Trailer for the film 'Sworn to the Drum:A Tribute to Francisco Aguabella' - When you think of Latin percussion, think of Francisco Aguabella. Perhaps the finest Afro-Cuban master percussionist still living, he has become synonymous with his instrument — one of the highest compliments a musician can receive. Indeed, what Carlos Santana is to the guitar, Aguabella is to the conga drum. Carlos Santana reveres him. Bill Graham honored him. Katharine Dunham wouldn’t let him go home to Cuba for 5 years. Dizzy Gillespie, Frank Sinatra and Peggy Lee swear by him. He’s a master of Bata (the sacred Santeria drumming tradition), Abaqua and Yeza, and secular Afro-Cuban jazz and salsa styles. Discover this enigmatic Cuban drummer, a virtual Rosetta stone of African culture, who has been highly influential in the growth of Latin jazz, pop and fusion in the U.S. The conguero’s long career dates back to the ’50s, and though he never has been afforded rockstar status, he has recorded with some stellar musicians, including Frank Sinatra, Cal Tjader, Hugh Masekela, Dizzy Gillespie, Tito Puente, and Weather Report — as well as both Carlos and Jorge Santana (Aguabella and Jorge were members of the ’70s Latin fusion group Malo, best known for their hit “Suavecito”). Born in Matanzas, Cuba, Francisco Aguabella is a master of the Yoruba-derived bata drums and rumba form as well as contemporary traditions including Cuban son, salsa, and Latin jazz.Though he has released only a half dozen albums, his work is best measured by his contribution to the Afro-Cuban sounds and the growth of Latin jazz. “He is one of the strongholds of our music and has always kept the commitment to our Cuban rhythm, that’s very important, ” says Cuban jazz player Israel “Cachao” Lopez.

CAL TJADER - (jazz instrumental)

