Music for the masses: the landing of jazz in Chile

More than a century ago, a perfect storm hit the main port. In 1914, the pit of the Panama Canal, which connects the Atlantic and Pacific oceans, descended to Valparaiso. Stays at Chile's first terminal are no longer mandatory, and the flow of ships drops in a city used to savoring novelty and welcoming foreigners, ahead of the rest of the country. With the end of the World War and the rise of synthetic saltpeter, unemployment rose, thousands of workers returned from the north, and huge wealth began to migrate. In this cradle of affluence and financial speculators, surrounded by a group of poor and savage mountain dwellers, a new class of professionals and bourgeoisie emerged, who made a thorough division between privilege and misery, providing life for a new life. The coexistence of cities marked by Bohemia.

By 1930, Valparaiso sought alternatives to the suitcase industry and the gradual mechanization of ports, without labor, and tried tourism conversion with sea vineyards. The league, which needed hotels, theatres, dance floors, performance venues and art figures, marked the collapse of the 19th-century bogus elite salon Dominated by chamber music and music Art sounded in Europe.

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The World War was clearly won in the United States, and the economic hegemony of the American state appeared in an unusual form of popular art. The brand-new Hollywood movies embody dreams and emotions, accompanied by a new modern and broken music form, The urgency of the city becomes rhythm and melody, leaving any type before: Jazz.

Valpara í so book and 1920-1940 Chili jazz dawn from pablo hair kanisius (29), published by Valparaiso University Press, discusses the landing and development of this first music in the port, its collision with enterprises, and the adaptation process sprouting in the powerful artistic and cultural landscape, employing a large number of professionals. A large orchestra, Artists, intellectuals and different people constantly feedback the environment.

Master of History studies, including the art history and culture of Kanisius hair, led to this study, which was originally intended to cover to this day. However, the abundance of information between the 1920s and 1940s, given the intense activity caused by jazz arriving at ports through the sea trade, as well as local musicians travelling, learning and returning on adventures, focused research on this cycle.

-You rebuilt the steampunk Valparaiso a century ago and began to lose its place. Here comes jazz.

Historian Eduardo Cavieres said that the port's economic activity cycle lasted from 1860 to 1914, and with the opening of the Panama Canal, Porte ñ os always hoped to one day return to its glory days. But in the 1920s, the city was still international, a special open culture, and everything disappeared within 10 years. The engine of the city, the power of proposal, from economy to culture, especially Bohemia. We always talk about the '50s,' 60s, the boites era of the port area, the neighborhoods, but it was during this period that all of this started brewing. There is a world of literati and painters, which reflects other characteristics. It is no longer a 19th-century art salon, nor a performance of operetta and zarzuela, but an artist interested in avant-garde, musical modernism and so on. It is also a new spirit associated with technological progress, modernization, elevators, trams and port expansion. This jazz music has a modern imagination, which was initially regarded as accelerated music and represents the spirit of these young Bohemians.

-It is worth noting that the orchestras that began to develop jazz in Valparaiso and the Sea Vineyard and surrounding areas played not only jazz but also other aspects to meet the needs of the public, including cuecas and tango.

Música para las masas: el desembarco del jazz en Chile

There is a new configuration in listening to the artist's relationship, which is also related to mass culture and mass society. The target audience we want to visit, because it is also related to capitalism, recording, production and sales. That's why jazz is a symbol of American world hegemony. On that key, the musician played the audience's request, and the audience wanted to hear all of that, a bit mixed, especially in a city of Valparaiso that has always had this kind of tolerance. It is a feature of the musical history here that an enclave would say the aura of Jordan, this mixture of various types of extensive culture. Of course, as you say, it's not surprising that an orchestra eager to be American plays tango, cuecas and machicha, which is mainly dance rhythm. This is an era of many dance and night entertainment places, and everything is related to the body.

-Remarkably, the introduction of jazz sparked an economy that developed around music genres, providing jobs for many musicians and generating nocturnal activities, with audiences of different classes mixed together, including the underworld. This new music appeared in discotheques and even in the early stage of piracy. The map depicted in this book is very interesting.

I work from a historical point of view, I'm not a musicologist, I'm not analyzing fractions, but of course, it has to do with the whole cultural world built around the arrival of this new style. That's why the moment when our continent encounters this new form is so interesting from the perspective of cultural history, Latin American studies. Because it involves major political discussions about the country, identity and heritage. Many wondered what would happen to indigenous music, tonada, cueca, "We are black now". On the other hand, avant-garde people hold high that boldness is the spirit and the origin of art; Others see it as representative of modern times. That's why it's important to talk about these places in the book, because in a very short period of time, many discos have settled in Valparaiso, and these places must be ready for these demanding audiences and musicians who want to play different things.

