'o Dance Company

6:15 Lucía Pulido (renowned soulful Colombian singer)

7:00 Chia's Dance Party (Martin Vejarano's funky sextet blending jazz and Chirimia, reminiscent of a New Orleans jazz band a la Colombiana)

7:25 Tribute to Ricardo Leon Peña Villa and Ligia Naya with classical guitar virtuoso Nilko Andreas Guarin

7:40 Samuel Torres y Yaounde (world renowned virtuoso conga player and his band)

8:20 Andrea Tierra (singer/songwriter presenting her own poetry about love, life, and the land, with renowned musicians, including Edmar Castañeda on harp)

8:40 Edmar Castañeda (harpist extraordinaire and his group presenting a jazzy take on the traditions of the Plains region of Colombia)

9:05 Jonathan Gómez y su Papayera la Original (an acoustic Colombian street band)

9:20 Sebastián Cruz Cheap Landscape Trio (earthy, urban, funky fusion of rock, jazz, and traditional Colombian rhythms)

9:45 Jonathan Gómez y su Papayera la Original

10:05 Pablo Mayor's Folklore Urbano Orchestra (renowned 12-piece dance band)

10:50 Gregorio Uribe Big Band (16-piece big band under the direction of rising star vocalist/drummer/percussionist Gregorio Uribe)

11:20 Alejandro Zuleta Vallenato Quartet (from the dynasty of the Zuleta family of Vallenato stars) starting off the ALL STAR JAM uniting Day 1 and Day 2 of the festival, bringing together artists from both days in a celebratory jam to close the night, including Ronald Polo, Moris Cañate from Rebolú, Diego Obregon fromGrupo Chonta, Memo Acevedo, Johanna Castañeda, and more!

6.05.2011

“2011 is going to be a crazy fucking year for online music”

Aplle iCloud and what it might mean for online music: http://www.huffingtonpost.com/2011/06/04/apple-icloud-cloud-music_n_871186.html

Apple iCloud Release Puts Music Streaming Startups In Spotlight

by Amy Lee
Apple Icloud

Apple’s highly anticipated iCloud is expected to make it easier than ever before to listen to your own music anywhere you have an Internet connection. But its entry into the online music world could squeeze out the smaller players already crowding the market.

Apple has confirmed it will announce a new iCloud service on Monday. It will likely be a subscription service that allows users to buy, play and store music -- and perhaps other media -- online. Even though Apple has yet to share many details about iCloud, analysts agree the new service will help shape the future landscape of digital music.

Apple’s service, which comes on the heels of new products from tech giants Google and Amazon, is just the latest entry alongside an eager crop of startups already forging a new model for digital music.

But Apple's dominance in the digital music world may hinder existing startups once the tech behemoth enters the game, experts warn.

“If Apple wins, everybody else dies,” said Bob Lefsetz, a music industry analyst. “We learned it with the iPad. We learned it with the iPod.”

Cloud services have been the focus of serious industry interest in recent days. The idea that files -- music or not -- can be stored in remote servers and yet be accessible from any point is a highly attractive Internet-forward idea, but it is also rife with potential risks.

With the iCloud, Apple will enter into an already teeming sphere of music streaming sites, including Grooveshark, Pandora, Spotify, MOG, Rdio and Rhapsody. These sites generally fall into one of three categories: music lockers, like Google and Amazon; subscription-based, unlimited streaming sites, like Rdio or Rhapsody; and radio-style personalized play sites, like Pandora.

But though these sites provide services distinct from those of the big players, they cannot match the big companies in brand power, reach and cash flow, key elements required to win over both users and record labels.

Apple’s biggest advantage in the digital music race is, well, being Apple. As the largest music retailer in the country, with near 70 percent of the digital music market, the company has established its brand as the go-to source for finding, buying, storing and playing music on a computer. Apple’s iTunes store has around 200 million credit cards on file. Startups -- as well as web giants Amazon and Google -- face the challenge of changing users’ habits and convincing them to abandon one music library for another.

"I’d certainly sound naive if I said I wasn’t worried," said Rdio CEO Drew Larner. “Apple, Google and Amazon are three of the most dominant companies not only in the Internet space, but generally in business.”

Apple’s brand has also been bolstered by its big ticket advertising, something that startups would be hard pressed to match. And, along with the music itself, Apple’s empire of connected devices -- iPod, iPad and iPhone among them -- helps keep customers in their consumer ecosystem.

"If you think about it, the outbound marketing from these services has been pretty muted," said Michael McGuire, VP of research at Gartner, a tech consulting firm. “Apple is coming into the market based on more than ten years of almost saturation volume of advertising.”

Despite the difficulty of getting people to pay for digital music instead of pirating it, experts say that if anyone is going to be able to successfully charge for music, it’s Apple. After all, with the opening of the iTunes store 10 years ago, Apple proved that if purchasing music was easy, reliable and safe enough, it could convince people to buy music instead of download it illegally. Experts say that if Apple can convince a portion of its existing iTunes customers to sign up for iCloud, it will keep those same customers from spending money for other services. After all, Apple can give users instant access to songs they already own, on devices they already have, in a system that already has their credit card on file.

“If I can access my 6,000 songs from the cloud, that’s going to eat up a lot of my time and steal a lot of attention from Grooveshark, Rdio, whoever,” said Paul Resnikoff, publisher of Digital Music News, an industry site. “Even if Apple’s service isn’t free, there’s considerable incentive for me to put money down and that eats at the money I might spend at another service.”

Analysts say that even if users don’t leave smaller music services for the big companies, the very presence of an Apple service will make it increasingly difficult for startups to woo new customers. If, as has been rumored, Apple’s service costs $25 a year, it will be almost a hundred dollars less than most services, which run around $10 a month.

“I don’t think everybody drops everything and moves to iTunes,” said McGuire. “But it may make it more difficult to peel off customers from iTunes.”

In the end, users will only choose a service if it offers all the music they want to hear. Yet securing rights to that music is a complicated and hugely expensive task that relies on cash and connections. Apple, Google and Amazon also have far deeper pockets than any smaller competitor, offering those three a big boost in starting a music service. (Though thus far, both Amazon and Google have chosen to provides services that don't rely on these deals.) And for any company hoping to get off the ground in the digital music world, significant capital is necessary just to build a viable service.

Yet even after securing deals with top record labels, turning a profit can be a Sisyphean task. Licensing fees do not come cheap: recent reports suggest Apple will pay somewhere between $100 and $125 million to the record labels so that it can offer full song catalogues for its service.

“I’m not optimistic that digital music startups have a bright future,” said David Pakman, partner at venture capital firm Venrock, co-founder of Apple Music Group and former CEO of digital music site eMusic. “It’s a hard space to build a business in to be self-sustaining because the economics are so challenged by the rules imposed by record labels.”

