Passport Teacher’s Resource Guide

TO CULTURE
200
9 -20
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IME PERFORMANCE

Latin Jazz
Paquito D’Rivera
Photo: Alberto Romeu

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in part, by
just imagine
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Through energy efficiency and con-
servation, kids can help preserve our
planet’s rich natural resources and
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Tip of the Day
It is entertaining to listen to music
(like the music of Paquito D’Rivera)
on your television, radio, stereo, or
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of electricity these devices require to
function, turn them off when you
leave a room.
Made possible through the generosity of
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CONTENTS
On Stage
In the Spotlight
Music Talk
A Brief History of Latin Jazz
Before and After Activities
Teaching Science
Through Music
Delving Deeper
2 Passport to culture • Paquito D’Rivera
Arts Education and You
The New Jersey Performing Arts Center (NJPAC) Arts Education Department presents the
12th season of the Verizon Passport to Culture SchoolTime Performance Series.
With Passport to Culture, Verizon and NJPAC open up a world of culture to you and
your students, offering the best in live performance from a wide diversity of traditions
and disciplines. At NJPAC’s state-of-the-art facility in Newark, with support from
Verizon, the SchoolTime Performance Series enriches the lives of New Jersey’s students
and teachers by inviting them to see, feel, and hear the joy of artistic expression. The
exciting roster of productions features outstanding New Jersey companies as well as
performers of national and international renown. Meet-the-artist sessions and NJPAC
tours are available to expand the arts adventure.
The Verizon Passport to Culture SchoolTime Performance Series is one of many current
arts education offerings at NJPAC. Others include:
• Professional Development Workshops that support the use of the arts
to enhance classroom curriculum
• Arts Academy school residency programs in dance, theater and literature,
and Early Learning Through the Arts – the NJ Wolf Trap Program
• After-school residencies with United Way agencies
In association with statewide arts organizations, educational institutions, and generous
funders, the Arts Education Department sponsors the following arts training programs:
• Wachovia Jazz for Teens
• The All-State Concerts
• The Star-Ledger Scholarship for the Performing Arts
• The Jeffery Carollo Music Scholarship
• Summer Youth Performance Workshop
• Young Artist Institute
• NJPAC/New Jersey Youth Theater Summer Musical Program
Students have the opportunity to audition for admission to NJPAC’s arts training
programs during NJPAC’s annual Young Artist Talent Search.
Detailed information on these programs is available online at njpac.org. Click on
Education. The Teacher’s Resource Guide and additional activities and resources for
each production in the Verizon Passport to Culture SchoolTime Series are also online.
Click on Education, then on Performances. Scroll down to “Download Teacher Guide
in Adobe Acrobat PDF format” and select desired guide.
Permission is granted to copy this Teacher’s Resource Guide for classes attending the
2009-2010 Verizon Passport to Culture SchoolTime Performance Series. All other rights
reserved.
3
4 To Teachers and Parents
The resource guide accompanying each performance is designed
5
• to maximize students’ enjoyment and appreciation of the performing arts;
• to extend the impact of the performance by providing discussion ideas,
6 activities, and further reading that promote learning across the curriculum;
• to promote arts literacy by expanding students’ knowledge of music, dance,
7 and theater;
• to illustrate that the arts are a legacy reflecting the traditional values,
customs, beliefs, expressions, and reflections of a culture;
7
• to use the arts to teach about the cultures of other people and to celebrate
students’ own heritage through self-expression;
8 • to reinforce the New Jersey Department of Education’s Core
Curriculum Content Standards in the arts.
 On Stage
Photo: Léon Gniwesch
Photo: Andrew Lepley
Cuban saxophonist, clarinetist and
composer Paquito D’Rivera returns