More about music

Piracy was told to me by a concept disc collector. He has the ability to identify how these shellac melts are made. It's a super-decision maker because there's not much jazz in tracking what's on sale in the recording catalog. The more melodious jazz band arrived at Chili, which was not the hottest jazz of the 1920s and had to do with improvisation. So, the importance of literature in this conversation, because I don't know if you remember those passages from the jazz records you received on the mountain in 1925, which the sailor brought to him. These voices come from piracy, all of which.

-Let's talk about the torn devil, a remarkable central figure in the study of the pioneers of jazz, a Renaissance genius. Homosexuals, as artists, music critics, orchestra creators, researchers and activists, died in misery.

A chapter is devoted to him because he is really a mythical character and all the fields he covers are incredible. Is a reference point for social struggles and gender issues, by the way, porte ñ o. Well, I found him because he is believed to be the founder of Valparaiso's first Chilean jazz band in 1924. Born Cerro Alegre in 1905, he was injured in a tram accident in Customs Square in 1913. When he died in very harsh conditions in 1982, leaving behind all his documents, his photographs, his books, his news archive, a very meticulous man, and donating it to the University of Chile, there is currently a terrible background with all kinds of documents, scores, photos, newspaper clippings, works, which I used to make this book's main source. I got a lot of information, if not direct information, and clues to other things. He sent a letter himself. "That's all, student porn." Fortunately, it is under study. Among other things, Pablo headed the Valparaiso Professional Musicians Union, which was founded in 1934. The 29-year crisis left many musicians unemployed. Therefore, when the economy began to recover, musicians demanded to sign contracts. Pay demands, set up their petitions. He is also a pioneer. At the age of 19, he organized a futuristic concert. His first press release when he was 17 was about Wagner. I'm interested in Brazilian modernist music, I'm looking for Europe, I know, thousands of things. After doing so, between jazz and journalism, he will travel over the plateau before continuing on to the wealthy port to study local scenes. In the 1930s, he took part in trade union affairs, then founded the Santiago Jazz Club and served as conductor of the Sea Vineyard Casino Orchestra. Therefore, he began to establish a long-term cooperative relationship with violinist Pedro d'andurain.

-¿ What's wrong with him?

His activities were undermined under the dictatorship which highlighted his writings on the cueca. Dentro de la política de exaltación nacional de la cueca, la dictadura lo utiliza. But he has worked in popular unity and is an associate of the left. In the 1940s, his research showed that cueca originated in Africa and won many enemies. To purists, this is like an aji. The dictatorship promised an elegant pension for his contributions as a cultural figure in the 20th century, but never gave it to him. Until the 1970s, he was a professor at the University of Chile, but his health and money were poor. Everything he had invested in travel and study to fund his own happiness. One of the people who helped him in his later years was Margot Loyola. Brought him food, and he would go to see him. She said herself that she was in an abandoned house surrounded by paper, and her old age was very bad.

"It reminds me of the tragic fate of another extraordinary port ñ o, as the beautiful Joaqu í nedwards.

Need a biography. Persistence means following Chile's cultural history. From the avant-garde, through all these debates about folk music, pop music, to the meaning of dictatorship. Is an overview of your life.

-In the book you point out that when jazz began to settle in Valparaiso, it was resisted Did the Porte ñ o institution finally accept it?

Over time, jazz adapted to Chilean conditions. Esas grabaciones de los años 30 como En Mejillones yo tuve un amor, ayudaron a que quedara en el imaginario popular, y luego lo que significó Roberto Parra. I don't know if jazz competes with bolero, waltz, cueca or tango. But I think it represents most of the city. It represents an unresolved modernity, the dichotomy between the mountain poor, and the duality between modernity and planning speed. That's why it keeps practicing, too. In Valparaiso, there are many musicians today who are not listed as part of the heritage, the identity of the city, like the musicians of the bolero, waltz, quintet world, but who still have something to say about the city or are represented in the city, such as the work of the Antonio monastery. It is a kind of music that has changed a lot over time and filtered through different parts. The same meaning is rude vines, French jazz, a hundred years ago jazz records arrived on the mountain of someone. He was unjustly associated with intellectual or very purist habits, but he was never completely out of touch with the popular world.

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