Nor is it possible to simply bypass the labels. Grooveshark, one of the streaming sites that lets users listen to anything they want for free without ever having to pay a subscription fee, has been sued by both Universal Music Group and EMI since its launch. The Grooveshark app was subsequently pulled from both the Android and Apple app stores. Licensing negotiations are also reported to be the issue holding up European-based Spotify’s U.S. debut.

Even after sites obtain licenses, agreements with record companies often require profit splits of around 70 percent for the music industry and 30 percent for the music service. Even Apple’s iTunes store, the number one music retailer of any kind in the U.S., does little better than break even after the labels take their cut.

Pandora, a music startup currently preparing for its IPO, is an exception to many of these sites in a number of ways. Rather than asking for subscription fees, it makes money on advertising. Further, Pandora is able to get radio licensing, which is far cheaper than licensing for streaming.

Still, anyone and everyone trying to make it in the new cloud-based digital music ecosystem -- including Apple -- confronts the same major obstacles: convincing users music is worth paying for and persuading them of the safety of the cloud.

It’s hard to run a business selling music when free options, legal or illegal, have set up shop outside your door. Every music service, regardless of its model or scale, is engaged in the battle to get people to pay for what they can just as easily get for free.

“We’re all competing with piracy,” said Grooveshark spokesperson Ben Westermann-Clark. “You have to get the people they want to listen to in a legal way that’s just as compelling as piracy, if not better.”

The problem of free music is over a decade old and though the old illegal downloading sites have long since fallen from the mainstream, new options to access music for free have emerged. The Napster era of the illegal download has been surpassed by the streaming revolution. A user can now use sites like Grooveshark and Spotify forever without ever having to pay for the privilege.

“With the rise of Grooveshark, and the rise of Spotify, something funny happened -- a lot of users just started streaming music from the cloud,” said Resnikoff. “That introduced a solution but also another problem. Suddenly you have this consumer in a bullpen you can identify. You can control them a little more, but they’re still not paying. They might be following the law, but they’re not paying.”

Many question whether the record labels’ stance is a justifiable defense against pirated music, or a dangerous adherence to stubborn traditionalism that stops new music models from ever becoming viable. Critics point to the massive decline of the industry, which has floundered its way through the digital music era.

“The huge shortsightedness of the music industry here is, why are they setting pricing in a way that puts all their partners out of business? They could get a thousand startups licensed, with 40 percent margins instead of 30,” said Pakman, “Wouldn’t it be better if you had hundreds of thousands of great companies having music for sale? Instead they’ve essentially forced everyone out of business and only the big guys can play.”

But online music services must also assure readers that cloud storage is safe and reliable. Anyone who’s used a smartphone knows wireless access is far from perfect and can lead to a listening experience marred by stutters and halts. And consumers could have legitimate questions about the new type of service. For example, what do users do when their Internet is down and all of their songs are trapped in the cloud? What do they do if the company accidentally wipes out their entire collection and can’t retrieve it?

“The streaming music sites are a pretty good deal,” said Carl Howe, analyst with Yankee Group. “With the caveat that if you stop paying your subscription fee all your music goes away.”

Still, many of the music startups believe that Apple, Amazon and Google’s entry into music streaming will help bring public awareness to a service that many consumers have overlooked, misunderstood or distrusted. Analysts say, however, that smaller sites will have to fight to distinguish themselves from one another in the eyes of consumers, who might not have a real preference between an unlimited streaming site and a cloud-based locker.

“People want their own stuff, they want their own library,” said Resnikoff. “Even in their own library, people rarely listen to their entire library, they don’t make it through. The assumption that people then go: 'I want ten million songs' is a little bit of a stretch, and it may not scale towards the broader music fan.”

In the best case scenario, consumers will be able to pick and choose from a wide range of services that all fulfill different needs.

“2011 is going to be a crazy fucking year for online music,” said Westermann-Clark. “It’s finally this perfect storm where these things have been developing for years, and now the big players are getting into the game and lots of things are changing.”

5.23.2011

Flexible labor in the classical music world

The shady world of low-cost, foreign-guest-worker-staffed, traveling orchestras, like the Dublin Philharmonic, mostly staffed by Bulgarians: here.
And, of course, the City Opera took a step in that direction (not quite there yet) by leaving Lincoln Center - future home or destination unknown...

5.19.2011

PROGRAMACIÓN II FORO INTERNACIONAL AFROCOLOMBIANO

PROGRAMACIÓN
II FORO INTERNACIONAL AFROCOLOMBIANO
PARTICIPACIÓN Y APORTES DE LOS AFRODESCENDIENTES EN EL CONTEXTO DE LAS AMÉRICAS Y COLOMBIA, A 160 AÑOS DE ABOLICIÓN LEGAL DE LA ESCLAVIZACIÓN
18 Y 19 DE MAYO DE 2011. HOTEL DEL PARQUE CRA 5 NRO. 24-34 HORA: 8AM.

EXPOSICIÓN ITINERANTE VELORIOS Y SANTOS VIVOS
Lugar: Secretaria Distrital de Integración social. Cra 7 N° 32-16 Piso 9 hora: 8am.

AFROCANDELARIA, VELORIO Y LUMBALU POR MUERTOS
21 DE MAYO RESTAURANTE SECRETOS DEL MAR de 11am a 11pm

HOMENAJE A LA CULTURA AFRO EN BOGOTA Y SEGUNDA ENTREGA DE LOS PREMIOS BENKOS BIOHO PRESENTACION DEL XII ENCUENTRO INTERNACIONAL DE EXPRESION NEGRA Y CONCIERTO CON CHOC QUIB TOWN, K-YO, GUALAJO, ZULLY MURILLO Y DANZAS DE LAS ORGANIZACIONES ORMUAFRO Y LA FUNDACION COLOMBIA NEGRA.
22 DE MAYO DE 2011. HORA: 3PM LUGAR: TEATRO JORGE ELIECER GAITAN (CRA 7 Nro. 22-47)

SEPTIMAFRO: DESFILE DE COMPARSAS AFROCOLOMBIANAS
Desde la plaza de toros hasta la plaza de bolívar de 3pm a 5pm

CONCIERTAFRO.: presentación de grupos musicales afrocolombianos
28 de mayo de 2011. 5pm plaza de Bolívar.

Entrada gratuita a todas las actividades

5.16.2011

RIP Cornell Dupree QEPD

Festival de Currulao en Chicago/Currulao Festival in Chicago

ECOS DEL PACIFICO AFROCOLOMBIA

“ E P A ! ”

Has the Pleasure to Invite You and Your

Family to II “KURRULAO”

World Festival of Afro Art and Culture,

a celebration of Juneteenth”.

