s c h o o lP E R F O R M A N C E S E R I E S
time
elio villafranca
Photo by Rebecca Meek
and the jass syncopators
Generous support for SchoolTime provided, in part, by
NEW JERSEY PERFORMING ARTS CENTER
about the performance
Since the beginning of jazz and Latin music,
syncopation has been an important element in their
rhythmic foundation and development. Grammy
nominee pianist and composer, Elio Villafranca,
considers the concept of syncopation central to
his music. Born in Havana, Cuba, Elio is rooted in
the tradition and rhythms of the Caribbean, while
embracing modern jazz elements. With the Jass
Syncopators, Villafranca creates a multi-layered
musical dialogue where intellectual understanding of
the music comes second to the full experience. The
music serves as a platform where the dancer and
musicians express their artistry through their personal
musical backgrounds, while asserting themselves
within a body of movement and syncopations.
Deeply inspired by Duke Ellington’s approach to
music during the 1940s, Elio and the Jass Syncopators
use percussion, brass and ivory keys to synthesize
the art of how Ellington’s Serenaders (also known
as the Colored Syncopators) approached music.
Elio, with the architectural insight born of his
classical training, brings contemporary jazz idioms,
Villafranca’s Latin heritage, Afro-Caribbean music
and dance styles from Puerto Rico, Haiti, Dominican
Republic and Cuba to re-envision Ellington’s musical
methods, resulting in an energizing, captivating, and
authentically cultural performance.
Elio Villafranca (piano): At the forefront of the latest
generation of remarkable Cuban pianists, composers
and bandleaders making major contributions to the
international development of modern jazz.
Gregg August (bass): Originally a drummer, Gregg
spans the jazz, Latin jazz, classical and avant-garde
scenes.
Lewis Nash (drums): Lewis began playing drums at
age 10. By 18, he performed with local jazz groups,
and at 21, he was the “first call” jazz drummer in
Phoenix.
Nelson Mateo (Percussion): Nelson is a young
percussionist who got his start with Puerto Rico’s
famous group Los Pleneros de la 21.
Steve Turre (Trombone & seashells): Steve is famous
for playing seashells.
Julia Loiza Gutierrez Rinera (Dancer): Julia is known
for dancing Bomba and Plena, which are traditional
dances of Puerto Rico.
Why is the ensemble called Jass and not Jazz? It
seems that no one knows the origin of the actual
word, but some tell the story of an inebriated
customer in Chicago who, excited, jumped up and
shouted to the band, “Jass it up boys, jass it up.”
Through a printer’s error, jass became jazz – and the
name stuck.
The Jass Syncopators ensemble band brings stellar
jazz players together with a trio of percussionists to
fuse passion with complexity. Some fun facts about
the band:
2
Elio Villafranca and the Jass Syncopators
www.njpac.org/education
in the spotlight: an interview with Elio Villafranca
1. Tell us about your musical background. How young
were you when you first decided music was your
future?
I was born in Cuba, in a small town called San Luis, in
the province of Pinar del Rio. As a child I was exposed
to the Congolese percussion tradition known as
Tambor Yuka, which is traced back to African roots
in Cuba. The tradition includes drumming, dance,
and chants that comprise this Afro-Cuban culture,
and which is unique to this region. However, my first
formal education in the arts was as a painter, not
in music. Eventually, I began taking guitar lessons
at the local music school, Casa de Cultura, where
I discovered my passion for music. I continued
my studies on the guitar for a couple of years and
decided early in my youth that I wanted to become
a musician. I voluntarily auditioned to go the Escuela
Nacional de Arte where I began my training in
classical music in percussion, piano, and eventually
composition.
2. How has your classical training influenced your jazz?
For the most part, my approach to jazz is informed
by classical music training. While in Cuba, I had
extensive training in the Russian School of classical
music training, which is rigorous and focuses a lot
on technique, sound, speed, discipline and control.
