[ Upbeat music playing ] Hello, and welcome to the second part of "Crossroads."

I'm Dee Dee Bridgewater, and it is my pleasure to continue our musical journey into world music and jazz.

Jazz is a product of a collision between European and African music, and when jazz traveled back across the Atlantic, it made a major impression on both cultures.

As an American jazz singer living in France, I have experienced firsthand the acceptance of jazz in Europe and witnessed its impact on both African and Middle Eastern cultures.

[ Singing in foreign language ] While African musicians have long embraced American jazz, African American musicians have only recently begun to reclaim their ancestral culture.

One of the first examples representing African music in jazz is Duke Ellington's composition "Caravan."

[ "Caravan" plays ] In the beginning of jazz, there was a sharing stuff between people dancing, between feet and the music, and this combination is what you find always in Africa.

People, they don't listen to the music.

People, they dance to music.

I mean, they listen to music by the feet.

[ Laughs ] And this is a beginning.

And then Western people, they bring harmony, they bring instrument, and the combination of all things, all those influences, make jazz.

Now, ladies and gentlemen, we're gonna take a little trip through the jungles this time, and we want y'all to travel with us.

That tiger's running so fast, gonna take a few choruses to catch him, so I want y'all to come with me.

Yes, sir.

This silver trumpet's gonna get away from you this time.

Let out there, boys.

I'm ready.

[ Applause ] [ Upbeat music plays ] Early jazz contained elements of African rhythm and melody, but African Americans had virtually no contact with the mother continent and very little knowledge of Africa, except the crude stereotypes conveyed in American Hollywood movies.

Maybe it is only maybe the spiritual stuff.

It's not the material stuff.

Those people, they were singing about where they were coming.

It was not like a physical stuff.

And don't forget the environment, also.

And the "Tarzan" with Hollywood.

[ Chuckles ] A lot of people, they were thinking about "Tarzan," like Africa and the funny stuff, like when Tarzan came to Africa.

I mean, the movie.

People rushed to see the movie to see where this stuff supposed to be.

It was not in Africa to them, you see, and to the American people and the Western people, the action was supposed to be in Africa, except that for African people, they didn't recognize anything about Africa in the movie.

So we cannot say that exactly they had Africa directly, African influence, no, but spiritually, yes.

[ Drums playing ] Bridgewater: As the civil-rights movement gathered momentum, African Americans took a growing interest in Africa's anti-colonial and anti-apartheid struggles.

One of the first musical examples of this new awareness was drummer Max Roach's "Freedom Now Suite."

♪ Bantu ♪ ♪ Zulu ♪ ♪ Watusi ♪ ♪ Ashanti ♪ ♪ Herero ♪ ♪ Grebo ♪ ♪ Ibo ♪ ♪ Masuto ♪ ♪ Yosee ♪ ♪ Bali ♪ ♪ Africa ♪ ♪ Africa ♪ ♪ Africa ♪ ♪ Africa ♪ ♪ Africa ♪ [ Upbeat jazz music plays ] ♪ Jazz ♪ ♪ Ready?

♪ ♪ Go ♪ ♪♪ Bridgewater: Nigerian singer and saxophonist Fela Kuti picked up the ideas of the Black Panthers and combined their message with American jazz and African highlife to forge an original style he called Afrobeat.

[ Man singing indistinctly ] Today, Fela Kuti's musical heritage is carried on by his son Femi.

The man I looked up to most was my father, at the beginning.

It was he I saw before I wanted to really become a musician, so, but he made me listen to Miles Davis.

He was, like, forcing me, really -- Charlie Parker, Coltrane -- because I was used to Michael Jackson kind of stuff, funk, Temptations, Donna Summer, Diana Ross, this was what we were listening to on the radio, and my father said, "You want to be a musician, you have to listen to jazz!"

So he played jazz for me.

I said, "Listen to this?

No way."

[ Upbeat music plays ] ♪ Every man has his dream ♪ ♪ My dream is to see everlasting peace ♪ ♪ People smiling in the streets ♪ ♪ Singing the sweet song ♪ ♪ So I set out to achieve my dream ♪ African music is about festivity and festivity.

It's about playing a number, finding a melody, and, like, playing it on for a long time 'til it's, like, it wears out, and that can go on for an hour, two hours.

And African music is about dancing, colors, and all this.

[ Singing indistinctly ] What I am doing now is trying to take like 45-minute number and bringing it down, taking all the parts that I believe not are irrelevant, but if you want taking the most interesting parts for the listener on the radio, especially.

If you want to have a hit, you cannot have it 45 minutes, so it's like if the punch was like this, it's now making it like this now.

♪ They said I better wake up from my dream ♪ ♪ I better wake up now before I wake up late ♪ ♪ But nothing's never, ever going to change ♪ ♪ Life will always remind us ♪ [ Singing indistinctly ] [ Singing indistinctly ] [ Chanting in foreign language ] West African music is known for its intricate, highly syncopated percussions.