June 3, 17 y 18

* 2 0 1 1 *

4.26.2011

4.22.2011

Latin Jazz Grammy eliminated - people are pissed

Se ha elimindado el premio Grammy para Latin Jazz, y la gente está berraca...
(Is this the wrath of Bieberites?)

http://blogs.villagevoice.com/music/2011/04/grammys_latin_jazz_eddie_palmieri_larry_harlow.php

Latin Jazz Heavyweights Protest Grammy Snub

By Larry Blumenfeld

Wed., Apr. 13 2011 @ 12:00PM

The scene outside the New York Institute of Technology Auditorium Monday night suggested a Latin jazz celebration; pianist Eddie Palmieri, pianist/bandleader Larry Harlow, drummer Bobby Sanabria, trombonist Chris Washburne, and trumpeter Brian Lynch milled about. But this wasn't a concert, nor was it a celebration; it was an informational meeting organized by the New York chapter of the National Academy of Recording Arts and Sciences (NARAS) where the musicians gathered would soon sound off in polite yet impassioned protest of the Grammys' elimination of the Best Latin Jazz Album category.

Last week, as part of several reforms, NARAS announced a reduction in the number of Grammy prizes to 78 <http://blogs.villagevoice.com/music/2011/04/grammys_cut_categories.php>, from 109. The changes, which will take effect next year, were being made to ensure "that the Grammy remains a rare and distinct honor, and continues to be music's most prestigious and only peer-recognized award," said NARAS president Neil Portnow. The value of a Grammy was in danger of dilution, he explained; the first Grammy ceremony in 1959 honored nominees in only 28 categories, and over the years that number had swelled in an unorganized fashion. "It had become a collage," he said. Some categories failed to produce a suitable number of entries each year, added NARAS VP of Awards Bill Freimuth. "But [even after the reforms,] every submission will have a home," he assured.

But where will that home be, and what effects will the move have? Many genre distinctions--traditional blues, Hawaiian album--were eliminated or "merged," as the NARAS officials put it. The consolidation of categories will particularly affect jazz; it's lost key categories, a point not lost on drummer Roy Haynes, who was also present. In the case of Latin jazz, the move touched a delicate nerve. One by one, musicians and music-label executives stepped up to testify as to why.

Palmieri, who has won nine Grammy Awards and whose /Listen Here!/ won the category in 2006, described his work within the organization through the years, including serving as a past governor. "This hurts so much," he said, "I can feel it in my heart. It's like a Grammy scar." And he reflected on his first Grammy victory, for /Sun of Latin Music/, which won the Best Latin Music category in 1975. "It felt like I was representing every Latin-jazz artist in the world that night."

Sanabria, who has been nominated in the category twice, called the change "an insult. It strikes me as cultural insensitivity," he said. "It's the denial of things we've worked long and hard to achieve." Randy Klein, who runs the Jazzheads label, claimed the category changes flew in the face of NARAS' commitment to music education. "By cutting the Latin-jazz category, we stop mentioning it, stop teaching people what this is," he said. "A name is important," added Ileana Palmieri, Eddie's daughter and an independent music executive. "When it's tied to an ethnic identity and a cultural tradition, it's a source of pride."

The powerful response highlights a conundrum. Most jazz musicians, listeners and critics in the U.S. have long recognized basic signposts to the intersections of Latin music and American jazz: trumpeter Dizzy Gillespie's work with the Cuban bandleader Frank "Machito" Grillo and with percussionist Chano Pozo in the 1940s; Louis Armstrong's 1930 recording of the Cuban song "El Manisero"; Creole pianist Jelly Roll Morton's even-earlier assertion that jazz had to have a "Spanish tinge" to be authentic. Still, Afro Latin culture had widely been regarded as an exotic "other."

Latin-jazz musicians have celebrated the acceptance in recent years of their music into the broader mainstream jazz canon. At the Grammys, the Best Latin Jazz Performance category was established in 1994, and renamed Best Latin Jazz Album in 2000. Also, there exists a specific awards showcase for Latin music, the Latin Grammy Awards, established in 2000. But many Latin musicians feel that's a ghetto. "There are no two Oscars," said Mr. Palmieri, "no two Emmys." Many within the Latin jazz community feels it important to retain a specific identity not just as a cultural signifier within the mainstream but, especially in the case of the Grammys, to achieve commercial viability. Sanabria noted since that Latin-jazz recordings will mostly compete within the overall jazz category, "We don't have a chance in hell now."

On the phone from his office yesterday, Blue Note Records president Bruce Lundvall-who signed the great Cuban band Irakere to Columbia Records; their 1979 Best Latin Recording Grammy led to American followings for pianist Chucho Valdés and saxophonist Paquito D'Rivera, among others-groaned as he assessed the new Grammy system. "It is a terrible mistake to eliminate this very valid category," he said. "It should be reinstated immediately. Grammy recognition was absolutely the key ingredient in building an American market for one of the most exciting avenues of new music, and I don't know how we would have done it otherwise."

Portnow defended his organization's decisions Monday night, saying that the changes were carefully considered-and that they needn't be permanent. "If you don't like what they decided," he said, "throw the bums out of office." He drew a comparison to Congress: "They didn't ask you how you felt about the budget, they just voted on your behalf."

Perhaps the analogy was unfortunate, because Washburne seized on it. "It's almost like what the Tea Party wants to do-repeal all the things that have happened in the past few decades." He challenged Portnow's determination that the "collage" created by 109 categories was problematic. "Of course it's a collage," Washburne fired back. "That's what we are."

* * *
The following is from Bobby Sanabria:
* * *

Below is a timeline I've constructed that I think puts things in perspective...

2001 - Progressive Jazz Rock group Steely Dan wins Record of the Year Grammy over Eminem. Hip Hop. Pop music industry/community is in shock

1990's - to present - Small independent record companies (mostly begun by artists themselves) steadily begin to demonstrate their presence as nominees and winners of Grammys culminating with Multi-Cultural jazz musician Esperanza Spalding's win for Best New Artist over teenage pop sensation Justin Bieber.

2008 - Jazz legend Herbie Hancock wins Record of the Year Grammy over Kanye West. West's and his management are incensed. Hip Hop, Pop music industry/community again in shock. NARAS begins secret meetings in earnest after the telecast to explore the possibility of downsizing the Grammy Awards because they have become "devalued" because according to current President Neil Portnow, "The Grammys have become a huge collage." President Portnow's own words at NYC Chapter Emergency Meeting, Monday April 11, 2011 - 6pm at New York Institute of Technology Auditorium 61st St. & Broadway, NYC.

2011 - Indie record labels are nominated and win more Grammys than at anytime in the history of the Grammy Awards. Multi-Cultural jazz artist Esperanza Spalding wins Best New Artist Grammy over teenage Pop sensation Justin Bieber. It is the first time a musician wins over an entertainer. Pop music industry and the World in general are in a state of shock.

Immediately after the Grammy telecast Stephen Stoute, an industry insider and employee of Jay Z takes out a FULL one page ad in the New York Times blasting NARAS stating that they are out of touch with current popular society and must be RESTRUCTURED. He insults Esperanza Spalding and the Grammy membership. It was the membership who gave her the win for her incredible musicianship. THE FIRST TIME A MUSICIAN IS CHOSEN OVER AN ENTERTAINER IN THIS CATEGORY. NARAS DOES NOT offer a rebuttal to defend the Academy and/or its members.