Hallelujah

AP-APTN-1830: ++OBIT Brubeck Wednesday, 5 December 2012 STORY:++OBIT Brubeck- Pioneering jazz composer and pianist Dave Brubeck dies aged 91 LENGTH: 01:03 FIRST RUN: 1830 RESTRICTIONS: AP Clients Only TYPE: English/Nat SOURCE: AP TELEVISION/KENNEDY CENTER HONORS PRODUCTIONS AND GEORGE STEVENS JR STORY NUMBER: 869828 DATELINE: Washington DC, FILE LENGTH: 01:03 SHOTLIST AP TELEVISION - AP CLIENTS ONLY FILE: Washington, DC - 6 December 2009 1. Arrival of Dave Brubeck at Kennedy Centre Honors gala 2. SOUNDBITE (English) Dave Brubeck, Jazz Composer: "It was really a wonderful experience, and it's unbelievable." VNR KENNEDY CENTER HONORS PRODUCTIONS AND GEORGE STEVENS JR - AP CLIENTS ONLY FILE: Washington, DC - 6 December 2009 3. Robert De Niro and Brubeck seated together during Kennedy Centre Honors gala 4. Various of actors and audience applauding and paying tribute to De Niro and Brubeck during ceremony, UPSOUND: (English) unknown man "When he sits down to play he turns on that smile. And then he loses 40-50 years just like that. Keep smiling Dave, and please keep making great music." 5. Tilt down audience applauding STORYLINE Jazz composer and pianist Dave Brubeck, whose pioneering style in pieces such as "Take Five" caught listeners' ears with exotic, challenging rhythms, has died. He was 91. Brubeck died on Wednesday morning (5 December 2012) of heart failure after being stricken while on his way to a cardiology appointment, accompanied with his son Darius, said his manager Russell Gloyd. Brubeck would have turned 92 on Thursday. Brubeck had a career that spanned almost all American jazz since World War II. He formed The Dave Brubeck Quartet in 1951 and was the first modern jazz musician to be pictured on the cover of Time magazine - on November 8, 1954 - and he helped define the swinging, smoky rhythms of 1950s and '60s club jazz. The seminal album "Time Out," released by the quartet in 1959, was the first ever million-selling jazz LP, and is still among the best-selling jazz albums of all time. It opens with "Blue Rondo a la Turk" in 9/8 time - nine beats to the measure instead of the customary two, three or four beats. A piano-and-saxophone whirlwind based loosely on a Mozart piece, "Blue Rondo" eventually intercuts between Brubeck's piano and a more traditional 4/4 jazz rhythm. The album also features "Take Five" - in 5/4 time - which became the Quartet's signature theme and even made the Billboard singles chart in 1961. It was composed by Brubeck's longtime saxophonist, Paul Desmond. After service in World War II and study at Mills College in Oakland, California, Brubeck formed an octet including Desmond on alto sax and Dave van Kreidt on tenor, Cal Tjader on drums and Bill Smith on clarinet. The group played Brubeck originals and standards by other composers, including some early experimentation in unusual time signatures. Their groundbreaking album "Dave Brubeck Octet" was recorded in 1946. The group evolved into the Quartet, which played colleges and universities. The Quartet's first album, "Jazz at Oberlin," was recorded live at Oberlin College in Ohio in 1953. Ten years later, Joe Morello on drums and Eugene Wright on bass joined with Brubeck and Desmond to produce "Time Out." In later years Brubeck composed music for operas, ballet, even a contemporary Mass. In the late 1980s, Brubeck contributed music for one episode of an eight-part series of television specials, "This Is America, Charlie Brown." His music was for an episode involving NASA and the space station. He worked with three of his sons, Chris on bass trombone and electric bass, Dan on drums and Matthew on cello - and included excerpts from his Mass "To Hope! A Celebration," his oratorio "A Light in the Wilderness," and a piece he had composed but never recorded, "Quiet As the Moon." In 2006, the University of Notre Dame gave Brubeck its Laetare Medal, awarded each year to a Roman Catholic "whose genius has ennobled the arts and sciences, illustrated the ideals of the church and enriched the heritage of humanity." At the age of 88, in 2009, Brubeck was still touring, in spite of a viral infection that threatened his heart and made him miss an April show at his alma mater, the University of the Pacific. By June, though, he was playing in Chicago, where the Tribune critic wrote that "Brubeck was coaxing from the piano a high lyricism more typically encountered in the music of Chopin." More acclaim came his way when it was announced that he would be a recipient of the Kennedy Center Honors at a ceremony in late 2009. Born in Concord, California, on December 6, 1920, Brubeck actually had planned to become a rancher like his father. He attended the College of the Pacific (now the University of the Pacific) in 1938, intending to major in veterinary medicine and return to the family's 45,000-acre spread. But within a year Brubeck was drawn to music. He graduated in 1942 and was drafted by the Army, where he served - mostly as a musician - under General George Patton in Europe. At the time, his Wolfpack Band was the only racially integrated unit in the military. In an interview for Ken Burns' PBS miniseries "Jazz," Brubeck talked about playing for troops with his integrated band, only to return to the U.S. to see his black bandmates refused service in a restaurant in Texas. Brubeck and his wife, Iola, had five sons and a daughter. Four of his sons - Chris on trombone and electric bass, Dan on drums, Darius on keyboards and Matthew on cello - played with the London Symphony Orchestra in a birthday tribute to Brubeck in December 2000. Clients are reminded: (i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: infoaparchive.com (ii) they should check with the applicable collecting society in their Territory regarding the clearance of any sound recording or performance included within the AP Television News service (iii) they have editorial responsibility for the use of all and any content included within the AP Television News service and for libel, privacy, compliance and third party rights applicable to their Territory. APTN AP-WF-12-05-12 1914GMT

Interview

TROUP COMMENTS ON NEXT WEEKS GUEST, CAL TJADER

WAVES CRASHING ROCKS. ROCKY COAST. SEAGULL. BOATS IN HARBOR. FEATURING BILL EVANS, CHUCK MANGIONE, DIZZY GILLESPIE, BOBBY BLUE BAND, BLOOD SWEAT & TEARS, ETTA JAMES, PAUL DESMOND, MARIAN MCPARTLAND, HUBERT LAWS, SVEND ASMUSSEN, JOHN LEWIS, CLARK TERRY, CAL TJADER, TOSHIKO AKIYOSHI & LEW TABACKIN