to NJPAC with a new project and a
band he calls Cuban Jazz, the Next
Generation (CJNG). The concert will
feature Latin jazz and “Cubanized”
music that will be sure to engage the
audience’s ears as well as its feet.
Although Paquito co-founded and
co-directed the Cuban super-group
Irakere prior to his coming to the
United States, he has never led a
Cuban band of his own. This is ironic,
considering Paquito has led other
bands that played all Brazilian and all
Argentinean music. Doing something
new and different, however, is an
integral part of Paquito’s artistry. As
Paquito says, “I’m a Gemini, so I like
doing different things all the time −
from writing an opera…to playing
Brahms with Yo-Yo Ma or a samba
with Leny Andrade.” Looking back
is just as important as his desire for
the new, so the CJNG project is also
“coming back to visit the Havana
neighborhood” where Paquito was
raised. This neighborhood is full of
different kinds of music including folk,
classical, jazz, popular, and the many
Afro-Cuban styles of music (and dance)
Passport to culture • Paquito D’Rivera
for which Cuba is internationally
known. All of these sounds fed into the
young musician’s consciousness, along
with the jazz and classical music that
he loved, studied and later incorporated
into his own unique mix.
As one of the strongest music cultures
in Latin America, Cuba boasts music
and musicians that have achieved
prominence and influence the world
over including in Africa where –
beginning in the 1930s – the Cuban
son became a major inspiration for
generations of African pop musicians.
Musicians and groups such as Perez
Prado, Israel “Cachao” Lopez, Los
Muñequitos de Matanzas, Trio
Matamoros, Mongo Santamaria,
Paquito, and many others are the “best
of the best” musicians from a country
where even informal neighborhood jam
sessions (or rumbas) yield extremely
good music and dance.
So be prepared to hear Cuban music
as well as “Cubanized” music. Perhaps
Paquito will “Cubanize” some pieces by
Benny Goodman, the 1930s American
bandleader, clarinetist and “King of
Swing,” whose centenary is being
celebrated worldwide this year. Then
again, you might hear a jazz standard
like On Green Dolphin Street. In the
NJPAC concert, Paquito intends to mix
the traditional with the contemporary
and play the music of Cuban composers
Ernesto Lecuona and composer/
bandleader Ernesto Duarte or possibly
“Cubanized” Mozart like he used to
play with Irakere. CJNG will certainly
perform Paquito’s own compositions
and those created by members of his
ensemble as well as some selections
from his new CD, jaZZ-claZZ, a
combination of jazz, Latino-American
and chamber music styles.
3
In the Spotlight
Born in Havana, Cuba, Paquito
D’Rivera began playing music at the age
of four and immediately showed talent.
His father, a classical saxophonist, was
Paquito’s first teacher. At an early age,
Paquito not only began playing both the
clarinet and saxophone with the Cuban
National Symphony Orchestra, but he
co-founded the Orquesta Cubana de
Musica Moderna. Later, he co-founded
and co-directed the legendary Cuban
band Irakere.
When Paquito left Cuba for political
reasons in the 1980s, he settled in the
U.S., where he immediately became a
jazz star. Since then, he has performed
jazz, classical music and Latin music
internationally. He has won nine
Grammy awards and was the first artist
to win Latin Grammys in both the Latin
jazz and classical categories.
“Richard Padron, on electric and
acoustic guitars, writes music in a very
particular way, using unusual melodic,
rhythmic and harmonic approaches. His
guitar playing is compelling, powerful
and passionate.”
“Charles Flores has the perfect recipe
of classical training, traditional Cuban
sabor and contemporary jazz. He’s got
a very moving, warm and ‘real’ sound
on acoustic bass that shows his love
and respect for the old Cuban school
such as the music of Cachao and other
Cuban masters of the past. I love his
playing!”
“Eric Doop is one of the most reliable
drummers around these days. He has a
great sense of volume and good taste.”
The other CJNG musicians are equally
as accomplished. Pianist Alex Brown
was the 2007 winner in the jazz soloist
category of Downbeat magazine’s
Student Music Awards, and marimba
player Dave Samuels of the Caribbean
Jazz Project is a Grammy award-
winning vibraphonist.