Justin Bieber fans begin an anti-Esperanza Spalding campaign that goes viral globally insulting her and Academy thus insulting the membership. Again, no response from the Academy.

Legendary Hip Hop and R&B Producer Jimmy Jam (of Jimmy Jam and Terry Lewis) who is second in command to President Neil Portnow approves ALL category cuts in secret meetings with Grammy Board members in the Los Angeles Mother chapter. The question begs to be asked, how is this person even a Grammy executive? Is there not a conflict of interest?

Black Wednesday - April 6, 2011 - NARAS sends out a mass e-mail to its membership stating to follow a link for a major announcement regarding the Grammys. The announcement states that a RESTRUCTURING (DOWNSIZING) OF THE GRAMYS HAS BEEN DECIDED UPON. The original 108 categories are now cut by 31. Some categories are CONSOLIDATED into unrelated categories thus giving no chance for independent record companies to compete. For example: Latin Jazz and Contemporary Jazz (two completely different styles) are now consolidated into JUST Best Jazz Recording and Best Large Jazz Ensemble, thus giving Latin Jazz artists virtually no chance to compete for a Grammy. Other categories like Hawaiian, Polka, Zydeco, Cajun, etc. and as a final insult, Native American, are cut. MOST OF THE CUT CATEGORIES ARE ETHNIC CATEGORIES. THE DECISON BY NARAS IS MADE IN SECRET WITHOUT CONSULTING ANY OF ITS MEMBERSHIP OR CITY CHAPTER BOARD OF GOVERNORS.

Music community, particularly Latin Jazz and Jazz community are in shock.

Realizing there will be flak, NARAS decides on a 13 city damage control/emergency tour to all major NARAS Chapter cities to explain how the NEW RESTRUCTURING gives PARITY to all artists and that no one is shut out from competing.

APRIL 11, 2011 - NARAS A FEW DAYS EARLIER sends out a mass e-mail inviting its NYC membership to come to the first meeting on Monday April 11 at 6pm at the New York Institute of Technology auditorium located at 1871 Broadway at 61rst. The e-mail specifically states that NON-MEMBERS are invited as well. THERE IS ABSOLUTLEY NO ANNOUNCEMENT IN THE E-MAIL THAT AN RSVP IS REQUIRED.

Members and non-members show up as do Larry Rohter of the NY Times, Monika Fabian of the Daily News, and Larry Blumenfeld of The Wall St, Journal and the The Village Voice who were contacted the night before, (Daily News contacted the day of) by yours truly. WE ARE ALL TOLD THAT IF WE DIDN'T RSVP WE CAN'T GET IN. EDDIE PALMIERI 9 TIME GRAMMY WINNER AND FORMER BOARD OF GOVENOR MEMBER AND THE PERSON WHO FOUGHT FOR 17 YEARS TO GET LATIN JAZZ RECOGNIZED BY NARAS AS WELL AS LARRY HARLOW, LARAS LIFETIME ACHIEVEMENT AWARD WINNER AND 3 TIME GRAMMY NOMINEE AND THE PERSON RESPONSIBLE FOR GETTING SALSA RECOGNIZED AS A GRAMMY CATEGORY TOLD TO WAIT OUTSIDE, THAT THEY/WE CAN'T GET IN UNLESS THEY/WE RSVP'D. BOB SANCHO SHOWS PRINT OUT OF E-MAIL INVITE TO NARAS REPRESENTATIVE PROVING THERE WAS NO RSVP REQUIREMENT. LARRY LEAVES IN DISGUST STATING OUT LOUD "THIS USE TO BE A CLASSY ORGANIZATION". A current Member of the Board of Governors arrives and greets/speaks to Paquito D'Rivera's wife (Brenda Feliciano). Brenda informs her of the situation. The Board of Governor representative speaks to those in charge and insists to "Let these people in, they are NARAS members." A representative of NARAS FINALLY informs me on the side that somehow something got screwed up. Some received RSVP invites, others (like us) did not. She apologizes and informs me that we will all be finally let in after the RSVP"s are let in first. After two opening questions about Blues and Hip Hop categories from audience attendees entire comments made by attending members are about the elimination of the Latin jazz and Contemporary music categories. FILMING OR PHOTOGARHY IS NOT ALLOWED BY NARAS AND SECURITY GUARD TRIES TO REMOVE ALFIE ALVARADO WHO HAS A VIDEO CAMERA AT THE READY. NARAS THINKS TWICE AFTER NOTING THAT REPORTERS ARE PRESENT AND TAKING NOTES. MS. ALVARADO PREVAILS AND VIDEOS THE ENTIRE APPORXIMATELY THREE HOUR MEETING BUT IS WARNED BY NARAS EXECUTIVES FROM THE NYC CHAPTER TO NOT POST ANYTHING ON YOUTUBE. PHOTOGRAPHER LENA ADASHEVA SECRETLY FILMS WHAT HAPPENS IN LOBBY WITH A FLIP PHONE AND RECORDS AUDIO OF MEETING AND LATER POSTS SHORT EDITED VERSION ON YOUTUBE.

Public outcry begins as musicians, fans, and the general public begin to e-mail NARAS President Portnow at neil@grammy.com <http://us.mc651.mail.yahoo.com/mc/compose?to=neil@grammy.com>

Next Grammy Chapter meeting for so called explanation of NEW Grammy RESTRUCTURING by NARAS President Neil Portnow scheduled for May 10th in San Francisco. If you receive an invite NO MATTER WHAT, RSVP. Meeting is open to non-Grammy members. Call the San Francisco NARAS Chapter offices if you wish to attend and get an invite.

The Recording Academy

San Francisco Chapter

1702 Union Street
San Francisco, CA 94123
Ph: 415.749.0779
Fx: 415.749.1780
*/sanfrancisco@grammy.com/* <http://us.mc651.mail.yahoo.com/mc/compose?to=sanfrancisco@grammy.com>

For a full accounting of what went down at the NYC Chapter meeting with President Portnow go to...

http://www.chipboaz.com/blog/2011/04/14/bobby-sanabria-on-the-41111-new-york-naras-meeting-the-latin-jazz-grammy/

Ache' and in solidarity,

Bobby Sanabria

3.15.2011

Música colombiana en la radio gringa/Colombian music on NPR

The NPR program alt.latino was in Colombia recently along with the PBS Music Voyager folks, and made three radio episodes:

El programa radial alt.latino estuvo en Colombia recientemente con los del programa de televisión Music Voyager y sacaron 3 programas sobre la música contemporánea colombiana:

Obviamente, en inglés/In English, of course...

