We’re pleased to share a guest blog post from Matthew Karush, author of the new book Musicians in Transit: Argentina and the Globalization of Popular Music.
In Musicians in Transit, I explore the careers of seven Argentine musicians across the twentieth century. My focus is on how these artists navigated the economic and ideological structures of the global music business. Whether they played tango, folk, jazz, pop, or rock, all of these musicians recorded for multinational companies, performed for foreign audiences and critics, and engaged with foreign genres and musicians. These encounters imposed creative limits, but they also opened up opportunities. In response, Argentine musicians produced innovative music and achieved commercial success while generating new ways of conceptualizing their identities. Their aesthetic and commercial maneuvers both shifted global perceptions of Latin American music and enabled their Argentine fans to reimagine their own relationship to the rest of the world.
The North American travels of tango innovator Astor Piazzolla and jazz pianist and composer Lalo Schifrin provide revealing examples of how Argentine musicians responded to foreign expectations. Coincidentally, Piazzolla and Schifrin followed similar itineraries in the 1950s: both left Buenos Aires for Paris in 1954, returned shortly thereafter, and then moved to New York City in 1958. When they traveled in Europe and the United States, they were both perceived as “Latin,” a quasi-ethnic identity that implied a series of musical stereotypes. This perception exerted a profound impact on the kind of music they would go on to make, although that impact was very different in the two cases.
By the time he moved to New York (or returned there – Piazzolla actually grew up in New York City), Piazzolla was an accomplished tango composer and arranger as well as a performer on the bandoneón, the accordion-like instrument featured in tango bands. In the mid-fifties, he had developed an avant-garde version of the tango, which sounded like this:
This is “Lo que vendrá,” from 1956. It shows Piazzolla trying to infuse tango with the sophistication of both classical music and modern jazz.
Piazzolla was clearly enthusiastic about opening the tango up to foreign influences. In New York, he planned to create a new group that would attract a North American audience by performing a hybrid of jazz and tango. Yet as an Argentine in the United States, Piazzolla was seen as Latin, and musically, Latin meant Cuban drums and rhythms. As a result, Piazzolla’s big break in New York came from Tico Records, a local label that specialized in mambo and other Latin dance genres. Tico paired Piazzolla’s group with a Latin percussion section including Johnny Pacheco, the future salsa innovator. Here they are playing the Duke Ellington standard, “Sophisticated Lady”:
The choice of material, the vibraphone, and the long bandoneón solo all reveal Piazzolla’s intention to borrow from jazz. But the inclusion of the bongos sets the music against a stereotypical Latin rhythm. Perhaps unsurprisingly, this funny-sounding hybrid failed to find an audience in the US.
Chastened, Piazzolla abandoned his attempt to win over a North American audience and returned to Buenos Aires in 1960. Interestingly, the music he made over the next few years, on the heels of his New York failure, represented his most impressive burst of creativity and innovation and would largely set the template for the rest of his career. His new band was called the Quinteto Nuevo Tango (pictured on the cover of my book). Here it is in 1963 performing Piazzolla’s composition, “Fracanapa”:
As I argue in the book, this music avoided the “fusion” strategy of his New York phase. He was now free of the need to appeal to North American listeners or to fit into the category of Latin music. Inspired by modern jazz, his music sounded like a cosmopolitan version of tango, or as he liked to describe it, “the contemporary music of Buenos Aires.” On the strength of this music, Piazzolla became an icon in Argentina, but he would not achieve a significant audience in the United States until the 1980s.
Lalo Schifrin’s response to the Latin label was very different. Eleven years younger than Piazzolla, Schifrin was a jazz wunderkind with a deep love of bebop and no interest in the tango or in any other Latin American musical genre. Nevertheless, by the mid-1950s, the idea of “Latin jazz,” conceived as a mixture of jazz improvisation with Cuban rhythms, was well established. This category, and the larger one of Latin music, created opportunities for someone like Schifrin, who combined impressive musical skills with Latin American ancestry. Shortly after moving to New York, Schifrin took a job as pianist and arranger for the Latin bandleader Xavier Cugat. Here he is performing with the Cugat band on US television:
The video demonstrates Schifrin’s showmanship, but it also reveals the way he was able to play the role of an authentic practitioner of what the television announcer calls “the modern Latin form.” Similarly, within a couple of years, Schifrin was helping to popularize bossa nova, the Brazilian samba-jazz hybrid, both as the pianist in Dizzy Gillespie’s quintet and as a solo artist:
In late 1963, Schifrin’s career took a definitive turn when he began composing music for movies and TV. His reputation as a Latin music master helped him get his first Hollywood jobs, and many of his early compositions bear the traces of this background. His most famous composition is no exception:
Not only do the bongos give “Mission Impossible” a Latin flavor, but as I argue in the book, the song’s dominant theme plays with listeners’ expectation of the clave, the basic rhythmic cell of Afro-Cuban music. Although Schifrin quickly jettisoned the Latin label and has enjoyed a long career composing in a wide variety of styles, his original reception as a Latin music specialist facilitated his access to US audiences and shaped some of his most influential work.
Piazzolla and Schifrin had opposite experiences in the US: Piazzolla failed to find an audience and quickly returned to Argentina, while Schifrin succeeded and stayed. Nevertheless, they both developed their musical personalities and innovations by grappling with the expectations imposed on them by North Americans.
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