This foundation gave me the ability to have technical
mastery over my instrument which I continue
to improve through daily practice. This training
benefited me as a jazz musician because jazz requires
all of the same foundational elements as classical
music, even while it provides the opportunity for
freedom of self-expression and creativity through
improvisation.
3. Do you consider yourself mainly a pianist,
percussionist, or composer, or some combination of
all three? How do these roles influence one another?
I am a musician. The piano, percussion and
composition are tools that I use to express myself
and all three are an important part of who I am as
an artist. As a pianist, my rhythmic approach to
pianism comes from my roots, training, and exposure
to Afro-Cuban music. As a composer, I incorporate
techniques in composition from the classical music
canon, which I draw on not only when I’m composing,
but also when I’m improvising.
4. At the time you arrived in the US, Cuba and the US
did not have diplomatic relations. What was it like
coming here then? What do you think of the new
state of affairs? Do you have plans to visit Cuba
now?
Leaving my family behind was one of the hardest
decisions that I have ever made. Coming to the US
in the mid-nineties was a cultural and emotional
shock. I had to not only learn the language, but also
learn a culture that was forbidden by my country’s
government since I was born. Things are changing
now ever since Cuba and the US have opened a new
chapter in their relationship. There are still a lot to be
done, there are still many families suffering and many
others will suffer in this new relationship, but it is the
beginning of a better path, I hope. I’m planning to go
to Cuba at the end of this year, to see my family and
to perform at the Jazz Festival in Havana.
5.You’ve accomplished a tremendous amount in the
realm of jazz. What do you think is your greatest
accomplishment? Why?
Yes, I have performed in many great venues nationally
and internationally, but I also love education. My role
as an educator, teaching at The Juilliard School and
receiving the prestigious Millennium Swing Award
from Jazz at Lincoln Center are probably my greatest
accomplishments yet. These two accomplishments
validate all of my efforts and sacrifices I made coming
to this country, pursuing my love for jazz.
6.Who are the artists who have influenced you the
most? You often allude to enormous influence that
Duke Ellington and his 1940s music had. What about
more modern influences?
I listen to a multitude of music from around the world,
past and present. I have been inspired by musicians
that I have performed with here in the States and
abroad. I would be remiss if I only named a select
few. I think it is important to understand the music of
the past, but I am also a contemporary musician who
appreciates and supports the music of our time.
7. What advice can you give to an aspiring musician?
Be authentic and true to your own voice, take music
seriously, research other cultures as well as your own,
and enjoy life.
Elio Villafranca and the Jass Syncopators
www.njpac.org/education
3
The P.E.R.F.O.R.M. activities will enable students to get the most out of a SchoolTime performance.
TEACHER FOCUS
STUDENT ACTIVITY
PREPARE
Prepare for the performance
by introducing Latin Jazz
Play songs like A Night in Tunisia by Dizzy
Gilespie, Caravan by Duke Ellington or
Afro Blue by- Mongo Santamaria for your
class. Introduce the performers of The Jass
Syncopators.
Present a Pioneer
Choose a pioneer of Latin Jazz like Dizzy Gillespie
or Chano Pozo. Make a short presentation in
class on what this artist contributed to the genre.
Use online resources, especially audio or video
samples. Take a look at the history or context in
which this artist helped Latin Jazz evolve.
EXPERIENCE
How to experience the performance
As you are waiting for the performance to
begin, ask your students to experience the
performance with all of their senses.
How does the performance make you feel?
What parts of the performance speak to you
most strongly?
Observation
Observe how the artists interact with each other.
How does playing this type of music make them
feel?
Observe how the audience around you reacts.
How does listening to this type of music make
them feel? Observe the different rhythms that are
introduced. How would you describe them?
REFLECT,
Reflect on and respond to the performance
Reflect on the performance and lead the class
in a discussion. How do other artists use Latin
percussion and techniques that are similar
to the Jass Syncopators? How are other jazz
artists different from the Jass Syncopators?
