[ Man singing indistinctly ] [ Cheers and applause ] ♪ You know you done me wrong, baby ♪ ♪ You'll be sorry someday ♪ Thrill is gone ♪♪ ♪ Thrill is gone away from me ♪ Thrill is gone, baby ♪♪ ♪ Thrill is gone away from me ♪ Although, I'll still live on ♪ But so lonely I'll be ♪♪ ♪♪ ♪♪ Hi, I'm Dee Dee Bridgewater, and it's my pleasure to take you on a musical journey into world music and jazz.

Jazz is world music.

Ever since its beginnings in Africa and the southern United States to its extensions in Europe and Latin America, jazz since it existed has always needed an opposite in order to evolve.

To me, the blues is at the heart of jazz.

Both styles originated in the southern United States about 100 years ago and have been intimately connected ever since.

[ Blues music playing ] To me, blues is life as we live it today, as we lived it in the past, as we will live it in the future... because it has to do with people, places, and things.

And as long as it has to do with people, places, and things, it will always be as long as there are people, places, and things.

[ Singing indistinctly ] ♪ Oh, baby, I don't mind dying ♪♪ [ Singing indistinctly ] In the early 1900s, elements of African American spirituals and work songs gradually coalesced to form the blues.

While the blues can convey a wide range of emotions, it is basically an expression of pain reflecting the bitterness of poverty and racial oppression.

Olu Dara is a Mississippi-born, New York-based musician whose musical style is deeply rooted in the blues tradition.

It's a feeling and it's a language.

It's actually a language with a melody and rhythm.

For an example... Just a simple to some but complex to others, you know?

Just this.

Now...a one sound can give you a feeling what the blues is like.

I'm accompanying myself, but the blues actually comes from the voice.

[ Vocalizing ] See?

I was brought up in the very, very deep south of Mississippi, and I came up playing the one-string guitar.

And I did not know too much about the instrument at that time.

The only thing I knew about it, it just sounded good and I enjoyed doing it.

Later on in life, I found out that the one-stringed instrument that I'm playing right now is deeply rooted into the African culture.

[ Guitar strumming ] A long time ago, I was not able to afford me an instrument, so that's how I came by the one-string guitar.

I used to make it up beside the wall.

♪ My baby can't stand no cheating, my babe ♪ ♪ My baby can't stand no cheating, my babe ♪ ♪ Oh, no, she can't stand no cheating ♪ ♪ Can't stand none of that Dara: Blues is the father of jazz.

Once the African Americans employed the use of European instruments and played out in the public or whatever, it was called jazz.

Now, the same musician could play, could go out in public and sing and play guitars with the same concept.

It would not be called jazz.

It would be called folk music or blues or something.

So I think in the beginning, they were playing basically, you know, like... [ Vocalizing ] See?

Now, this is trumpets, you know, clarinets or whatever, you know?

But without the horns, the singer would do the same thing.

[ Vocalizing ] It's blues.

See?

[ Slow jazz music plays ] Bridgewater: The blues is an essential ingredient of jazz, and jazz musicians from Louis Armstrong to Miles Davis have always played the blues.

Jazz singers like Billie Holiday used the blues to express their innermost feelings.

[ Upbeat music playing ] ♪ Treat me right, baby ♪ And I'll stay home every day ♪♪ ♪ Just treat me right, baby ♪ And I'll stay home night and day ♪ ♪♪ ♪ But you're so mean to me, baby ♪ ♪ I know you're gonna drive me away ♪ One of the things about music is, you know, especially coming up in jazz, you know, I think that jazz music has that unique quality to adapt to a lot of things, since it was about adapting anyway.

It was about adapting to being in a whole new world, and it was about trying to make this world work from where you came from, the people you came from in Africa, and all of a sudden, you're thrown into a different place.

And so jazz music has those elements in it, and I know for me starting off, I think the fact that the foundation of the music is in improvization, it makes you aware of a lot of the things that are around you.

And improvization can be inspired by sounds on the street, other musicians, or whatever it is you're dealing with your life.

You know, improvization is the utterance of one's spirit, of one's soul.