For over 20 years, King Sunny Adé has been a leading figure in Nigerian juju, a style that originated in the 1920s.

[ Singing in foreign language ] Well, juju music is a music being created by my ancestors, the late '20s, and is a combination of traditional instruments like the talking drum, the cowbells, the shaker, the maracas, the shekere, and different types of drums.

[ Upbeat music playing ] But when it became my own turn, I tried to change those instruments one by one, but I have to find the same tone.

Like, I changed the African violin to pedal steel.

And then I changed the big bass drum to traps drums, and I changed the accordion and introduced them to keyboard.

And when you listen to my music, you can find every music, and that's juju music.

It's just in there.

[ Singing in foreign language ] ♪♪ ♪♪ ♪♪ ♪♪ [ Singing continues ] ♪♪ ♪♪ ♪♪ Talking about Zaire rumba.

Zaire rumba is that in the early '40s in Central Africa, there was a lot of Cuban music records coming, and naturally, African people, they feel themselves in harmony with this music because there was percussion.

See, what happened is that in Latin countries, there are no African slaves to keep percussion.

In North America, they didn't allow them to keep percussion because it was a devil instrument.

[ Singing in foreign language ] I was just amateur when I was a student, but at the same time, I was playing at the dancing Saturday and Sunday, and we were playing all the music, going from Tango, Pasodoble, Bolero.

And really, I like all those music, so to me, it is not very difficult to go from jazz to makossa because if the music keep this dance groove, you find Manu there.

[ Upbeat music playing ] [ Mid-tempo music playing ] Congolese composer, producer, and keyboard player Ray Lema was trained as a classical pianist and church organist.

In Paris, he began to interpret traditional Congolese music, becoming one of the most respected musicians on the African scene.

[ Singing in foreign language ] Our language in Africa are very poor in terms of vocabulary, so the whole trick there is the accents.

The accents are very, very sophisticated.

I give you a very famous example in my language, which is Lingala.

[ Speaking Lingala ] You see all the accents.

Then I'm speaking like a spoke spokesman, but it's not a melody.

You see, all those ups and downs, they're not supposed to be melody.

But it's a note that when it's well-developed, it creates tons of melodies, like a jazz musician's improvising.

You wouldn't say, "Oh, my goodness, how many melodies he's playing?"

No, you just say, "He speaks well."

[ Upbeat music plays ] Bridgewater: While West Africa is known for its percussion, South Africa is known for its vocal harmonies.

South Africans had a rich tradition in harmonic singing even before the first Europeans arrived.

American jazz has been an important influence in South African music since the 1930s and is a key element in black South African pop music.

"Mbube," South Africa's most famous song, first recorded in 1939, lent its name to a whole style of choral singing.

Here, "Mbube" is performed by the South African Gospel Choir.

[ Singing in foreign language ] Vocals has always been a very strong part of the society.

People are instant composers.

You'll be in a situation maybe in a rural area, where people would just be gathering around a fire or something like that, and then because of the situation or whatever's happening in that area, someone just composes something and he just sings.

And that becomes a vocal song, you know, that deals with the situation that's relevant at the moment, or whether they're having a Indaba, which means a meeting, and people would sing about that, whether it be something sad or something happy.

Songs are composed instantly, and vocal is very, very strong in South Africa, you know?

[ Singing in foreign language ] Bridgewater: Before the coming of white settlers, South Africa was populated by Bantu people such as the Zulu, Xhosa, and Sotho, who had their own sophisticated systems of polyphonic vocals.

Zulu and Xhosa and Sotho are three different languages, and it's not only three languages.

We've got about 11 languages, which some of them, I can't even understand.

I can't even speak.

For instance, the Xhosas, they use X's and Q's, like a Q's [Speaking Xhosa] For instance, the Zulus, they use so much [Speaking Zulu] Instead of [Speaking foreign language] Xhosas, they use [Speaking Xhosa] Those are different languages and different dialects, as well.

[ Upbeat music playing ] Bridgewater: When South Africa was ruled by the white minority.

under the apartheid system, many of the country's most progressive musicians went into exile.

The music of the London-based group Township Express is an outgrowth of the township jazz, or jive, that was popular in the black neighborhoods of Cape Town and Johannesburg.

[ Singing in foreign language ] What we naturally do is improvise.

In that example we just showed, we went and everyone did, so to say it is jazz, I've always felt like, well, no, this is something I grew up with, you know.

It's not anything specific.

It's something that's always been there.

We naturally do it without thinking.

Everybody had their harmony.

Everybody had their part to play.

So, I mean, how do you define jazz?

How do you feel?

You know, I'm actually -- I'm asking you the question back now, please.