Compare and Contrast
Go back to your research on your chosen Latin
Jazz artist. Re-read the materials keeping the
performance you just saw in mind. What are
the similarities and differences between the two
artists?
FOCUS
Improvisation
What is improvisation?
Break your students into small groups and
introduce the concept of improvisation which
is the cornerstone of Jazz.
Discussion of Improvisation
In small groups, discuss how you and your
classmates can improvise, building off the Latin
Jazz tradition, instrumentation and rhythms to
make something that is personal and meaningful
to you and your group.
ORIGINATE
Create an original work of art
Prepare the students to create music in your
classroom. Talk to them about using their
imagination and life experiences to create a
new artistic expression inspired by the art
form they’ve just experienced.
Watch: The Making of the Caribbean Tinge – An
interview with Elio Villafranca
Create a New Rhythm
Repeat the clapping pattern you heard in the video.
This pattern makes up the clave.
Tap the rhythm on your desk. Find unusual objects
that you can use as instruments and let everyone
in your group tap out the clave. Take turns.
Create a new pattern on top of the clave. This is
improvisation. Improvise lyrics or “Scat”. Use your
imagination and take a risk – Both are a part of
creating art!
REHEARSE
Rehearsal
Introduce the concept of rehearsal which
allows students to build confidence and grow
as an artist.
Practice your performance
It’s time to practice. You might have improvised
at first, but now it’s time to prepare to share with
an audience. Make a video recording to help you
remember what you’ve done. Watch the recording
and critique your performance.
Practice again, to refine and polish your ideas.
MAKE
Presentation
Create a stage area and an audience area.
Introduce and reinforce positive response and
constructive critiquing.
Share your art
It’s time to share your creation. After you’re done,
be sure to talk with your audience to hear what
they thought. Listen to their reactions. Were they
were inspired by your creation?
for the
performance
the
performance
RESPOND
and READ
on
improvisation
magic
4 Elio Villafranca and the Jass Syncopators
www.njpac.org/education
NJ ARTS STANDARDS
NATIONAL ARTS STANDARDS
COMMON CORE STANDARDS/
NJ SOCIAL STUDIES STANDARDS
PNJ Arts Standards
1.1 The Creative Process
1.2 History of Arts & Culture
1.3 Performance
1.4 Aesthetic Response & Critique
National Arts Standards
1: Generate and conceptualize artistic ideas and work.
5: Develop and refine artistic techniques and work for
presentation.
6: Convey meaning through the presentation of artistic
work.
7: Perceive and analyze artistic work
8: Interpret intent and meaning in artistic work.
11: Relate artistic ideas and works with societal, cultural,
and historical context to deepen understanding
English Language Arts
SL 5-12.1 Engage effectively in a range of collaborative
discussions
SL 5-12.2 Interpret information presented in diverse media
SL 5-12.4 Presentation of Knowledge and Ideas
RL 5-12.7 Compare and Contrast
Social Studies
6.1.12.D.14.f Determine the influence of multicultural
beliefs, products and practices in shaping contemporary
American culture
FIND THE STANDARDS –For more detailed information on the standards, visit these websites:
COMMON CORE STANDARDS - www.corestandards.org/
NJ SOCIAL STUDIES STANDADS - http://www.state.nj.us/education/cccs/2014/ss/
NJ ARTS STANDARDS - http://www.state.nj.us/education/cccs/2009/1.pdf
NATIONAL ARTS STANDARDS - www.nationalartsstandards.org
RESOURCES
Elio Villafranca and the Jass Syncopators – Caribbean Tinge:
https://www.youtube.com/watch?v=0u5p9WEyOuM
Elio Villafrannca Jass Syncopators Live at Dizzy’s Sunday Stomp at Congo Square:
https://www.youtube.com/watch?v=xz86Bed8ki0
Jazz Fundamentals: What Are the Blues?