In addition to Paquito on alto

saxophone and clarinet, CJNG features
the sounds of Dave Samuels on vibes
and marimba, Richard Padron on
guitar, Pedrito Martinez on percussion
and vocals, Alex Brown on piano, Eric
Doop on drums, and Charles Flores on
contrabass (acoustic upright bass).

Paquito is almost as well known for his

showmanship and exuberance as for
his music. His descriptions of some of
his CJNG bandmates reveal a bit of his
vibrant personality:

“Pedrito Martínez is a riot! A singer,

dancer and percussionist extraordinaire;
his grace, charisma and showmanship
are out of sight.”
Photo: Andrew Lepley

4 Passport to culture • Paquito D’Rivera

 Music Talk
Afro-Cuban music - Cuban music with
marked elements drawn from African
music.
arranger - a person who writes new
music parts for an existing musical
piece.
bebop - a jazz style, developed in the
late 1940s, that features irregularly
accented, long phrases and sophisticated
harmonies.
jazz - a syncopated style of music that
developed in the United States and
in which improvisational skills and
harmonic structures are explored.
Latino-American music - a variety
of music from all countries in Latin
America (and the Carribean).
mambo - a Cuban musical style
popularized internationally in the 1950s
by Perez Prado.
standard - a piece of pop or jazz music
that is highly regarded and enduringly
popular.
swing - a rhythmic sensation of pull and
momentum found in jazz. It appears
to result partly from the push and
pull between the layers of syncopated
rhythms and the constant underlying
beat.
tango – an Argentinean musical style.

bossa nova - an urban Brazilian music percussion - the beating or striking

style, invented in the 1960s, that
combines samba and American jazz.
bugalú - a 1960s American musical style
that blends jazz with American Rhythm
& Blues (R&B).
charanga - a group composed of piano,
percussion, bass, violins, and flute.
clave - the basic rhythm of Afro-Cuban
music that can be felt as a 2/3 pattern or
a 3/2 pattern; (pl.) the Cuban percussive
instrument consisting of two wood
sticks which are struck together to
create this rhythm.
congero - a person who plays the conga,
a tall, barrel-shaped drum of African
derivation that is played with the hands.
cubop - an early Latin jazz style,
developed by trumpeter Dizzy Gillespie
in the mid 1940s, that combines Latin
rhythms with bebop.
danzon - an early Cuban salon dance
and music based, in part, on the
of a musical instrument; the musical
instruments that produce tones when
struck by the hand or an object.
performance practice - the elements that
an individual or a group combine to
sound a musical style such as combining
Cuban rhythmic concepts with
American jazz instruments; the act of
performing that sound.
ragtime - an American musical genre
predating jazz.
sabor - literally means “flavor” in
Spanish. When a person plays with
sabor, he/she is playing with the right
“flavor.”
salsa - a predominantly Spanish-
Caribbean musical genre, incorporating
multiple styles and forms. Developed by
Cuban and Puerto Rican musicians in
New York in the 1960s and ’70s, salsa
is popular across Latin America and
among Latinos abroad.
samba - a rhythmic dance music from
Photo: Andrew Lepley

contredanse, an 18th-century French Brazil, derived from African and

dance and music form.
ethnic - belonging to a specific cultural
group; relating to people of a specific
country.
hybrid - the result of mixing two
different elements to make one new
element such as jazz and Latin music
combining to form Latin jazz.
European roots, which uses a 2/4 time
signature.
son - the major musical genre of Cuba.
Originating in Oriente province in the
19th century, it is the basis of much
Latin, jazz and salsa music.