Interview

Interview

Back to Host Lipsyte in studio, leaning on piano and talking with Colon who is seated at piano. Interview Inserted. Robert Lipsyte: Always a lot more than salsa has always been going on at the East Harlem Music School. But salsa is still the bottom line. It's the basis of it all. What exactly is it? I mean, is it is it a beat? Give me some salsa. Johnny Colon: Okay. I'll tell you what, let me give you this. That is that is salsa in the essence. And some people will argue well, that's that's, you know, well, I won't go you know, elements of a roomba, what have you. And they would be right. It's a it's a derivative of that. But because of the contribution that young kids like Tito Puente, I say young because I'm going back to when he started contributing to the music, who were born and raised in New York had a different cultural upbringing. And they contributed a certain amount to that music. Of course, my era contributed something else. So that when you start bringing all these different musical contributions to the music, it changes to the point of where it's not called salsa. Salsa is also a commercial term which blankets all the different rhythms you know the one called a song or someone to a tune or a chacha so Robert Lipsyte: You can overlay salsa on anything then, in a sense, you could give something a salsa beat. Johnny Colon: Yeah, there was a pianist called Joe Loco. Robert Lipsyte: Joe Loco? Johnny Colon: Joe Loco, yeah, from the from the late 40s, early 50s, who said you give me any, any tune in to 2/4 or 4/4 time and turn it into salsa, and he was right. Robert Lipsyte: Can you do that? Johnny Colon: Well, I can't do it. Because I haven't, I haven't done it. Well, Robert Lipsyte: I mean, can you give me 20 seconds right now of something that I would have known otherwise with a salsa? Johnny Colon: (plays a salsa beat on piano) Well, let me see if I can think of something. You could- look let me let me put it to you this way you could do, uh, just a vamp. But you could add anything that you wanted to on top of that. 6/8, just as an example, this is 6/8 time. Keeping that in mind, I'll try to do it together. I know if I can. Sings while clapping the beat: "The most beautiful sound I ever heard Maria, Maria:- right, so there's Maria right from West Side Story. You could also do something like the most beautiful sound I have ever heard. So you can, yeah, you can lay it over. Robert Lipsyte: Okay, now I know what salsa is. Why is it so important for kids growing up in East Harlem or the South Bronx to know what it is? Johnny Colon: Because it's part of their culture at this point in time. It's it's part of their roots. And what happens is every other generation is coming back to it, looking for its roots later in life. When I was a kid, probably came around to when I was about 16 years old, or between 14 and 16. I heard a guy who was not a Latino named Cal Tjader, who was a drummer first and then a vibus. And he fused jazz and Latin together. And that- that was the bridge for me. So that set it off. Robert Lipsyte: When you were growing up, and you wanted music early, you weren't into salsa right away. Johnny Colon: Absolutely not. Robert Lipsyte: I was born and raised in East Harlem. When I was a kid I was into Latin trio music. And then by the time I was nine, I said I'm not gonna play this stuff. It's not It's not my roots. Well, you grew up in East Harlem. Then what's in your roots, Frank Sinatra? Johnny Colon: Oh, Frank Sinatra, Country and Western, you know, Gene Autry. Uh, more of a range concept. Robert Lipsyte: Did you take music lessons? Johnny Colon: Well, I started taking music lessons when I was about six or seven. And it was a quarter an', and I used to go to all old guitarists to teach. And I took that for about two years. Robert Lipsyte: Where'd you get the quarters from? Johnny Colon: My mother. My mother worked in a factory and she, she pulled lace in the factory, you know, the lace on women slips. And so and she's she come home with her fingers bleeding from pulling lace in the factory. And that's where I got my quarter from. Robert Lipsyte: The bloody quarters went to your music lessons. Johnny Colon: Absolutely. Absolutely. And after two years, the guy kicked me out because he said "I can't teach you anymore." You know, I just swallowed it up. And I wanted it so badly. And by the time I got tonight, I said well, you know, I want to try something else. And I did. I went into rock and roll years after that. And because that was happening, you know. And then I went- actually, rhythm blues, The Moon Blows, The Flamingos, the Cadillacs, Frankie Lymon and the Teenagers that kind of stuff. Chuck Berry. And then I went from that to, into, back to the roots, because I heard the music. Robert Lipsyte: When the roots hit you, I mean, what when did it suddenly mean something to you? Johnny Colon : Well, probably once I got introduced to the music, I wanted to find out, you know, more of actually who I was because, you know, that's when everything just gelled together. And I said wait a minute, the name is not co-lan like they say in school. It's not colon, you know, nobody's intestines. And then I found out that the my name was Colon, you know, and I started wanting to know more. And I found out that the my forefather was not George Washington, you know, and where my- I knew where my people were from, because I was taught that early on, but I started finding out more about my people. My roots.

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Merv Griffin Theme

Interview Re: Merv Griffin