https://www.youtube.com/watch?v=aBg_gQxAShM&list=PLReW5Mv77OKB9kttA3ZhDXXHkWtdiM3TL
The Making of Caribbean Tinge: An Interview with Elio Villafranca:
https://www.youtube.com/watch?v=jbbcjq8L690
Steinway & Sons:Live from the Factory Floor with Elio Villafranca part 1: Percussion
https://www.youtube.com/watch?v=o4PAYWL3Sco
Part 2 Rhythm and Clave
https://www.youtube.com/watch?v=zxknykDTWPk
Cinque – Music of the Caribbean by Elio Villafranca
https://www.youtube.com/watch?v=HVAxGy6dSQE
The Juilliard Journal – Elio Villafranca
http://www.juilliard.edu/journal/1503/faculty-portrait/elio-villafranca
The Kennedy Center: What Is Jazz?
http://www.kennedy-center.org/programs/jazz/ambassadors/Lesson1.html
The Evolution of Afro-Caribbean Music:
http://www.cariwave.com/Evolution_Afro_Caribbean_Music.htm
The New York Times Books: The History of Jazz by Ted Gioia:
https://www.nytimes.com/books/first/g/gioia-jazz.html
Jazz Times: Latin Jazz: The Latin Tinge:
http://jazztimes.com/articles/19036-latin-jazz-the-latin-tinge
Elio Villafranca and the Jass Syncopators
www.njpac.org/education
5
cultural connections
Born in New Orleans in the early 20th century, the
roots of jazz music reach deep through the AfricanAmerican slavery experience. Its early innovators
took inspiration from African and European music
traditions, then over the years, they added lots of
different spices – mixing and melding elements of
Latin music, Caribbean influences, rock, acid and
more. These days, jazz has branched into many forms
and variations.
Jazz evolved from slave songs and spirituals – the folk
music of the African-American slavery experience.
In New Orleans in the 19th century, African slaves
would meet at Congo Square where their drumming,
dancing and singing recalled the lands and cultures of
their origins. After the Civil War, the first jazz bands
emerged, with ragtime played on tinny pianos and
brass bands trumpeting on the streets. The rhythms,
blues-y feel and individualistic style of the music still
harked back to African roots, but the instrumentation
and harmonies were European. And the improvisation
at the heart of every jazz form, evolved from both
traditions.
Soon Latin jazz added new instrumentation and
rhythms, from Cuban mambo to Brazilian choro,
Dominican merengue to Puerto Rican bomba,
representing a true melting pot of flavors from
twenty-two countries. And while New Orleans was
the birthplace of jazz in general, New York is where
Latin jazz truly grew and thrived. In Spanish Harlem,
Cubans, Puerto Ricans and other Latin musicians
mixed and spread its influence. Jazz master trumpeter
Dizzy Gillespie brought Latin jazz to the American
mainstream when he invited Cuban congo drum
players Chano Pozos and Candido to play with his
band in the 1940s and ‘50s. In the 1960s, saxophonist
Stan Getz popularized Brazil’s bossa nova with the
6 Elio Villafranca and the Jass Syncopators
help of Brazilian composers, musicians and vocalists.
Cuban jazz artists Machito and Chucho Valdez, and
Puerto Rico’s Tito Puente put their own unique stamp
on the growing Latin jazz style. Afro-Caribbean
musical influences evolved from the African folk
music traditions in slave communities in places like
Cuba, Guyana, Trinidad and Tobago. And Afro-Haitian
music contributed with its rara, Haitian carnival music,
and vodou, which incorporates instrumentation and
rhythms from vodou ceremonies.
Jazz has been called America’s only true art form,
perhaps for its sheer democracy. There is no
conductor in most jazz performances. And unlike
classical music where the composer’s vision and
expectations are key, jazz performers are searching
to find their own unique musical sound and style.