Passport to culture • Paquito D’Rivera 5

 Did You Know?
A Brief History of
Latin Jazz
Latin jazz is a mixture of both Latin
music and jazz in varying proportions.
Since the 1940s, the “Latin” part of Latin
jazz specifically refers to Afro-Cuban
rhythms that are mixed with the harmony,
instruments and swing of American jazz
to create a hybrid style. This style is a
natural mix due to the fluid boundaries
between the Caribbean and New Orleans
in the late 19th and early 20th centuries.
The early New Orleans jazz pioneer Jelly
Roll Morton went so far as to say that all
jazz had a “Latin tinge.” In Cuba at this
time, musicians and arrangers were also
discovering the jazz and ragtime music of
New Orleans.
An important moment in the development
of Latin jazz came in the 1940s in New
York City, when the Cuban musician
Mario Bauza and American trumpeter
Dizzy Gillespie played together in the
bands of Cab Calloway and Chick Webb.
They performed in clubs such as La Conga,
the Palladium, the Roseland Ballroom,
and at the Apollo Theater in Harlem,
venues that featured both Caribbean and
jazz music and bands. Bauza introduced
Gillespie to the congero Chano Pozo,
who was to become a pivotal figure in
Gillespie’s cubop or Latin jazz music.
Photo: latinjazzclub.com
Tito Puente and Eddie Palmieri
6 Passport to culture • Paquito D’Rivera
Also in the 1940s, Gillespie, saxophonist
Charlie “Bird” Parker, pianist/composer
percussionist Mongo Santamaria became
influential with his mixed style known as
Thelonious Monk, and others were
inventing what would become known as
Latin soul. This form combined the “jazz
soul” sounds made popular by saxophonist
bebop, by introducing a new and more Nat “Cannonball” Adderley with
complex sense of melody and harmony Afro-Cuban percussion and the flute style
into jazz. Gillespie, in turn, brought these of Cuban charanga groups. Bugalú,which
elements to his Latin jazz experiments mixed Afro-Cuban elements, jazz and
with Chano, who contributed the rhythmic American R& B, also became popular.
concepts such as the Cuban clave. Their Influential musicians such as Willie Colón
collaboration marked the first genuine and Ray Barretto worked in the bugalú
synthesis of Afro-Cuban rhythms and and Latin soul styles before moving on to
American jazz. Together, Gillespie and salsa and Latin jazz, respectively, in the
Chano wrote some of cubop or early Latin 1970s.
jazz’s biggest hits including Manteca, a
song that is still considered a standard.
Other musicians, bands and arrangers
were also developing the Latin jazz
sound in New York during the 1940s
and 1950s. They included the band
Machito and his Afro-Cubans (directed
by Mario Bauza), the arranger/bandleader
Arturo “Chico” O’Farrill and the Puerto
Rican percussionist/arranger/bandleader
Tito Puente. The mambo, popularized
internationally by the Cuban bandleader
Perez Prado in the late 1950s, increased the
Photo: thelatinmusiccruise.com
reach of Latin jazz into American popular
music. Desi Arnaz, featured on the TV
show I Love Lucy, as well as many other
bands and musicians (such as Puerto-
Rican trombonist/composer Juan Tizol,
who wrote such classics as Caravan and
Perdido) provided light versions of Latin
music for a large, national audience also.
Arturo Sandoval
After the Communist dictator Fidel
Castro came to power in Cuba in 1959,
relations between Cuba and the United By the mid 1970s, the group Irakere was
States deteriorated. The free exchange revolutionizing Cuban music in Cuba
of musicians came to a virtual standstill; with its own experiments that mixed
New York and Cuban musicians began jazz, classical music and Cuban folkloric
developing their own styles in relative elements. Irakere became known around
isolation from each other. During the the world for its sound and its direct
next decade, New York musicians such relationship to Cuba and Cuban musical
as pianist Eddie Palmieri, pianist Chick history. Eventually, Irakere’s co-conductor/
Corea, percussionist Mongo Santamaria, musician, Paquito D’Rivera, and the
and Jerry Gonzalez and the Fort Apache group’s trumpeter, Arturo Sandoval, both
Band became the standard bearers for came to the United States to contribute
Latin jazz in the United States. The Latin to the ongoing development of Latin jazz
jazz sound also expanded to include other in this country.
Latin American and American music
and rhythms. The Brazilian bossa nova
craze led by Brazilian guitarist/composer
João Gilberto and anchored by American
jazz saxophonist Stan Getz swept the
United States. New York-based Cuban
In the Classroom
Before the Performance
1. Ask students to go online and find the
