In April 2011, the National Academy Of Recording Arts And Sciences announced the elimination of 31 Grammy Award categories, claiming that the scaling down process made the Grammy Award more important. With the disappearance of categories like Latin Jazz, Traditional Blues, Classical Crossover, Cajun, Hawaiian, and more, artists around the world couldn’t disagree more as they anticipate the devastating effect upon their careers. The official telecast of the Grammy Awards is about two weeks away, and unfortunately, NARAS continues to act as if nothing has happened. Fortunately we have tireless advocates willing to fight for musicians and their rights like San Francisco Latin Jazz icon John Santos. In an impassioned letter, Santos updates us on the status of the Grammy Travesty and encourages us to continue to take action.

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Well, it’s that time of year again – Grammy fever. CBS ramps it up with a constant barrage of mega-bucks commercials of all lengths and even specials leading up to the February 12th telecast that is expected to produce multi-gazillions of dollars. The National Academy of Recording Arts and Sciences (NARAS) inundates the membership with nomination and voting materials, invitations to the big event and its surrounding activities including post and pre-parties, local nominee celebrations and simulcasts, and other propaganda. We’re in the midst of the classic, inescapable corporate full press publicity campaign on TV, radio, print ads, internet, email, facebook, Twitter, and regular old US Postal Service.

But this year, NARAS’ brilliant Grammy image has a dark secret. All the smiling faces, glitter, multi-million dollar sets and promises of America’s greatest Vegas act cannot hide the deceit, ill-will and unethical behavior they took a few months ago when they unceremoniously eliminated thirty-one categories from Grammy consideration. It is particularly dishonest and distasteful that NARAS, a non-profit organization that is supposed to honor excellence in the music of our country and advocate for the benefit of its membership, had the gaul to lop off mainly just categories that are the least commercial and happen to be among the most creative and important “roots” categories. They also happen to be the categories that represented what ethnic diversity the Grammys might claim.

The corporate music industry that makes the lion’s share of the profits generated by musicians and the Grammys is of course fully supportive of NARAS’ narrow-mindedness. The latest special issue of Billboard Magazine, dated January 7th, 2012 is 100% Grammy propaganda with full-page ads congratulating the stars and the newest hopefuls backed with huge promo dollars for their nominations. Of course there is not one mention of the conspicuous absence this year of the 31 cut categories nor the growing international uproar that has produced over 1200 published pieces over the last few months protesting and condemning the outrageously insensitive action by NARAS in all forms of media. The current Billboard also features hypocritical statements directly from NARAS including these gems:

“Recording Academy Voting Membership: A Privilege Worth Earning.”
(So long as you don’t mind having no say in the organization gutting the voting categories of most of their musical diversity.)

” . . . members become part of a collective that advocates for the rights of music makers . . .” (at the same time that they reverse the hard fought battles and decisions of former open-minded administrations that deemed it appropriate to recognize more American music than just the most profitable.)

Music’s Biggest Night as they have self-proclaimed the Grammy telecast, never included much, if any of the wonderful music they have now reduced or eliminated, but with the current hatchet job, they now officially sever ties with those undeserving, insignificant and marginal musical styles that by some coincidence are also among the deepest and most creative, albeit unfortunately, non-lucrative.

They have the cojones to announce the induction of Big Bill Broonzy, Sergio Mendes’ Brasil 66, and Martin Luther King into the Grammy Hall of Fame at the same time that they cut down the Blues categories, eliminate Latin Jazz (Sergio’s 1966 group would not be eligible with this year’s eliminations), cut down Gospel and Rhythm and Blues, and eliminate Contemporary Jazz (Dr. King is turning in his grave). A well-intentioned writer states in this issue “This crop of inductees also fleshes out the story of Latin music in America.” (PLEASE – it most certainly does not do anything close to that) But he makes the valid point in a sideways manner, that ” . . . the rich and far reaching legacy created by Latin musicians . . . often gets lumped into one catch-all category . . .” This, of course is exactly what NARAS has done with the 2012 awards, by eliminating the Latin Jazz, and Traditional World Music categories, and combining certain Mexican categories.

They have a category called Tropical Latin. What in hell is that supposed to mean? NARAS officials write in Billboard about education and social strategy, but fail to see the hypocrisy and the ramifications of disenfranchising entire communities from the Grammy process.