[ Vocalizing ] ♪ Dream of a land my soul is from ♪ ♪ I hear a hand stroke on a drum ♪ ♪♪ ♪ Beautiful boy ♪ Elegant girl ♪ Dancing for joy ♪ Beautiful whirl ♪ Shades of delight ♪ Cocoa hue ♪ Rich as the night, Afro blue I think my music really reflects my life experience.

I find that most of the records that I've recorded and most of the songs that I sing, I relate to on some deep level because I've experienced them in some sort of way, and I think that's basically how the blues is born.

♪ Whispering trees echo their sighs ♪ ♪ Passionate pleas, tender replies ♪ ♪ Lovers in flight ♪ Upward they glide ♪ Burst at the height, slowly subside ♪ ♪ Shades of delight ♪ Cocoa hues ♪ Rich as the night, Afro blue ♪ And my slumbering fantasy assumes reality ♪ ♪ Until it seems it's not a dream ♪ ♪ The two are you and me ♪ Shades of delight ♪ Cocoa hue ♪ Rich as the night, Afro blue ♪ Shades of delight ♪ Cocoa hue ♪ Rich as the night, Afro blue, yeah ♪ [ Vocalizing ] [ Drum playing ] Even before the blues appeared in Mississippi, legendary trumpeter Buddy Bolden is said to have played the blues in New Orleans, and Bolden, whose early experience came from marching bands, is considered to be the first jazz musician.

[ Upbeat music playing ] Military-style marching bands swept the world in the 19th century, and New Orleans, with its French, Spanish, and African heritage, produced a unique brass-band sound.

The spirit of early New Orleans jazz lingers on in the style of modern New Orleans jazz musicians like trumpeter Nicholas Payton.

The thing I love about New Orleans music in particular is that it always seems to express some type of exuberance or joy, particularly a lot of the early brass bands and second-line music.

That's the drive and the rhythm of the syncopation and the beat.

It just -- regardless of what kind of mood you're in or how you're feeling when you hear those bands, it makes you want to tap your foot or get up and dance or whatever.

And to me, that's what music should do.

[ Vocalizing ] Bridgewater: In New Orleans, marching bands still perform for all sorts of social events, but today, the traditional repertoire of blues, spirituals, marches, and rags is flavored with modern jazz and R&B.

The Dirty Dozen Brass Band, with trumpeter Greg Davis and baritone saxophonist Roger Lewis, led the way in updating the New Orleans brass-band sound.

Socially, here in New Orleans, the brass bands were a part of daily life for blacks, for black Americans, because this was long before the transistor radios.

This was long before the rhythm and blues so-called rock explosion.

They had in New Orleans what they called social and pleasure clubs, these benevolent organizations, and their main purpose was because blacks couldn't buy insurance.

So how they would help themselves is get together in these neighborhood organizations, and there were hundreds of them.

And if you belonged to one and your house burned down or somebody died or you lost your job or you just needed money for something, this social and pleasure club, benevolent organization, came to your rescue if you were a dues-paying member.

[ Somber music plays ] It was definitely influenced by the military style, which we're used to hearing a lot of marching bands, but the function of the marching bands was for -- they used to play for funerals.

You know, they would play a dirge, more or less bringing the body into the funeral home or coming out, more or less, and they would play a series of slow numbers.

And then they would do what is called cutting the body loose, cut the body loose.

That's when the body is going to the cemetery or whatever.

You know, they do something like maybe... play, like, a spiritual, like "Just a Closer Walk with Thee."

[ "Just a Closer Walk with Thee" plays ] So then after they cut the body loose, the bass drum gets the signal.

Boom, boom, mm, mm.

[ Upbeat music plays ] And then they play numbers like that, and everyone just has a party and dancing, even people who didn't know the deceased, and everyone comes out of their homes and they drink and they dance and they have a good time.

[ Upbeat music plays ] Well, the second line is known of the group of people who follow the parade of the funeral procession or what have you.

The groove -- it's almost a combination of military type of march because you have the snare drum and you have the bass drum, which plays a groove that is very African and Caribbean in rhythm, almost, with a heavy accent on the floor, you know.

[ Humming ] [ Upbeat music plays ] [ "Petite Fleur" plays ] Unlike the rest of the United States, New Orleans once maintained an official distinction between blacks and people of mixed race, who were called Creoles of color.