[ Laughs ] I'm asking you a question.

Yeah.

But it is, it's just a natural -- it's a natural progression.

You have a voice and you use it, and that is it.

When we say jazz, we think of America and South Africa as separate entities.

It is not separate.

This is one family.

There are a bass player, Leon Bucas, in Cape Town, whose family's from New Orleans.

Okay.

There's intermarriage.

A few years ago, saxophone player Horace Alexander Young from Houston went with us to South Africa and for the first time in South Africa, met his family.

Right?

And the family Young is descendants from Bishop Young.

These were bishops that were sent out by -- African American bishops that were sent out from the AME Church, you know?

So jazz music for us is not something separate.

The church, the music, the spirituals, it's all an integral part because there's a family, family unity.

So if you -- during the swing era, for example, you couldn't tell the difference whether it was a Count Basie riff or whether it was a South African song.

[ Singing in foreign language ] It's basically 32 bar of Basie, but that's a South African song.

[ Slow music plays ] [ Women singing in foreign language ] Bridgewater: Miriam Makeba today is probably South Africa's most popular musical ambassador.

By the end of the 1950s, she had become her country's first global star, singing a jazzy blend of Western and South African pop.

But because of her outspoken opposition to apartheid, her South African citizenship was revoked and she was not allowed to return to her homeland for 20 years.

The apartheid regime also drove Abdullah Ibrahim into exile, but his music continued to lift the spirits of South Africa's freedom fighters.

[ Mid-tempo music plays ] The song is called "Muniba."

"Muniba," I wrote it for the first woman I ever saw making Salah.

I'd never seen a woman making prayer.

The first time I saw it was incredible, stunning sight.

And this song I wrote some words to, and it became very popular.

So a few years ago, I met this man, and I knew he was an activist, you see, during the time, and I knew that he was arrested.

And he came to the concert, and after the concert, they told me that he was backstage.

He came backstage with his wife, and there were tears streaming down his eyes, you see.

He said to me, "You played 'Muniba.'"

I said, "Yeah.

It's just part of the program.

I don't know."

So he says when they were arrested, you see, they were tortured, and they were kept apart in cells.

And the only way that they could communicate with each other was by whistling... [ Whistling ] ...across the cells.

That's how they communicated, communicated with the song.

Now, that is deeper than any review you want to get in any of the newspapers, and these stories are only coming to light to us now about how the music is affected.

Hundreds of stories that people are coming to us now and telling us about.

[ Upbeat music plays ] [ Singing in foreign language ] Bridgewater: Pops Mohamed is part of a new generation of musicians who are reclaiming and revitalizing South Africa's jazz heritage by adding elements of traditional as well as contemporary music.

[ Singing in foreign language ] That's a song that I use on the karimba, and this is from my latest album, "How Far Have We Come?"

And this song is dedicated to all the young South Africans who were brutally killed by the South African police in June '76 when the riots started.

There was a time when the students were protesting against Afrikaans that was introduced into black schools, and people felt that we're not ready to speak this language yet.

And there was a huge protest against that, and as a result of that, a lot of students got killed by police.

Some of them were even shot in the back and things like that.

I don't know if you're aware of that.

In June, that's when the revolution, the struggle really started, you know, moving towards a new direction for the new democratic South Africa that we see today, and this song is dedicated to those people who had given their lives for what we are today now.

Today, music knows no boundaries, and as in South Africa, it can help to heal the rifts between different cultures and promote co-existence.

Israeli singer Noa, whose parents came from Yemen but who grew up in New York, blends western and Middle Eastern styles.

[ Singing in foreign language ] Everything that we do arrange mentally and musically and production-wise, it's always to serve the song because first, the song is born.

It's born by itself.

It's not born through chord changes or through specifically thinking about a genre or a style.

It's born because it wants to be born because it's an idea, a statement, a message which spills out of your mouth or your fingers, one way or another, and then you observe it and say, "Oh, this song wants to have a little bit of swing in it.

This song needs to be rocking, man, because it's rocking.

This song should be kept, you know -- " And that's the way we go, and I know that that's the biggest problem with my music and I think the greatest beauty, because it's impossible to say exactly what we do.

And that's why when you come to this show, you just have to deal with the human being.

It's me.

This is what I have to give you.

Either you like it or you don't like it.

If you came to listen to a certain genre, then I can't give you that.

I can give you my platter of goods.

[ Singing in foreign language ] [ Dramatic music plays ] I love performing with different musicians, and I love traveling to different places in the world.

And I do think that music can make a very, very strong statement about peace and about understanding.

I've tried to do collaborations with many Arab artists, and on the most part, they say, you know, "Nice idea, but at home, they'll kill us.

So we can't do that, you know?"

And I've been criticized myself for all kinds of stuff that I've done and many times for my political statements, which have been very radical in the past couple of years and have cost me a lot career-wise and everything.