Our country is full of vibrant musical communities directly and negatively affected by this issue. The earning capabilities of the artists as well as the businesses and schools that present and teach the various types of music that were cut are all compromised. Marginalizing the musical expression of these communities in this way also carries deeper repercussions than the immediate economic hits. Kids and youth who have spent years studying these types of music and have been properly taught to see music with a broad perspective are now confronted with the further invalidation of non-commercial music, narrowing their appreciation and understanding of music to only the most visible and most highly promoted which is clearly not where all the quality and creativity lie. It is obviously devastating to teachers who have spent our lives trying to give students rich alternatives to the top 40 mentality spoon-fed to them via mass media at every moment.

It should also not be lost that NARAS itself has severely tainted its own reputation and credibility, both with the membership and with the public, although they are in complete denial.

For those who don’t know, these are some of the categories that were eliminated:

Native American
Contemporary Jazz
Classical Crossover
Latin Jazz
Traditional Blues
Instrumental Rock
Zydeco
Cajun
Hawaiian
Traditional World Music
Traditional Folk Music
Traditional Gospel
Contemporary R&B Gospel
Polka
Contemporary Folk
four categories of Rhythm & Blues


Don’t be taken in by the lies NARAS administration and staff are putting forth. They say all of the eliminated categories were cheapening the value of the Grammy award and statue. Au contraire – it has been clearly devalued by their non-inclusive actions. They say everyone is still welcome to submit even though our categories have been eliminated. Thanks a lot – so now we can compete in categories that don’t apply to us and where the voting membership does not know our music, giving us zero chance of seriously competing for a Grammy. For example, Latin Jazz is performed by any size group, from duos to big band. The only category that even crosses into this area now is Big Band Jazz where duos, trios, quartets, quintets, sextets, septets, etc, cannot apply and if your Latin Jazz project does happen to be a big band format, then you’re competing in the US against our national art form – basically a snowball’s chance in hell. My five nominations (over a 40 year career) were in three categories that have all been eliminated.

I’ve been a member for some 25 years, supporting the organization with yearly dues, and by volunteering for Grammys in the Schools programs. I lobbied for years and wrote many letters, attended countless meetings and had many a phone conversation with various administration and staff about how to improve the organization and have always felt that there was very slow progress, but at least it was progress – up until now. This disrespectful mandate by the Academy sets the organization, civil rights, and creative expression in the United States back several decades. It matters not whether their decision was made out of ignorance, arrogance or racism, it is simply wrong and to add insult to injury, was made by secret committee and handed down seven months after the eligibility year had begun, meaning that all of us who produce our projects on a timeline to be eligible for a nomination were abruptly dropped on our arses in the middle of the Grammy year!

They are also trying to ignore away the fact that they secretly changed the eligibility rules for numbers of submissions required to have a category and didn’t bother to let anyone know until after they announced the axing of all the categories based on not having enough submissions! Simply disgraceful! We’d love to take a poll of the membership to get the administration and staff that created and support this colonial mentality removed, but NARAS has refused to allow us access to the membership rosters. This is a violation of non-profit corporate conduct in the State of California and legal actions are being pursued in California as well as in New York. But with no money to back up our legal challenges, that remains a slow and difficult proposition.

If this were not enough, after stabbing a large portion of the membership in the back, many of the staff, and administration have admitted that it was a huge mistake in every way, but they have refused to acknowledge this officially and refuse to correct it. They seem to think that since we appear to be relatively few, we will just disappear under the glitz and clamor of the Grammy apparatus. Although we are all working stiffs and have much more important and urgent things we’d rather do, we don’t plan to let that happen and we hope you will help us go viral and let the world, NARAS, CBS, and the sponsors/advertisers of the Grammys, all know that this is not acceptable and we are considering an occupation of the Grammys and a boycott of their products and “services” until they really fix it.

Herbie Hancock, Eddie Palmieri, Paul Simon (also inducted into the Hall of Fame this year), Carlos Santana, Bill Cosby, Esperanza Spalding, Bonnie Raitt, Stanley Clark, David Amram, Pete Escovedo, Oscar Hernandez, Larry Harlow and many others have openly condemned NARAS’ actions. It is a shame though not completely surprising that many more celebrities have not spoken up strongly against this culturally devastating position by NARAS. Many of them have large potential earnings at stake and are not willing to risk a penny of it. Others don’t feel that NARAS has ever deserved our participation and support.