1st episode/1er programa: Herencia de Timbiquí, La Mojarra Eléctrica & Andrea Echeverri
2do programa/2nd episode: La Mojarra Eléctrica, Bomba Estéreo, Aterciopelados, Herencia de Timbiquí, Vilmar Soler (vallenatero del programa Canta Conmigo, programa para desmobilizados/vallenato singer for a program for demobilized paramilitaries and guerrillas), Totó la Momposina
#3: Systema Solar, Iván Benavides (Interview/Entrevista), ChocQuibTown, Juanes (Entrevista/Interview), Puerto Candelaria, Joe Arroyo

Video here/aquí

3.05.2011

La venganza del picó...

En una imprevista guerra sonora entre Carlos Vives y un equipo de sonido no nombrado en pleno Carnaval de Barranquilla, la fusionada nostalgia folklórica de Vives pierde un punto ante la estrepitosa y desmedida exuberancia popular:

De El Tiempo:

Carlos Vives tuvo que terminar antes su concierto por ruido callejero

Por: BARRANQUILLA | 3:34 a.m. |

El alto volumen de los equipos de los carros impidió que el artista continuara su show.

Nadie pudo controlar a los dueños de los vehículos parqueados a las afueras del Hotel del Prado; el artista llevaba hora y media de show, pero no pudo continuar debido al ruido callejero.

Todavía con los cables del monitoreo enganchados en el cuerpo, luego de hora y media de show, regresaron al camerino todos y cada uno de los integrantes de La Provincia, incluido el mismo Carlos Vives, quienes por culpa de los ensordecedores ruidos de los equipos de sonido de los vehículos que se parquearon a las afueras del Hotel del Prado, en Barranquilla, no pudieron concluir el concierto de este viernes (Vea acá más noticias relacionadas con el Carnaval de Barranquilla).

El regguetón y los ritmos electrónicos provenientes de la calle zumbaban cada vez que el samario intentaba dirigirse, entre canción y canción, a las cerca de tres mil personas que pagaron la boleta para verlo en la apertura del Carnaval 2011.

A las 10:35 de la noche las notas de la canción 'Sí, sí, sí' prendieron la fiesta así como por más de 11 temas coreados por el público y que contaron con una entrega total del artista.

La paciencia se colmó después de la canción 'Canté', alusiva al Carnaval y a distintas fiestas colombianas. "Hey vamos a decirle al man del picó de afuera que por lo menos se ponga en el mismo tono de nosotros pa' aprovéchalo", dijo el cantante para quejarse de la falta de garantías para seguir presentándose.

Luego de varios minutos, mientras Andrés Castro y Carlos Huertas, de La Provincia, intentaban mantener la atención con improvisadas notas de guitarra, la agrupación se bajó de la tarima sin siquiera poder despedirse de los asistentes que observaban el concierto, incluido el mismo alcalde de Barranquilla, Alejandro Char Chaljub.

"Es algo que nunca nos había pasado en los más de 60 países que hemos recorrido en estos años", dijo el acordeonero Egidio Cuadrado.

Vives, por su parte, aseguró que seguía contento de haber podido estar en el Carnaval, pero vuelve a irse de Barranquilla con un mal sabor de boca como en 2006 cuando le criticaron en Barranquilla luego de su presentación en una carroza en la Batalla de Flores de aquel entonces. Se dijo que los atrasos del desfile corrieron por cuenta de su montaje desmedido.

"Sigo creyendo en Barranquilla, porque al menos pude estar aquí y a pesar de lo sucedido la gente estuvo conmigo. Para mí la ciudad es muy importante", declaró minutos después de abandonar la tarima.

"Faltaba al menos media hora de show", agregó su esposa Claudia Elena Vásquez. A la 1:30 a.m. la cartelera del Hotel del Prado continuó con la agrupación de Los Betos y todavía faltaban Sensación Orquesta, Elvis Crespo, Tito Nieves, Iván Villazón y Jorge Celedón.

Sobre la aglomeración de la gente a las afueras del hotel, a lo que popularmente se le conoce como el 'Carnaval del Pradito', se le había preguntado el pasado el lunes en rueda de prensa al empresario responsable del evento, Ludwing Landazabal, y este respondió que sería controlada por las autoridades porque en 2010 la situación por poco deja una pared desplomada.

Sin embargo, control sobre los que ponen a todo volumen la música de los vehículos y se parquean en sitios públicos fue lo que más faltó.

El público, que pagó cada entrada a 190 mil pesos, se quejó también de que en la boleta se anunció que las orquestas iniciaban a las 6 de la tarde, pero la primera presentación fue la de Carlvos Vives, con varias horas de retardo a lo prometido.

Este, sin duda, pasará a la historia del cantante como uno de los más desastrosos de su carrera incluido el de sus inicios en Santa Marta luego de protagonizar la serie Escalona.

Aquella vez fue telonero de Chayanne y solo hasta las 4 de la madrugada pudo presentarse en el estadio Eduardo Santos con unos tantos en el público. Este viernes, en Barranquilla, ni 'La gota fría', ni 'La tierra del olvido' fueron escuchadas.

BARRANQUILLA

1.30.2011

"Marcando Territorio" - Jóvenes porteños protestan la violencia y amenzasa de desalojo en el B/Lleras

Esto desde la pastoral Afrocaleña:

Los invitamos a ver el video Marcando Territorio, un mensaje de resistencia de los jóvenes del barrio Lleras de Buenaventura.
El barrio Lleras, ubicado en zona de baja mar (manglar) en Buenaventura, ha sido considerado en los últimos años como el barrio más violento de Buenaventura, se conoce por fuentes oficiales de presencia de grupos armados al margen de la ley. En el documental Los Pacificadores del Pacifico 1, se describe gran parte de la problemática. La violencia es un problema grave que afecta significativamente la vida, no sólo de sus moradores sino de toda Buenaventura. Es difícil llegar a entender en su totalidad la complejidad del problema.

Toda esta situación ha llevado a que los jóvenes reflexionen sobre el hecho y que tomen acciones, y no me refiero precisamente a la violencia, porque en la dura adversidad se destacan cientos de artistas con el potencial para triunfar en la música y que hoy lideran una lucha no violenta, de resistencia en contra de aquellos que quieren oprimirlos. Ellos son atacados diariamente con armas de fuego y la indiferencia, ellos se defienden y atacan con la música en la defensa de sus derechos. He aquí una muestra.

1.28.2011

Surge escuela de música en el puerto de Buenaventura

De El País:

Desde febrero de este año iniciará actividades la escuela de música del Pacífico como una alternativa de formación de hombres y mujeres de la región.

La escuela se constituye en la primera entidad en proponer la formación formal en educación musical para niños, jóvenes y adultos con una variada oferta académica.

"Vamos a contar con la carrera técnica laboral en música, algo muy novedoso pues permite la formación técnica de muchas personas que tienen conocimientos de la música de forma empírica", dijo Mónica Correa, directora de la escuela.

Esta carrera tendrá una duración de seis semestres con el aval respectivo del Ministerio de Educación.
La misma proporcionará la oportunidad a muchos musicos y amantes de la misma de acceder a actividades laborales en muchos campos.