One of the greatest Creole musicians was clarinet and soprano saxophonist Sidney Bechet, whose training in the French horn tradition is reflected in his performance of "Petite Fleur."

[ "Petite Fleur" plays ] In its early days, jazz was considered low-class music associated with the rough dives and bordellos of Storyville, New Orleans' red-light district.

Today, jazz has become a New Orleans institution, a tourist attraction in a city whose easygoing atmosphere encourages visitors to let their hair down and party.

[ Upbeat music plays ] It was Louis Armstrong with his colorful personality and brilliant technique who took jazz out of the New Orleans ghetto and presented it to a worldwide audience.

[ "Dinah" plays ] ♪ Oh, Dinah ♪ Is there anyone finer ♪ In the state of Carolina?

♪ If there is and you know her, show her ♪ ♪ Dinah ♪ With her Dixie eyes blazin' ♪ How I love to sit and gaze in ♪ ♪ To the eyes of Dinah Lee ♪ Baby, every night ♪ Why do I shake with fright ♪ 'Cause my Dinah might ♪ Change her mind [ Vocalizing ] ♪ Dinah, China, I would hop an ocean liner ♪ ♪ Oh, Dinah ♪ Dinah ♪ Oh, Dinah, oh, man [ Applause ] ♪♪ Louis Armstrong singlehandedly took the trumpet to a whole nother level than it was before him.

He invented all kinds of devices.

Before him, everyone always thought that the highest note that could be hit on the trumpet was a high C. ♪♪ And then he went to D's, E's, F's, G's, and all the world over, people were amazed, you know, and they would study his horn wherever he went.

♪♪ Louis Armstrong was the greatest jazz soloist, the greatest trumpet virtuoso at that time.

♪♪ ♪♪ The spirit of Louis Armstrong, the second-line rhythms, and the uplifting melodies of New Orleans are all an inseparable part of jazz.

You can still hear the echoes of New Orleans in many of our modern-day jazz tunes.

♪ Well, now, they call him the preacher ♪ ♪ He's got a whole lot of gospel ♪ ♪ That is where the... ♪ Well, if you're feeling real low down, he can't be too free ♪ ♪ He's got a way to lift you up ♪ ♪ Now, just you wait and see [ Scatting ] ♪ He'll preach to love and not hate, now ♪ ♪ Now, everybody, gather 'round ♪ ♪ For preacher's standing right here ♪ [ Upbeat music plays ] As a seaport on the Gulf of Mexico, New Orleans has always had a cultural relationship with the Caribbean, and early jazz had a Latin rhythmic feel that Jelly Roll Morton called the Spanish tinge.

[ Singing in Spanish ] Jazz and Latin music have continued to influence each other ever since.

In New York City, Afro-Cuban music was adopted by musicians of Puerto Rican descent who gave it the name salsa.

[ Salsa music plays ] [ Singing in Spanish ] In the largely Puerto Rican neighborhood of East Harlem known as El Barrio, Afro-Cuban music is a part of everyday life.

Just as it is in Havana, the rumba, a folk rhythm transplanted to Cuba by African slaves, is performed in the streets.

Latin rhythms are also taught in Spanish Harlem schools, like the Harbor Conservatory.

[ Singing in Spanish ] One of the first pioneers of Latin jazz was Mario Bauzá, who came to the United States from Cuba, played in some of the top jazz bands, and then formed his own Latin band with his brother-in-law, Machito.

In 1943, Machito introduced Bauzá's composition "Tangá," which is considered to be the first true Latin jazz tune.

One, unh, ah-ah-ah-ah.

[ "Tangá" playing ] [ Singing in Spanish ] [ Speaking Spanish ] Stop.

Excuse me.

No, that's the wrong place.

You guys missed one.

Count 'em.

Count them.

Doesn't cost you anything to count them.

What it costs you is me jumping in your s * *t every time you mess up.

Count them.

Don't hurt.

Okay.

Let's go again.

Alright.

Yes.

Came in too late.

[ Humming ] ♪ Tangá Right there.

Came in like two bars late.

Alright.

Ready?

Here we go again.

[ Singing in Spanish ] Please put it away.