While they work hard to master their instrument using
technical precision and expertise, their goal is never to
sound like someone else. They are trying to play like
themselves.
The structure of jazz music is also built on individual
expression. Often, musicians perform improvised
solos while the group supports and responds in
a spontaneous musical conversation. Together
they create a powerful communication that is the
essence of any jazz performance. When practiced
by jazz masters like Miles Davis, Dizzy Gillespie and
Thelonious Monk, these unique performances reach
the level of true art.
Jazz today reaches an international audience and its
performers hail from cultures and traditions around
the world. From the early days of ragtime to swing,
bop, Latin jazz, progressive, fusion, even hip-hop and
rap, jazz is American music that has influenced the
birth of countless new musical styles.
www.njpac.org/education
jazz vocabulary
Blues – one of the root forms of jazz music, the blues
evolved from African American slave songs such as
field hollers, work songs, spirituals, and country string
ballads. Typically played by roaming solo musicians
on acoustic guitar, piano, or harmonica at weekend
parties, picnics, and juke joints, the blues captured the
suffering, anguish and hopes of 300 years of slavery
and tenant farming.
Bomba – a Puerto Rico musical tradition with
percussion and rhythms that make people want to
get up and dance. The drums used in bomba, called
barriles, are lower pitched than those in plena which is
a related Puerto Rican musical form. In bomba music,
lyrics are often sad or angry, reflecting the conditions
of the 17th century slaves who used the music to
form community and identity, as well as encourage
rebellion against their circumstances.
Clave – a five-stroke rhythmic pattern used for
organizing time signatures in Afro-Cuban music,
including rumba, conga de comparsa, mambo, salsa,
Latin jazz and more. The clave pattern is the structural
core of many Afro-Cuban rhythms.
Conga – also known as tumbadora, the conga is a
tall, narrow, single-headed drum from Cuba. Congas
are staved like barrels and come in three types:
quinto (lead drum, which is the highest), tres dos or
tres golpes (middle), and tumba or salidor (lowest).
Congas are used in many Afro-Cuban styles including
conga, rumba, salsa, merengue and more.
Diaspora – the scattering of a population from a small
geographic locale or homeland. Diaspora is used
to describe the expulsion of the Jews from Israel in
Biblical times, the fleeing of modern Syrians in the
wake of ISIS, and the African trans-Atlantic slave
trade, among other mass exiles or deportations.
Improvisation – improvisation means making it
up as you go along. In improvisation, the musician
composes and performs his musical line on the spot –
often as a solo with the other musicians playing backup. No two performances are ever exactly the same.
Interpretation – Experimentation with various
musical elements (tempo, articulation, dynamics
etc.) to take standard tune in a new direction. For
example, classical music and show tunes like “My
Funny Valentine” and “My Favorite Things” have
been interpreted by jazz musicians countless times in
endless variation.
Mambo – a Cuban musical and dance form. The word
“mambo” means “conversation with the gods” in
Kikongo, the language spoken by African slaves who
were taken to Cuba.
Plena – a more recent percussion-based musical form
from Puerto Rico, often considered a single musical
style along with the bomba, but using pandereta
drums and a different rhythmic approach. Plena
evolved from bomba music in the early 20th century
in southern Puerto Rico, and its lyrics were often
narrative, telling a story about events, issues and
social commentary.
Polyrhythm – a combination of two or more rhythms
played simultaneously while moving at the same
linear tempo.
Scatting – singing without words. Often a vocalist
will make up nonsense syllables and even make
their singing sound like a musical instrument in this
improvisational form.
Son (Cuban rhythm) – the predominant musical
and dance style of Cuba. The Spanish word son is
one of the words that translates to the English word,
“rhythm.” Usually, the son has two parts: an opening
verse followed by an improvised section in which a
singer is answered by a chorus.
Swing – a rhythm made with triplets instead of
standard 1/8 notes in most other musical forms.