Correa especialista en música viene de dirigir por muchos años el proceso de Batuta en la ciudad así como de promocionar el surgimiento de grupos corales de la música del Pacífico.

Más de 200 niños de todo el Pacífico colombiano surgieron como interpretes de la música de la región gracias al proyecto de "Cantando la Ley 70", del cual fue artífice la educadora musical Mónica Correa.

CFP: Music and Everyday Life

Music and Everyday Life

2011 Midwest Chapter of the Society for Ethnomusicology Annual Meeting

Bowling Green State University, Bowling Green, Ohio, April 8-10, 2011

Keynote Speaker: Dr. Harris M. Berger, Texas A&M University

The Midwest Chapter of the Society for Ethnomusicology (MIDSEM) will hold its annual meeting April 8-10, 2011. MIDSEM welcomes proposals from SEM members, students, teachers, and anyone working in related fields. Submissions from musicology, music theory, communications, media studies, folklore, performance studies, and popular culture studies are particularly welcomed. Regional SEM meetings offer a unique opportunity for students to present works in progress and gain valuable conference experience and MIDSEM particularly encourages graduate and undergraduate students to submit abstracts. The JaFran Jones Award is awarded annually to the best student paper.

The conference theme for the 2011 meeting will be “Music and Everyday Life.” We especially encourage proposals related to the following themes:

Portable Music Technologies
Phenomenological Ethnomusicology
Music-Making and the Maintenance of Community
Mediated Performance Technologies (Karaoke, Guitar Hero, DDR, etc.)
Circulation of Music-Related Commodities

Informal Music Pedagogies

Proposals on other topics relevant to ethnomusicology are also welcome. We welcome submissions for scholarly papers (20-minute presentation, 10-minute discussion immediately following), organized panels of three or four papers, poster sessions, lecture-demonstrations, film/video screenings, or workshops.

Paper proposals should include an abstract of no more than 250 words; panel proposals should include a 250-word abstract for each paper plus a 200-word panel abstract. Please include with your proposal: the name(s) of presenter(s), institutional affiliation, title of presentation, format of presentation (paper, panel, poster, workshop, etc.), A/V equipment requirements, e-mail address, and phone number. These should be sent by e-mail to: Jeremy Wallach, MIDSEM President, jeremyw@bgsu.edu, with the exact subject line: MIDSEM 2011 Proposal Submission.

Deadline: Tuesday, February 1, 2011, 11:59 PM, Eastern Standard Time

The program committee will notify participants of acceptances by February 20, 2011.

Program Committee, MIDSEM 2011: Jeremy Wallach (Chair), Kate Brucher, Sonja Downing, David Harnish, Jesse Johnston, David McDonald, Katherine Meizel, Ruth Rosenberg.

For more information, please contact:

Jeremy Wallach
Associate Professor
Department of Popular Culture
Bowling Green State University
Bowling Green, Ohio 43403-0190
(419) 372-8204
fax (419) 372-2577
jeremyw@bgsu.edu

1.23.2011

RIP Eugenio Arango "Totico" QEPD

Que descanse en paz, o que rumbee en el cielo

Here's an obituary from worldmusiccentral By Les Moncada:

Influential singer and percussionist Eugenio Arango “Totico” died Friday, January 21st in New York. He was a well known vocalist, who recorded Patato y Totico, a seminal Cuban rumba album in 1967, together with his boyhood friend Carlos ‘Patato’ Valdes.

Totico was a legend and well known as a rumbero, and individual that had the knowledge and ability to play, sing and dance the Cuban rumba rhythms of guaguancó, yambú and rumba columbia. Totico was also an akpuón, a lead singer for Afro-Cuban santeria ceremonies.

Totico was know for his quinto conga drumming style and his rumba singing. Totico recorded a legendary album that is a classic for all rumberos and drummers with the famed conga player/dancer Carlos “Patato” Valdes entitled Patato and Totico. Patato y Totico featured percussionist Carlos “Patato” Valdés on congas and Eugenio “Totico” Arango on vocals and congas, together with the legendary blind tresero (tres guitarist) Arsenio Rodriguez and the late Israel “Cachao” Lopez on bass. Originally released in 1967, Verve Records reissued it on CD in 2004.

Totico was born in Havana, in the Los Sitios barrio (district). After moving to the United States he performed and recorded with artists such as Israel “Cachao” López, Francisco “Kako” Bastar, Carlos “Patato” Valdés and Alfredo Rodríguez.

Totico’s discography includes Patato y Totico (Verve V6-5037, 1967), Totico y sus Rumberos (Montuno 515, 1992), and Sonido Sólido, with Alfredo Rodriguez, Patato and Totico (Top Ten Records 1995).

***
And a review for a classic Totico record, from Totico's MySpace page

NY Times Review: (c) Robert Palmer
Published: August 14, 1981

To many New Yorkers, summer music is the music people play on the front steps of apartment buildings and in the city's parks, music that usually involves one or two conga drums, some other percussion instruments and singing, primarily in Spanish. Some summer strollers and joggers consider street-corner Latin music a nuisance, but it has a rich history and is often a singular blend of the staunchest traditionalism and more recent influences. It is rarely recorded, and it has probably never been recorded as winningly as on ''Totico y Sus Rumberos,'' a new album on the Montuno label.

Totico is Eugenio F. Arango, a native of Havana who has lived in New York for a number of years but still sings in the forcefully fluid style of the great Cuban vocalists. He most frequently performs music that derives directly from the rituals of Santeria, the African-derived religions that still flourish in Cuba, though he is also at home in more popular idioms.

The ''rumberos'' he has assembled for his album include expert players of the bata, the Nigerian drum associated with Santeria rituals. But except for a couple of religious chants, the music is street-corner rumba, sung with much feeling and exquisite musicality by Totico and backed by a lusty vocal chorus and some exceptionally fancy percussion, with Andy Gonzalez's string bass added as an anchor.

One selection on the album is a kind of summation of New York as the ultimate cultural melting pot. It is ''What's Your Name?'' the familiar rock-and-roll hit from the 1950's, and Totico and his producer, Rene Lopez, have given it a subtitle: ''Doo-Whop Bata Rumba.''

They have taken the original rock-and-roll song, sung it in the street-corner style that is usually spelled ''doo wop,'' put a rumba rhythm to it and added cross-rhythms on the bata drums. The result is one of the most striking examples of New York summer music to be found on records. ''Totico y Sus Rumberos'' is available in many shops or or call Montuno Records, 840-0580. Robert Palmer
***
Audio:
"Agua que va caer" A classic of summertime NYC rumba in Central Park and Tompkins Square Park back in the day - lots of memories here.

A guaguancó cover of the Brazilian bossa nova "Mas que nada"

Covering the Don and Juan doo-wop piece "What's Your Name?" (Ignore the video).