instruments, including percussion, used in both
Afro-Cuban and jazz music. Make a list of the
instruments with pictures. Play at least two
examples of music that use the instruments.
Introduce and explain the context of the music
to the class, focusing on who? what? when?
where? why? how? (1.1, 1.3, 1.5)*
2. Have each student pick one of the following
musicians and put together a short biography
of the artist that includes information about
his involvement with jazz and Latin music:
Chick Corea, Tito Puente, Perez Prado,
Eddie Palmieri, Dizzy Gillespie, Stan Getz,
Miles Davis, Mongo Santamaria, Jelly Roll
Morton, Carlos Santana, Wayne Shorter,
Machito, Mario Bauza, Eddie Gomez, Gonzalo
Rubalcaba. Have each student listen to two or
three examples of his or her artist’s music and
present one of them to the class along with the
biography of the artist. (1.1, 1.5)
After the Performance
1. Ask students to identify the instruments used
in the performance by Paquito D’Rivera. Do
they think the music was or was not an even
balance between jazz and Latin music? Ask
them to explain and support their answers with
examples drawn from the performance. Did
they recognize any other styles in the performed
music, such as classical, ragtime, Venezuelan,
tango, samba, or Afro-Peruvian? (1.1, 1.3, 1.4)
2. Have students attend a local Latin jazz
performance and write a report on the
experience. Their reports should include answers
to who? what? when? where? why? how? Is
listening to live music different from listening to
recordings at home? Why?
Following the performance, have the students
interview one of the musicians. (Musicians are
usually willing to cooperate on a school project).
Students should prepare two or three original
questions prior to the interview. Students should
also ask: How did you become a musician? How
did you become interested in jazz and Latin
music? Which artists have influenced your musical
development? (1.1, 1.3, 1.4, 1.5)
*Number(s) indicate NJ Core Curriculum Content
Standard(s) supported by the activity.
Additional Before and After activities can
be found online at njpac.org. Click on Education,
then on Performances. Scroll down to “Download
Teacher Guide in Adobe Acrobat PDF format”
and select desired guide.
Teaching Science Through Music (6-12)
by Sharon J. Sherman, Ed.D.
Music is an art form developed through the medium of sound. When we study
the science of music, we study the physics of sound. When we listen to music,
we hear variations in pitch, rhythm, dynamics, timbre, tempo, and texture. By
bringing together these qualities with both contrast and repetition, we create
music that is meaningful and memorable.
In the science classroom, students study sound from the early grades right
through high school. Young children commonly explore the pitch and volume
of sound by using commercially made and homemade instruments. As they
progress, children identify the basic forms of energy (light, sound, heat,
electrical, and magnetic) and learn that energy is the ability to cause motion or
create change. Whenever they hear sound, they know something is moving. As
they progress, students learn that sound is produced by vibrating objects and
requires a medium through which to travel. When an object vibrates, it pushes
against the medium (such as air or water), creating zones of higher pressure
and zones of lower pressure that travel outward from the source of sound.
These zones are called compression waves. You can show your students what
compression waves look like by stretching out a Slinky and tapping a coil at one
of its ends, then letting the Slinky go and watching it retract.
In the middle grades, students learn that waves carry energy from place to place
without transfer of matter. The measurable properties of waves are frequency,
velocity, wavelength, amplitude, and period. In high school, students study
the nature of sound waves, the properties of sound and the behavior of sound
waves.
The properties of sound can be demonstrated through music. Have your middle
school students explore the sounds produced by different instruments. How
does a percussion instrument such as a drum produce sound? Wind and brass
instruments use vibrations in pipes to create the sounds. How are different notes
created in these instruments? The guitar, the base, the harp, and the piano are
stringed instruments. How does the musician vary the amplitude when playing a
stringed instrument? High school students should answer each of these questions
by applying concepts of physics.
Sharon J. Sherman, Ed.D. is Dean of the School of Education and Professor of