[ Singing in foreign language ] And every one of us musicians or people have to be able to sleep at night with our decisions.

You know, you can't go ahead and say, "Oh, I want peace in my country.

I want understanding, but I can't do anything about it.

It'll either happen or not happen."

If you're not gonna do anything about it, how do you expect it to happen, you know?

So even if you're a bus driver or a taxi driver, you can do something, and if you're a singer, definitely you can do something.

So do it.

♪♪ In Israel, European music mixes freely with the music of the Middle East.

Despite greater resistance, Western music has also filtered into the Arab world.

[ Slow music plays ] [ Rhythmic clapping ] Middle Eastern music is also an ingredient of flamenco, the music of the Spanish gypsies who preserved the songs of the Arabs and Jews after they were expelled from Spain in 1492.

Here, students study traditional dancing at the flamenco school in Puerto de Santa María, in the Spanish province of Andalusia, where flamenco was born.

[ Vocalizing ] ♪♪ [ Singing in Spanish ] Adding Latin American forms like tango and rumba to traditional soleares and bulerías, the flamenco repertoire eventually grew to include more than 60 types of song and dance.

Needless to say, the Spanish sound did interact with the jazz tradition.

[ Flamenco music plays ] It was trumpeter Miles Davis who first brought flamenco into a jazz context on his album "Sketches of Spain."

Adapting themes from flamenco and Spanish classical music, Davis inspired young musicians like Chano Domínguez, now one of Spain's leading jazz pianists.

[ Speaking Spanish ] [ Slow music plays ] [ Flamenco music plays ] [ Upbeat music plays ] [ Singing in Spanish ] Guitarist Paco de Lucía won fame in the 1970s as an accompanist to Camarón de la Isla, the greatest modern flamenco singer.

Together, they revitalized flamenco, combining breathtaking technique and heart-rending emotions with an eagerness to explore new forms.

In 1980, de Lucia recorded "Friday Night in San Francisco" with jazz fusion guitarist Al Di Meola and John McLaughlin.

[ Upbeat music plays ] Having spread from Andalusia throughout Spain and Europe, flamenco has become a part of the global music vocabulary, performed by gypsies and non-gypsies alike.

Renaud Garcia-Fons, a French bassist and composer, has combined jazz, classical, and flamenco musics on his instrument.

The first thing, I add a string.

It's a good way to play chords, for example.

And then I try with my finger to make some resguardos.

To kind of... Splashing.

And pluck, too.

And now I can give you an example of... For example, I compose "Buleria," all composition like a falsetto, even for the guitar, with Mr. Negrito Trasante.

[ Singing in Spanish ] Bridgewater: Some of the most authentic flamenco is performed at informal gatherings called huelgas.

Here, Luis de la Pica sings at a huelga at the home of Chano Domínguez.

[ Singing in Spanish ] Born in the Andalusian town of Cádiz, Chano Domínguez has been exposed to flamenco music all his life.

In his own work, he applies a highly original keyboard technique to music that blends elements of jazz, classical, and flamenco.

[ Speaking Spanish ] [ Upbeat music playing ] As in Spanish flamenco, gypsies played a vital role in the development of the French music called bal-musette.

[ Music continues ] Gypsy guitarists like Django Reinhardt introduced swing to the musette orchestras.

In 1934, Django Reinhardt formed the Quintette du Hot Club de France, establishing himself as the most important jazz musician in Europe.

Today, his son, Babik Reinhardt, carries on his musical heritage.

[ Speaking French ] [ Fast music playing ] Together with Django Reinhardt, French violinist Stéphane Grappelli won fame as a member of the Quintette du Hot Club de France.

Combining classical technique with a warm sense of swing, Grappelli established a French jazz violin legacy he handed down to Jean-Luc Ponty and Didier Lockwood.

[ Speaking French ] [ Singing in French ] Bridgewater: Chanson and musette today are probably the most popular traditional music forms in France.

Migrants from the French province of Auvergne brought the Musette style to Paris in the 19th century, and Italian immigrants later added the accordion.

[ Singing in French ] Today, a jazzier, more modern approach is represented by Richard Galliano, a French accordionist of Italian descent.

[ Speaking French ] [ Mid-tempo accordion music plays ] [ Upbeat accordion music plays ] Paris today is a musical melting pot where sounds from around the globe mingle with France's own traditions.

Here, Richard Galliano and bass clarinetist Michel Portal play one of Michel's compositions, "Mozambique," fusing elements of musette music and free jazz with African and Brazilian flavors.

Today, jazz has become a universal art form.

All around the globe, it crosses cultural borders and combines with different styles to create new sounds.

As we enter the new millennium, we can look forward to many more musical encounters at the crossroads of our world's cultures.

[ Upbeat music playing ] [ Tempo quickens ]