Desde la Bahia—San Francisco

Latin Beat Magazine, Dec, 2003 by Jesse Varela

ARTIST OF THE YEAR! In the Bay Area, John Santos & The Machete Ensemble have been at the cutting edge of Afro-Caribbean jazz since their formation 18 years ago. A Grammy nomination this year for Best Latin Jazz Album (SF BAY, Machete) spoke volumes to the artistic quality of the band. But what should have been a blessing could almost be considered a curse. The big gigs (festivals and major venues) that these types of accolades are supposed to bring have yet to arrive for Machete. The percussionist, bandleader, educator and Latin music scholar keeps the band on a creative path. As of this writing, Santos and crew are hosting CD release parties around the Bay Area for their latest disc, Brazos Abiertos.

He is also leading the way for other salsa and Latin jazz bands to break out of the regional shell of the SF Bay Area. Communities such as Madison (Wisconsin) have embraced the group, which continues to attract more fans from faraway places. Santos has re-entered the recording game by kick-starting his own Machete Records, thus embracing a fledgling independent movement that is steering away from labels and selling directly to the public. This movement guarantees the greatest potential for musicians to make all autonomous profit and not get caught up in the financial cuts sliced off by retailers, distributors and record companies. I asked John Santos about juggling an Indie record label and leading the band.

Jesse Varela: John, bottom line, is there a future in being ah Indie record company?

John Santos: I hope so, but it remains to be seen. At this point, it's a sizable investment of time, work, and a lot of greenbacks.

JV: How has the idea of selling directly to the public via website and at gigs helped the band's economic intake?

JS: The website (www.johnsantos.com) has been a godsend, but the current economic reality of booking a 10-piece Latin jazz band that is not from Cuba, is not what it should be, could be, or once was; take your pick.

JV: Since starting the label last year, how has Machete Records grown?

JS: It has been, more than anything else, a sink or swim learning experience. I promised myself in the 1980s that I would never again attempt to be a label, for the incredible amount of work it entails. Well, with our backs against the wall, it's either die waiting for a decent offer from a label, or do it yourself. I'll never forget being inspired by the great poet/activist, Amiri Baraka a couple of years ago at ah IAJE (International Association of Jazz Educators) convention, where he was participating in a panel that had to do with how jazz has strayed from the central role in community activism it played in the 1960s. An audience member complained profusely about how record companies completely disrespect artists whose dreams and lives have been geared towards creating records that represent their personal, spiritual journeys. He went on to say that recordings are often the culminating work of art that represents an artist's entire career up to that point. Amiri waited patiently and when the gentleman was done, he replied something to the effect of, "if you're expecting goodness from the devil, you've got a long wait," and stated emphatically that artists must take their careers into their own hands, particularly ii the content is not what is considered to he commercial of political in any way. For me, that was the straw that broke the camel's back and pushed me into the record business again. I've been producing all our recordings since the early '80s anyway, so it really wasn't a huge leap. With the help of our listeners and supporters, I think we'll be all right.

In the San Francisco Bay Area we have no organization that recognizes achievement in Latin music, but in this writer's opinion, Santos is a sure-fire pick for Artist of the Year for his leadership and community contributions. His landmark Latin Jazz Series at La Peña Cultural Center this spring and summer in Berkeley was certainly a first. His collaborations with other drum masters like Akira Tana, Kenny Endo and Ndugu Chancelor to teach and create new percussive works at this year's Stanford Jazz Festival was also a first. Santos is a role model who teaches you to feel better about yourself and your music slicing through the jungle independent and free.

¡VIVA VENEZUELA! The music of Venezuela took a big step forward here in the Bay Area this year thanks to The Snake Trio and vocalist Maria Márquez, who delivered outstanding discs this year. Márquez is currently in talks with labels about international licensing and distribution. The Snake Trio--featuring cuatro virtuoso Jackeline Rago, sax/ flutist Donna Viscuso and bassist Saul Sierra--is selling directly to the public at gigs with decent sales, thanks to manager Aimee Waldman.

Jackeline Rago made a breakthrough with long, overdue attention for her adaptation of the Venezuelan national folkloric guitar into a jazz axe. Their concert, "A Celebration of Venezuelan Music" (at the Brava Theater for the Arts in San Francisco) was a sold-out success, featuring the masterful keyboard playing of Otmaro Ruiz.