1.22.2011

http://www.music.pitt.edu/graduate/ethnomusicology/macsem

2011 Mid-Atlantic Chapter of the Society for Ethnomusicology Annual
Meeting and Pre-Conference Symposium on Romani/Gypsy Music at the
University of Pittsburgh, Pittsburgh, PA, March 18-20 2011

Keynote Speaker: Peter Manuel, Professor of Ethnomusicology
CUNY Graduate Center

The Mid-Atlantic Chapter of the Society for Ethnomusicology (MACSEM)
will hold its annual meeting March 19-20, 2011, with a pre-conference
Symposium on Romani/Gypsy Music on March 18, 2011 introducing the University
of Pittsburgh's new 3-week Romani music study abroad program in the
Czech Republic,
Slovakia, Poland, and Ukraine (May/June, 2012) and featuring lectures by

Zuzana Jurkova (Institute of Ethnology, Prague)
Svanibor Pettan (University of Ljubljana, Slovenia)
Petra Gelbart (New York University)

with musical performance by Harmonia http://www.harmoniaband.com/

MACSEM welcomes proposals from SEM members, students,
teachers, and scholars working in related fields.
Submissions from musicology, anthropology, media studies,
folklore, performance studies, and popular culture studies are
particularly welcomed. MACSEM strongly encourages graduate and
undergraduate students to submit abstracts.

Proposals on all topics pertaining to ethnomusicology are welcomed.
Though there is no specific theme for the MACSEM 2011 conference, we
especially encourage proposals relating to the following issues:

* Gender and Sexuality
* Cultural Rights
* Global Music Industries
* Music and Postcolonialism

Submissions include scholarly papers (20-minute presentation,
10-minute discussion), organized panels of three or four papers,
poster sessions, lecture-demonstrations, film/video screenings, and
workshops. Paper proposals consist of a 250-word abstract;
panel proposals must have a 250-word abstract for each
paper plus a 200-word panel abstract. Please include with your
proposal: the name(s) of presenter(s), institutional affiliation,
title of presentation, format of presentation (paper, panel, poster,
workshop, etc.), A/V equipment requirements, e-mail address, and phone
number. Please e-mail all information to:

Adriana Helbig, anh59@pitt.edu, MACSEM 2011 program committee
and local arrangements committee chair, with the subject line:
MACSEM 2011 Proposal Submission.

Deadline: January 25, 2011

The program committee will notify participants of acceptances by
February 8, 2011.

Program Committee, MACSEM 2011: Adriana Helbig (Chair), Atesh Sonneborn,
Andrew Weintraub, Emily Pinkerton, Andrew Eisenberg, Sylvia Alajaji, Max
Katz, Yoko Suzuki, Colter Harper

Student Committee, MACSEM 2011: Benjamin Pachter, Colter Harper, Indra
Ridwan, Yoko Suzuki, Yuko Eguchi, Stephen Hager, Alison Decker, Da Lin,
Jungwon Kim, Meng Ren, Oyebade Ajibola Dosunmu, Charles Lwanga, Brandi Neal

For more information, please contact:

Adriana Helbig
Assistant Professor of Music
University of Pittsburgh
110 Music Building
Pittsburgh, PA 15260
412-624-4193
anh59@pitt.edu

1.18.2011

Premio Otto Mayer-Serra de Investigación Musical/Otto Mayer-Serra Award for Music Research

En castellano abajo
Abaixo em portugûes

CALL FOR SUBMISSIONS

The Otto Mayer-Serra Award for Music Research

The University of California Riverside and the Center for Iberian and Latin-
American Music (CILAM) call for submissions for the Otto Mayer-Serra Award,
given annually for the best unpublished article on Latin American music.

Award

A single, undivided award of 1,500 USD; the award-winning essay will be
published in the Latin American Music Review.

Eligibility

All scholars are eligible to apply, regardless of age, nationality or place of
residence.

Administration

The winner will be selected by a committee of outside reviewers, nominated by
CILAM. The names of the committee members will be made public after a
decision has been reached. The committee’s decision is final and may not be
appealed. If no submission is deemed worthy the prize may not be awarded. The
committee may disqualify any participant who does not meet the requirements
established by this call.

Application process

A completed application will consist of the following:

1. Authors of articles to be considered for the award should submit one
complete copy in word doc or pdf format as an attachment to an email
addressed to Benicia Jacob (benicia.jacob@ucr.edu). Articles should not exceed
40 pages, inclusive of references, illustrations, and musical examples. All
material should be double-spaced, in 12-point Times New Roman Font, with
margins of at least one inch.

2. To allow for the anonymous review of submissions, the author’s name should
appear only in the cover letter, which should also contain the full title of the
submission and all relevant contact information. Authors should avoid
identifying themselves in the manuscript itself (title page, header, notes) or in
the file information.

3. The article must be unpublished and written in Spanish or Portuguese and will
be published correspondingly in either language.
Application deadline: April 15, 2011. The winner of the prize will be notified in
June 2011.

After being notified, the winning author will submit publication-quality musical
examples and illustrations in TIFF (300dpi) and the text in Word format. The
author will be responsible for arranging the corresponding permits for
publication.

The Otto Mayer-Serra Prize for Music Research was sponsored in 2008 by
Instrumenta Oaxaca, Gobierno del Estado de Oaxaca, Fundación para las Letras
Mexicanas, Coordinación de Difusión Cultural UNAM, Instituto Nacional de
Bellas Artes and Pauta.

CONVOCATORIA

PREMIO OTTO MAYER-SERRA DE INVESTIGACIÓN MUSICAL

La Universidad de California Riverside y el Centro para la Música Ibérica y
Latinoamericana (CILAM) convocan a la presentación de artículos para el Premio
Internacional de Investigación Musical Otto Mayer-Serra, otorgado al mejor
artículo sobre música latinoamericana.

Premio

El premio, único e indivisible, consiste en un monto de 1,500 Dólares y la
publicación del texto en la Latin American Music Review/Revista de Música
Latinoamericana.

Bases

El concurso tiene carácter internacional. Podrán participar todos los autores, sin
importar su edad, lugar de residencia o nacionalidad, que en forma individual
presenten un ensayo sobre la música de América Latina.

El ensayo deberá ser inédito y no premiado con anterioridad.

El jurado será nombrado por CILAM y estará integrado por investigadores de
reconocido prestigio internacional. La composición del jurado se hará pública
hasta la emisión del fallo y su decisión será inapelable. Es facultad del jurado
descalificar cualquier trabajo que no cumpla con alguno de los requisitos
marcados por esta convocatoria. El premio podrá ser declarado desierto.

Procedimiento

1. Los trabajos deberán ser enviados en formato Word o pdf, anexos a un correo
electrónico dirigido a Benicia Jacob (benicia.jacob@ucr.edu). El texto deberá
tener una extensión máxima de 40 cuartillas a doble espacio, Times New
Roman, 12 Pts., márgenes no menores de 2.5 cm, incluyendo ejemplos
musicales, gráficos, tablas, referencias y apéndices.