Please.

[ Man speaking Spanish ] [ Upbeat music plays ] [ Indistinct conversation ] [ Music continues ] Timbales player Tito Puente, a former member of Machito's band, went on to lead the most popular mambo orchestra of the 1950s.

20 years later, he revived a Latin jazz movement that continues to this day.

I started in 1940, 1930, by Mr. Dizzy Gillespie and Chano Pozo, "Manteca," "Tin Tin Daeo," "Cubana Bob," and Dizzy, throughout the years, he always loved Latin rhythms, so he always tried to get a marriage between Latin music and jazz.

And then later on, Machito and the orchestra with Mr. Mario Bauzá were the ones that continue that tradition for many, many years.

I was involved because as a young man, I was playing with them, so I, too, am involved with it now.

I've been traveling the whole world with Latin jazz, and I'm very popular.

It's becoming bigger than ever, and I am very happy because I am celebrating now my 50th year as an orchestra leader.

[ Fast music plays ] My first encounter with jazz was I grew up with jazz because I was born in Spanish Harlem.

[ Music continues ] Well, Latin music was always there, and jazz was there, too.

But when you grow up in a neighborhood where they have both musics, some sort of -- it's gonna get to you.

[ Fast music plays ] We combine jazz melodies and their harmonies, which are very modern, and people relate to the jazz tunes.

And we add our percussion rhythms from the roots in our culture, and there was the marriage come in, and that makes it very exciting.

[ Music continues ] [ Man singing in Spanish ] Bridgewater: With the end of the Mambo era in the early '60s, Latin big bands gave way to smaller salsa combos, like the one led by pianist Eddie Palmieri.

Born in East Harlem, Palmieri combines modern jazz harmonies and improvizations with Afro-Cuban rhythms and dance forms.

[ Upbeat music plays ] [ "Oye Como Va" plays ] ♪ Oye cómo va ♪ ♪ Mi ritmo ♪ ♪ Bueno pa' gozar ♪ ♪ Mulata ♪ ♪ Oye cómo va ♪ ♪ Mi ritmo ♪ ♪ Bueno pa' gozar ♪ ♪ Mulata ♪ Santana -- he opened our music with -- what do they call it?

-- Latin rock or whatever.

He opened Latin music to the world.

You know, he did a number last year.

People don't know of the composer, but he gave me credit as a composer when "Oye Como Va" became very popular.

So therefore, it has expanded worldwide where he is a legend, really a big name, Santana.

And I thank him very much for my royalty checks.

[ Fast piano music plays ] [ Cheers and applause ] Although the rhythms of salsa and Latin jazz come from Cuba, Cuban musicians were isolated after the Cuban Revolution.

In the last few years, Cuban music has made a strong comeback with musicians like pianist Chucho Valdés, the leader of the fusion group Irakere.

[ Speaking Spanish ] [ Cheers and applause ] [ Mid-tempo music plays ] Like Cuban music, Brazilian music has strong links to Africa, but while Cuba played an important role in the development of jazz from its early beginnings, Brazil was not discovered by jazz musicians until the early 1960s.

[ Fast music plays, indistinct chanting ] Brazil's most famous rhythm is a samba, which can be heard in its pure form at Rio's annual Carnival parade.

Throughout the year, samba schools, actually large social clubs, prepare for the big event.

The samba, combined with cool jazz, is the basis for the bossa nova.

[ Upbeat music plays ] Well, this is a samba with very simple harmony.

So, this is a samba they would sing in the streets in Rio and Bahia.

So the bossa nova -- they created bossa nova inside of apartments, was the time that we start having apartments, like buildings in apartments in Rio.

So the space -- they couldn't bring like 3,000 people inside of the apartments, so they start playing much softer, much softer, much softer, like... And since everything was soft and silent, they could probably notice the different notes that they could change and make it more beautiful.

So instead of doing a chord like that... they start doing like... adding a major seven, for example, which made a big difference in bossa nova.

Instead of a chord like that, they would play like...

So they have changed it a little bit.

Things that on the streets, for example, you could not notice, but in an apartment with silence, you could notice those little nuances.