Teacher Education at Rider University in Lawrenceville, NJ.
The Teaching Science Through the Arts content of this guide is made possible
through the generous support of Roche.
Passport to culture • Paquito D’Rivera 7
Delving Deeper
Some Recordings by Paquito D’Rivera
Funk Tango. Sunnyside Records, 2007.
Riberas. Espa, 2005.
Brazilian Dreams. MCG Jazz, 2003.
Paquito D’Rivera Quintet, Live at the Blue
Note. Half Note, 2001.
Tropical Night. Chesky, 2000.
Portraits of Cuba. Chesky, 1997.
jaZZ-claZZ, Timba Records, 2009.
Website
paquitodrivera.com
worldmusic.nationalgeographic.com/view/
page.basic/genre/content.genre/world_
jazz_801 - Students can read about and hear
examples of world jazz music on the “World
Music” from National Geographic, an arts
integrated resource of Verizon’s Thinkfinity.
org.
Films/DVDs
Jazz: A Film by Ken Burns. PBS, 2000.
Cuba: The Cradle of Latin Jazz. (Directed by
Torsten Esse), Cuba, 2002.
Additional resources can be found online
at njpac.org. Click on Education, then on
Performances, then on Curriculum Materials.
Scroll down to “Download Teacher Guide
in Adobe Acrobat PDF format” and select
desired guide.
Acknowledgments
as of 8/05/09
NJPAC Arts Education programs are made
possible by the generosity of: Bank of
America, Allen & Joan Bildner & The Bildner
Family Foundation, The Arts Education
Endowment Fund in Honor of Raymond G. One Center Street
Chambers, Leon & Toby Cooperman, The Newark, New Jersey 07102
Horizon Foundation for New Jersey, Amy Administration: 973 642-8989
C. Liss, McCrane Foundation, The Merck Arts Education Hotline: 973 353-8009
Company Foundation, Albert & Katharine artseducation@njpac.org
Merck, The Prudential Foundation, The
PSEG Foundation, David & Marian Rocker, NJPAC wishes to thank Paquito D’Rivera for
The Sagner Family Foundation, Schering- his assistance with this guide.
Plough, The Star-Ledger/Samuel I. Newhouse
Foundation, Surdna Foundation, The
Turrell Fund, Verizon, Victoria Foundation,
Wachovia, The Wal-Mart Foundation and
The Women’s Association of NJPAC.
Additional support is provided by: C.R. Bard Writer: Cristian Amigo
Foundation, Becton, Dickinson & Company,
The Frank and Lydia Bergen Foundation, Editor: Laura Ingoglia
Bloomberg, Chase, The Citi Foundation, The
Geraldine R. Dodge Foundation, Veronica Design: Pierre Sardain,
Goldberg Foundation, Meg & Howard 66 Creative, Inc.
Jacobs, Johnson & Johnson, Kraft Foods, 66Creative.com
The MCJ Amelior Foundation, The New
Jersey State Council on the Arts, The George NJPAC Guest Reader:
A. Ohl, Jr., Foundation, Pechter Foundation, Joanna Gibson
PNC Foundation on behalf of the PNC
Grow Up Great program, The Provident
Curriculum Review Committee:
Bank Foundation, E. Franklin Robbins Judith Israel
Charitable Trust, Roche, TD Charitable Mary Louise Johnston
Foundation, Target, The United Way of Essex Amy Tenzer
& West Hudson, Lucy and Eleanor S. Upton
Charitable Foundation, Andrew Vagelos,
The Edward W. & Stella C. Van Houten
Copyright © 2009
Memorial Fund, and The Blanche M. &
New Jersey Performing Arts Center
George L. Watts Mountainside Community
All Rights Reserved
Foundation.

For even more arts integration resources,

please go to Thinkfinity.org, the Verizon
Foundation’s signature digital learning platform,
designed to improve educational and
literacy achievement.

Arthur Ryan ……………..........................…………………………………………………………………….Chairman

Lawrence P. Goldman ………..................…………………………………..President & Chief Executive Officer
Sandra Bowie………………….....................……………………………………..Vice President for Arts Education
Sanaz Hojreh ……………..................….……………………………..Assistant Vice President for Arts Education
Donna Bost-White……......................….……………………………….Director for Arts Education/Special Projects
Jeffrey Griglak………......................……………….………………………………..……..Director for Arts Training
Verushka Spirito……......................…………………………………………...Associate Director for Performances
Ambrose Liu………………........................……………………………………....Associate Director for Residencies
Caitlin Evans Jones………….......................………………………………….…Associate Director for Residencies
Faye Competello……………........................…………………………………....Associate Director for Arts Training
Mary Whithed………....................………..………………………………….....Program Coordinator for Residencies
Joanna Gibson.......................................................................................Manager of Wachovia Jazz for Teens
Laura Ingoglia…………..............................................…................………......Editor of Teacher’s Resource Guide

8 Passport to culture • Paquito D’Rivera