Our informal national coalition has held bi-coastal press conferences and written related posts and letters ad-nauseam. We hope that the action of posting on the internet and writing letters to the appropriate parties will be carried out by anyone and everyone who feels strongly about maintaining any semblance of diversity in the music business and understands what the threat of capitalism-gone-berzerk in the music business means to artistic freedom and creativity. We are extremely encouraged however by the continued international support and today’s news that both Reverend Jesse Jackson and Cornell West have joined our ranks with strong statements against NARAS’ actions and demands for equitable resolution (See below for links).

The 54th Grammy awards telecast is sold out (in more ways than one) and we also congratulate all the nominees and winners. But when our esteemed organization violates it’s membership, its own mandates, and the public trust, we are all losers. Please help us get NARAS back on track. It can be a very worthwhile organization when run from the heart instead of the wallet.

Visit Grammy Watch for updates, addresses, and info, and let CBS know your thoughts directly with the link below, too . . . .

In solidarity and with gratitude, as your help is much needed and highly appreciated,

John Santos
Five-time Grammy nominee, educator, composer, producer, percussionist, bandleader, US Artist Fontanals Fellow

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Make your voice heard on the CBS comment form

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Check out what Rev. Jesse Jackson had to say about the Grammy Travesty HERE.

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“I thoroughly endorse the efforts of Grammy Watch and Presente.org.  I believe the elimination of the ethnic Grammy categories is unjust and unfair.” -Cornel West

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“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” -Hunter S. Thompson

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Here is a list of Grammy sponsors, advertisers and tech partners as listed on their website a few weeks ago. I’m sure there are more that have been added . . .

AT&T
Mastercard
Delta 
Harman
Hilton
hp
Waste Management
Diet Pepsi
Acura
Westwood One
People Magazine
Gucci
Lullabot
AEG (digital media)
Live U
Ooyala
Akamai HD

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Cantos Del Sexto Sol
Enrique Fernandez
Round Whirled Records
As we settle into the twenty-first century, it’s important to realize that we live in a new musical world where stylistic boundaries are clearly blurred. We have more access to musical traditions from around the world than ever before; we can hear and see the musical lineages of numerous cultures performed right on our computer screens. From a listener perspective, the sights and sounds of different musical worlds sit next to each other on an equal level. It’s all sound to the everyday listener, and they’ll connect with great music regardless of its origin. This almost limitless access opens musicians to a vast pool of artistic choices that they can integrate into their work on a variety of levels. While they may choose to invest more fully in a tradition and connect the music to its cultural background, its possible for musicians to mix and match ideas from around the world. They might blend preexisting audio into new sonic collages or they might simply throw musicians from different backgrounds together, but the free combination of ideas is certainly a modern reality. Saxophonist Enrique Fernandez takes this contemporary idea to heart on Cantos Del Sexto Sol, where he brings together a number of musicians and sounds from around the world to produce an expansive twist on Latin Jazz.

Constructing A Fascinating Sonic Mix
With the help of producer Greg Landau, Fernandez constructs several pieces based on an earlier recording headed by pianist Omar Sosa. An extended timbale fill leads into a rumba inspired groove filled with wah wah drenched guitar on “Dimelo!,” where Fernandez delivers a spacious melody with layers of saxophone lines. Fernandez digs into the driving feel with a solo that employs both space and bursts of rhythmic intensity, taken to another level through interactive timbale work. An airy collection of percussion and vocal samples serves as a foundation for a harmonized mambo line from Fernandez with overdubbed solo ideas flying over the mix. A vocoded voice floats over a slow and steady percussion groove on “Bolero En El Olvido” leading into an introspective melody on a combination of flute and sax. Fernandez’s bold tenor tone lifts his solo above the shimmering quality of the rhythm section with a quiet intensity. Sosa captures the thoughtfully methodical mood of the piece with a spacious improvisation that delicately explores ideas of texture and shape. A collective improvisation between flute, piano, kalimba, and percussion slowly unfolds behind atmospheric vocals sounds on “Altiplano” until a strong percussion pattern pushes a sax melody into the forefront. Fernandez rides the intensity of the percussion part into a commanding statement that ferocious attacks a healthy series of ideas. A short collection of phrases from Sosa leads into a etherial flute solo which weaves around a collection of electronic sounds and airy vocal samples. Bombastic percussion hits open into a steady cajon rhythm on “Lamento Andino” which sets the stage for a slithering sax melody over a sly groove. Fernandez uses the hypnotic nature of the background as a launching point for a passion drenched sax solo that screams into a scorching combination of runs and high register intensity. As Fernandez switches to flute, an open exploratory vibe overtakes the music, combining percussion, vocal chants, noodling vibraphone, and more. Fernandez and Landau put together a fascinating musical journey over Sosa’s work explores influences form around the world.