Syncopation – rhythms which accent beats in unusual
ways, often where you least expect them. Syncopation
gives energy and surprise to the music. Plus it keeps
the musicians and their listeners on their toes.
Tinge – slightly colored, a hint of taste or smell
Elio Villafranca and the Jass Syncopators
www.njpac.org/education
7
NJPAC ARTS EDUCATION STAFF LISTING
William J. Marino and John R. Strangfeld, Co-Chairs
John Schreiber, President & CEO
Alison Scott-Williams, Vice President of Arts Education
Meling Roberts, Administrative Assistant to the Vice President
of Arts Education
Kristina Watters, Manager of Operations and Systems
Caitlin Evans-Jones, Director of Partnerships, Performances,
and Professional Development
Rosa Hyde, Manager Arts Education Performances
Eyesha Marable, Manager of Sales and Partnerships
Ashia Fulmore, Coordinator, Sales, Partnerships and Professional
Development
Jennifer Tsukayama, Senior Director of Arts Education
Christopher Phillips, Administrative Assistant and Office
Manager
Jamie M. Mayer, Director of In-School Programs
Kyle Conner, Coordinator of In-School Programs
Rebecca Hinkle, Director of Arts Education
Patricia Sweeting, Coordinator of After School & Summer
Programs
Mark Gross, Director of Jazz Education
Alexis Almeida, Coordinator of Music Programs and New
Initiatives
Teacher Resource Guides
Judith Lindbergh, Writer
Michelle Cameron, Writer
Lia DiStefano, Graphic Designer
BRING THE ARTS TO YOUR SCHOOL
In-School Residencies: Drama + social studies. Dance + Math. It all adds up in NJPAC’s In-School Residencies in which
professional teaching artists partner with educators to bring the arts into the classroom. Each 7 to 10 week program
culminates in a student performance or an interactive family workshop. All programs address state and national standards.
NJPAC is the regional provider in New Jersey for international arts programs like the Wolf Trap Institute’s Early Learning
Through the Arts Program and Dancing Classrooms Global.
Assemblies: NJPAC presents engaging school assembly programs that are presented by professional artists that invite
students into the enchanting world of live performance. NJPAC’s assembly series promotes cultural awareness and invigorates
learning by presenting works that are connected to your’s school’s curriculum.
STUDY THE ARTS AT NJPAC
After School and Saturday Programs: NJPAC’s after school and Saturday programs are geared towards students at every
level—from those who dream of starring on Broadway to those who are still learning their scales. Students work with
professional artists to build technique and develop their own creative style in chorus, contemporary modern dance, hip hop,
jazz, musical theater and symphonic band.
Summer Programs: Want to begin to explore the arts? Or immerse yourself in the study of one genre? Then join us at NJPAC
next summer in one of seven programs that spark the creativity in every child through the study of music, dance and theater.
THE
F O U N D AT I O N
NJPAC Arts Education programs are made possible through the generosity of our endowment donors:
The Arts Education Endowment Fund in honor of Raymond C. Chambers, Joan and Allen Bildner, Toby and Leon Cooperman, Albert and
Katherine Merck, and The Sagner Family Foundation
Generous annual support for NJPAC Arts Education Programs is provided by:
The Star-Ledger, McCrane Foundation, Inc., care of Margrit McCrane, Surdna Foundation, John and Suzanne Willian/Goldman Sachs
Gives, MCJ Amelior Foundation, The Johnny Mercer Foundation, Jennifer A. Chalsty, Johnson & Johnson Family of Companies, Panasonic
Corporation of America, and Atlantic, Tomorrows Office
For more information or to schedule an appointment, please call our education sales team at
973-353-7058 or email us at [email protected]. Visit us at www.njpac.org/education.
New Jersey Performing Arts Center • One Center Street • Newark • NJ 07102
NEW JERSEY PERFORMING ARTS CENTER