2. Para permitir la revisión anónima de los textos el nombre del autor aparecerá
solamente en el mensaje de correo electrónico, el cual deberá contener también
el título del artículo y todos los datos necesarios para establecer contacto con el
autor. Los autores deberán evitar identificarse tanto en el texto del artículo
como en el documento en general (encabezado, notas, etc.).

3. El texto será enviado en español o en portugués y, de ganar, será publicado
como tal.

La fecha límite de recepción de trabajos es el 15 de abril de 2011. El resultado
del concurso se dará a conocer durante el mes de junio de 2011.

En caso de ser declarado ganador, los gráficos y ejemplos musicales
correspondientes al trabajo deberán ser entregados en formato TIFF (300 dpi) y
los archivos de texto en formato Word. El autor será responsable de tramitar los
permisos de reproducción de música y de gráficos.

El Premio Internacional de Investigación Musical Otto Mayer-Serra fue
patrocinado en 2008 por Instrumenta Oaxaca, Gobierno del Estado de Oaxaca,
Fundación para las Letras Mexicanas, Coordinación de Difusión Cultural UNAM,
Instituto Nacional de Bellas Artes y la revista Pauta.

CONVOCATÓRIA

PRÊMIO OTTO MAYER-SERRA DE PESQUISA EM MÚSICA

A Universidade da Califórnia em Riverside e o Centro para a Música Ibérica e
Latino-Americana (CILAM) abrem uma chamada para a apresentação de artigos
para o Prêmio Internacional de Pesquisa em Música Otto Mayer-Serra, outorgado
ao melhor artigo sobre música latino-americana.

Prêmio

O prêmio, único e indivisível, consiste em uma quantia de 1.500 Dólares e a
publicação do texto na Latin American Music Review/Revista de Música
Latinoamericana.

Bases

O concurso tem caráter internacional. Poderão participar todos os autores, sem
importar idade, residência ou nacionalidade, que de maneira individual
apresentem um ensaio sobre a música da América Latina.

O ensaio deverá ser inédito e não premiado anteriormente.

A comissão julgadora será nomeada pelo CILAM e será integrada por
investigadores de reconhecido prestígio internacional. A decisão da comissão
julgadora será inapelável. Cabe à comissão julgadora desqualificar qualquer
trabalho que não cumpra com os requisitos delineados nesta convocatória. O
prêmio poderá não ser atribuído.

Procedimentos

1. Os trabalhos deverão ser enviados em formato Word ou pdf, anexos a um e-
mail dirigido a Benicia Jacob (benicia.jacob@ucr.edu). O texto deverá ter uma
extensão máxima de 40 pautas em espaçamento duplo, fonte Times New
Roman, 12 Pts., margens não menores do que 2.5 cm, incluindo exemplos
musicais, imagens, tabelas, referências e apêndices.

2. Para permitir a revisão anônima dos textos, o nome do autor aparecerá
somente no corpo do e-mail, o qual deverá conter também o título do artigo e
todos os dados necessários para estabelecer contato com o autor. Os autores
deverão evitar identificar-se tanto no texto do artigo como no documento em
geral (cabeçalho, notas, etc.).

3. O texto será enviado em espanhol ou em português e, caso seja o vencedor,
será publicado como tal.

A data-limite de recepção dos trabalhos é 15 de abril de 2011. O resultado do
concurso será dado a conhecer durante o mês de junho de 2011.

Caso seja declarado vencedor, o candidato deverá enviar as imagens e exemplos
musicais correspondentes ao trabalho em formato TIFF (300 dpi) e os arquivos
de texto em formato Word. O autor será responsável por obter as autorizações
de reprodução de música e imagens.

O Prêmio Internacional de Pesquisa em Música Otto Mayer-Serra foi patrocinado
em 2008 por Instrumenta Oaxaca, Governo do Estado de Oaxaca, Fundação para
as Letras Mexicanas, Coordenação de Difusão Cultural UNAM, Instituto Nacional
de Belas Artes e a revista Pauta.

1.09.2011

NY Times: 104 years in mash-ups

From Charles Ives and Pierre Scaeffer to Remix.vg, DJ Hero, and Girl Talk.
http://www.nytimes.com/interactive/2011/01/09/magazine/mashup-timeline.html?ref=magazine

also: a history (and brief manifesto) on the headphone:
http://www.nytimes.com/2011/01/09/magazine/09FOB-medium-t.html?ref=magazine

Revista Shock - Historia del picó champetero cartagenero (c/ música)

El nuevo evangelio picotero. Guía Shock de la Champeta y el Picó

Se trata de un ritmo muy joven, un niño genio que está creciendo, adquiriendo nuevos poderes, y que nos dará muchas más sorpresas en el futuro. Una guía poderosa pa’ poner la música a tronar y a la pareja a afinar paso. ¡Suénalo!

Nació en un lugar inesperado, en un momento inesperado y de la manera más inesperada. Hace unos 30 años, en lo más profundo de la Africolombia y de nuestra costa Caribe, nació un bebe musical, punketo de corazón: la champeta criolla, uno de los ritmos más originales, censurados e incomprendidos que haya parido nuestra tierra, y el único nuevo ritmo que ha dado nuestra nación cumbiera en las últimas décadas del siglo XX.

[Artículo sigue aquí: http://shock.com.co/actualidad/musica/articuloshock-el-nuevo-evangelio-picotero-guia-shock-de-champeta-y-el-pico ]

Música:
Picó El Timbalero: "La Escopeta"

El Guajiro El Tiraflechas: "Lawose Oh Yeye"

El Indio Mayeye El Cucu El Sibanicu
(Con el supuesto primer tema africano escuchado en Colombia en el movimiento picotero)

Afro-Colombin fusion music in Montreal

Says (Bogotano) Roberto López: "This year, when I attended WOMEX in Copenhagen, the word around was that Colombian music is the next great wave in world music.”

http://www.montrealmirror.com/wp/2011/01/06/music/the-most-from-the-coast/

12.15.2010

Mis discos de diciembre: Vos me debés y La fuga

Siempre diciembre es la época cuando se prenden los equipos en Colombia, sobre todo en el litoral Pacífico. Algunos discos que ojalá sonarán en cualquier equipo donde yo esté en este diciembre.

Chévere que el currulao está empezando a tener sentido de pertenencia en Cali, tanto así que los salseros de Son de Cali han sacado un currulao:

También para tirar risa, el nerdo sabroso Jiggy Drama ha sacado un disco que una enciclopedia del soble sentido - La fuga. ("Quieres ver gas o ver gotas?")

De ñapa, aunque sea más viejo. Ya que estamos riendo, el payaso príncipe del rock colombiano, Velandia y La Tigra:

10.17.2011

6.05.2011

Apple iCloud Release Puts Music Streaming Startups In Spotlight

5.23.2011

5.19.2011

5.16.2011

4.26.2011

4.22.2011

3.15.2011

3.05.2011

1.30.2011

1.28.2011

1.23.2011

1.22.2011

1.18.2011

1.09.2011

12.15.2010

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