♪ Tall and tan and young and lovely ♪ ♪ The girl from Ipanema goes walking ♪ ♪ And when she passes ♪ Each one she passes goes, "Ah" ♪ ♪ When she walks, she's like a samba ♪ ♪ That swings so cool and sways so gently ♪ ♪ That when she passes ♪ Each one she passes goes, "Ah" ♪ ♪ Oh, but he watches her so sadly ♪ ♪ How can he tell her he loves her?

♪ Bridgewater: The bossa nova sound of the 1960s brought Brazilian music to international attention.

It reached the peak of its popularity when Antônio Carlos Jobim and Joao Gilberto got together with American jazz saxophonist Stan Getz.

They recorded Jobim's composition "The Girl from Ipanema," sung in English by Astrud Gilberto.

♪ Tall and tan and young and lovely ♪ ♪ The girl from Ipanema goes walking ♪ ♪ And when she passes, he smiles, but she doesn't see ♪ ♪ Oh ♪ But he sees her so sadly ♪ How can he tell her he loves her?

♪ Another approach to bossa nova is represented by guitarist Baden Powell, one of the great instrumental virtuosos of the bossa era.

Baden Powell combined excellent technique with elements of African jazz and classical music, especially the works of Brazilian composer Heitor Villa-Lobos.

[ Guitar playing ] [ Slow music plays ] Villa-Lobos also wrote in the instrumental genre called choro, a semi-improvised style that originated in Rio de Janeiro even before the birth of jazz.

Villa-Lobos lived in a time that was the '30s that have this music called chorinho that's like... Brazilians trying to emulate classical music.

It's like a kind of jazz classical, you know, but also, they was listening ragtime at that time coming from America, you know?

Then it's a music that's playing in salons, like with [Speaks Spanish] Now we call, these parties, and it's very important.

And Villa-Lobos grew up with this kind of music called chorinho.

Then, Romero, we could play one chorinho for them.

[ Chatter ] [ Guitar and tambourine playing ] Another Brazilian artist who defies stylistic categories is Hermeto Pascoal.

Besides playing all sorts of conventional instruments, Hermeto Pascoal creates original sounds by using everything from sewing machines to grunting pigs.

[ Speaking Spanish ] [ Upbeat music plays ] Bridgewater: Hermeto Pascoal grew up in northeastern Brazil, where he learned such styles as baiao, frevo, forró, and cachorro.

One of the world's most colorful and creative performers, Pascoal inspired a whole generation of Brazilian musicians.

[ Man singing in Spanish ] [ Laughs ] It's this.

No, it's a beautiful music experience.

I think the good thing about this is, like, everything Cyro will do with playing rock or playing pop music or playing Brazilian music, he always will care and meet you.

We always carry the Brazilian genes, the Brazilian blood here with that accent, so we always have a different type of sound, you know.

Even if he doesn't want, it's going to sound different, and this is important for us to carry this for our whole life and just show people different approach to different situations in music.

So that's the important thing.

Always be yourself and bring your culture always to everything you do.

Your roots.

Play your roots.

Your roots.

Yeah.

That's it.

[ Upbeat music plays, man sings in Spanish ] With its vast territory and its huge multiethnic population, Brazil is a treasure house of musical styles from traditional to contemporary.

Today, progressive musicians like Carlinhos Brown are blending Afro-Brazilian rhythms with the latest jazz and hip-hop sounds.

From its early origins in Mississippi and New Orleans to the Caribbean and Brazil, jazz has come a long way.

Though mingling with all types of different music, today's musical fusions are only a foretaste of what is to come.

[ "A Namorada" plays ] ♪ Tem Irmao ♪ ♪ Grudado em sua cola na porta da escola ♪ ♪ Mas nao tem chance nao ♪ ♪ Pai juiz ♪ ♪ A leva pro cinema ♪ ♪ Com mais cinco morenas ♪ ♪ O que mais sempre quis ♪ ♪ A namorada ♪ ♪ Tem namorada ♪ ♪ Eta ♪ ♪ A namorada ♪ ♪ Tem namorada ♪ ♪ A namorada ♪ ♪ Tem namorada ♪ ♪ Eta ♪ ♪ A namorada ♪ ♪ Tem namorada ♪ ♪ A namorada ♪