ARTS
The Michigan Daily
Friday, January 19, 1990
Puente adds salsa to
BY NABEEL ZUBERI
IN the beginning there was rhythm.
And then came Tito Puente. El Reyl
The King of Latin music seems to
have been around as long as the
United States has had a "presence" in
Latin America. Born in Brooklyn in
1925, Ernest Puento Jr. has wowed
audiences with his salsa beat since
the late '40s. Then he was known as
"The Mambo Kid," breaking down
the barriers between Latin music and
jazz; now he's the Godfather of Latin
Jazz, occupying the same position as
James Brown vis-a-vis funk. Both
have an (un)holy respect for rhythm,
the groove, the beat, the funk, the
primal throb, the eternal heartbeat
(phew!).
Puente has melded the instrumen-
tal voices and harmonies of many
traditions. African, Carribean, Lat n
and American musics all converge in
the Tito Puente sound. This isn't
slick nightclub music for the leisure'
class to rhumba, conga and cha cha
cha the night away, but the real
McCoy. This music has steamed
away in the heart of the continent's
great cities. Puente is the single
most important figure to bring Latin
rhythms out of the barrios of New
York, Los Angeles and Miami into
America's premier jazz venues.
In the late '40s Puente, like so
many musicians, was creatively in-
vigorated by bebop; the pyrotechnics
of Charlie Parker, Dizzy Gillespie,
et al. freed jazz to syncopate in new
directions. Puente has collaborated
with many jazz musicians, and
throughout his career has been aware
of the developments within both
Latin and jazz music. His repertoire
includes a spicy version of Jol:n
Coltrane's "Equinox" as well as the
perennial favorite "Oye Como Va," a
Puente original which was covered
succesfully by guitarist Carlos Saa-
tana. Puente also wrote the theme
for The Cosby Show. His Latin Jazz
All-Stars include sax player Marto
Rivera and trumpeter Piro Ro-
driguez.
Puente's and Latin music's influ-
ence can, be felt in much of today's
wing
music whether it be reggae, soul,
hip hop, house, or just plain poo.
Congas are selling like hot cakes,
and with groups like the Happy
Mondays making genius moves with
Latin beats, funk, and rock there's a
much needed return to the Truth of
The Cosmic Groove. Also, the re-
newed interest in "world music"
means that listeners have access to
the genuine thing, as well as David
Byrne.
As Puente himself has pointed
out, many centuries ago in Africa,
messages of births, marriages and
deaths were sent by drums. Today's
instruments, whether they be m.i-
chines, congas, claves, maracas, or
timbales (which Puente plays), carry
those ancient rhythms to modern au-
diences. There was rhythm at the be-
ginning; let's hope there's rhythm at
the end. Nothing could be worse
than silence.
TITO PUENTE & HIS LATIN JAZZ
ALL STARS are performing Sunday
at the Power Center at 7:30 p.m.
Tickets are $16, students $12.50,
available at the Union and PJ.'s.
Page 8
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Professional Dancers,
Singers Who Move,
Musical Theatre Performers
All our world's a stage and we're casting professionals to be a part
of the magic at Walt Disney World' Resort in Florida.
To qualify, you must be at least 18 by May 1, 1990. Bring current,
non-returnable resume and photo. Requirements: singers and
musical theatre performers memorize two vocal selections (one
ballad, one uptempo) and bring vocal sheet music in your best
key. Accompanist provided; no tapes. Singers must have
movement ability and may be asked to learn at least one
movement combination. Bring dance attire. Dancers are taught
dance combinations.
DETROIT, MI
January 29 (Monday) 9AM
Callback January 30 (Tuesday)
Mary Grove College
Madame Cadillac Building
8425 W. McNichols
No appointment necessary. If you have questions, call Walt
Disney World' Auditions at 407/345-5701 Monday - Friday,
10AM-4PM.
'The Walt Disney Company
The Latin rhythms for whichTito Puente is famous have influenced sev-
eral hip hop, soul and reggae artists. Linda Ronstadt on the other hand...
Dancers move beyond tradition
BY JUSTINE UNA TIN
THE Ann Arbor Winter Dances
concert has nothing to do with danc-
ing snowflakes but it does relate to
the city's weather this time of year
as it is a spontaneous experience
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dealing with chill-provoking themes.
Desire, confusion, and love present
themselves in familiar, comforting
moves as well as unconservative
contortions of human bodies.
Barbara Djules Booth6, who be-
gan her own dance company and
holds a Master of Fine Arts from the
University, is the show's producer.
Boothe also dances and is responsi-
ble for designing many of the sim-
ple, yet elegantly symbolic, cos-
tumes worn in her pieces.
The overall style of her work, she
ire'
does it again...
but bigger and better than
before ...
Jazz in January
and then some
LOOK IN THIS SPOT MONDAY FOR DETAILS
said, is "eclectic modern based on
Graham with personal view and ex-
pression presented." The Graham
technique incorporated in Booth6's
pieces consists of ground work that
attempts to create a sense of unity
and cohesion between dancer and
floor. But the dancers never stay at
one level, or portray a single mood
for too long. The music, facial ex-
pressions, and use of planes contin-
uously varies, communicating to the
audience the struggles and joys of
the characters the dancers create.
"Upon a Rose" begins with a
classical, balletic style enhanced by
the Victorian costumes and soothing
violin and organ ensemble. Despite
its traditional beginnings, the piece
proves unpredictable as the melan
cholic mood changes to despair, ap-
prehension, and anger. The shifts are
effectively emoted through fervent,
yet subtle, pantomine, swift varia-
tions in movement, and striking
changes in musical chords.
But Boothe does not have ~
monopoly on the infinite possi
bilites of dance as a mode of expres-
sion. Other works in Winter Dances
include a repertory work by Daniel
McCusker, a New York dancer ac-
claimed by the the New York Times
See DANCES, page 9
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Today's assignment is quite simple. And quite
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