Experimenting In A Latin Jazz Setting
Fernandez moves into a more focused Latin Jazz direction on other tracks while keeping an experimental edge. The rhythm section tears into a sparsely funky cha cha cha groove on “Boogaloo Nouveau” while a layer of saxophones play rhythmic lines beneath an energetic flute melody. Fernandez’s flute flies out of the melody into a wandering improvisation that draws strongly upon jazz and Cuban music conventions. Things rise to another level as Fernandez switches to bass clarinet for a driving mambo line before the saxes push their powerful sound to the end of the piece. A running sax line hits accent points from the rhythm section on the strong introduction to “Nati’s Repose” until the a soulful melody works its way through a funky groove. Fernandez skillfully wraps bluesy lines into his improvisation, bouncing around the rhythm section’s lively foundation. Some great background writing for woodwinds helps lift Fernandez’s solo to an exciting climax before smoothly falling back into the melody. Crowd noises fade into a catchy sax ostinato over a second line drum beat on “Qrsna,” before Fernandez enters with a folk flavored melody. The saxophonist displays some strong creative energy, twisting and turning the main melody in numerous different directions that hold onto the core flavor while adding new ideas. As the sax vamp disappears, Fernandez’s solo takes a decidedly Middle Eastern direction with distinctive articulations and scale choices that end the piece with an ear catching flair. A six beat percussion groove segues into an understated flute vamp on “Ciclos,” setting the stage for a cyclical melody filled with thick layers of flutes and sax. As waves of sound fly through the background, Fernandez leaps into a smart solo distinguished by quick streams of notes, expressive phrasing, and reflective pauses. The flutes return with pieces of the original melody behind Fernandez, inspiring the saxophonist to stretch his improvisation into an intensive fury before returning to the main theme. There’s some familiar Latin Jazz approaches on these tracks, but Fernandez’s experimental spirit really brings these songs alive.

A Memorable Sonic Journey
Fernandez blends a world of influences into an intriguing musical statement on Cantos Del Sexto Sol, putting a unique spin on traditional Latin Jazz ideals. His collaboration with Greg Landau results in an intoxicating sonic adventure that blends Sosa’s unique musicianship with inspired creativity. Fernandez’s compositional ideas complement the work of Sosa’s group and interact insightfully with the embedded cultural references. Fernandez freely integrates a variety of sounds from different cultures, ranging from Cuban rhythms to Middle Eastern scales, Peruvian percussion, and more. There’s never a sense that he takes these cultural traditions lightly though; they are respectfully winded into the overall mixture. Studio manipulation and overdubbing plays a big part in Fernandez’s concept, an act that Fernandez uses to his advantage. The thick layers of woodwind instruments combined with clever harmonizations make for a distinctive sound and defined arrangement ideas. As a player, Fernandez exerts a strong improvisational voice that calls upon the influence of musicians such as Pharaoh Sanders and Gato Barbieri. His ability to be quiet and reflective at one moment and then be screaming in passionate intensity shows a wide dynamic range and broad musical concept. With all these pieces in place, Fernandez creates a memorable sonic journey on Cantos Del Sexto Sol that delivers a blend of world influences that is simultaneously exciting, surprising, and overflowing with a twenty-first century mentality.

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Track Listing:
1. Dimelo!
2. Boogaloo Nouveau
3. Nati’s Repose
4. Qrsna
5. Bolero En El Olvido
6. Altiplano
7. Lamento Andino
8. Ciclos

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Musicians:
Enrique Fernandez – alto, tenor, & baritone saxes, flute, and bass clarinet; Omar Sosa – keyboards and vocoder; Greg Landau – drum and percussion programming; Geoff Brennan – upright bass; Josh Jones – drums; Pauchi Sasaki – chants and Japanese vocals; Tito de la Rosa – Peruvian chants and percussion; David Flores – drums (3)

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Check Out These Related Posts:
Album Of The Week: Latinbird, T.K. Blue
Album Of The Week: Tango Jazz & Panamericana Suite, Paquito D’Rivera
Spotlight: Oscar e Familia, Oscar Feldman
Album Of The Week: Esta Plena, Miguel Zenón

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