Havana Instrumental

[Dona Vansoest]

Whilein Havana, the group will receive instruction in instrumental and ensemble techniques in both popular and folkloric styles. Additionally, they will tour the city, participate in educational exchanges with Cuban music students, and attend special concerts and presentations by musicians and ensembles, including Pupy Pedroso, Raices Profundas, Ban Rarra, Maykel Blanco and the legendary Septeto Nacionl.

All of the students participate in K-State's jazz program, and most are members of K-State's Latin Jazz Ensemble, which is directed by Gartner. The ensemble is the product of Gartner's research and performance of Afro-Cuban music, which includes his doctoral dissertation on the late Tito Puente, who was known as "El Rey del Timbal," or king of the timbales. During his commencement ceremony in 2001, Gartner was presented with the Graduate Dean's Citation for Outstanding Dissertation at the University of Northern Colorado. Gartner further advanced and disseminated his research at K-State through a Big 12 Faculty Fellowship and a Tilford Fellowship.

Students traveling to Cuba are Nolan Groff, senior in chemical engineering, Clinton, Missouri; David Stewart Valdovinos Kaye, senior in human ecology, Topeka; Joseph Kulick, senior in music education, Oswego, Illinois; Kirstyn Norris, sophomore in music performance, Riley; Ethan Wagoner, senior in music education, McPherson. Students are engaging in this research with support from the College of Arts and Sciences, and the School of Music, Theatre, and Dance.

Who will win the coveted trophies in the Jazz Field? Tune in to the 53rd Annual GRAMMY Awards live from Staples Center in Los Angeles on Sunday, Feb. 13, 2011, at 8 p.m. ET/PT on CBS. For updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook.

The performance is the centerpiece of Getting Funky in Havana, a four-day music and cultural exchange program developed by GRAMMY-nominated Cuban funk artist Cimafunk, GRAMMY-winning New Orleans multi-instrumentalist Trombone Shorty's namesake foundation, and Cuba Educational Travel. Now in its third year, Getting Funky brought nearly 200 American music lovers, artists and students to Havana in January to explore the deep connections between Cuban and New Orlenian sounds through a series of performances, educational activities and panels.

While there are many conservatories in Havana, Guillermo Tomas was chosen in part for its similarities to New Orleans' Treme neighborhood, where many of the Trombone Shorty Foundation students live. Guanabacoa is "probably the deepest Afro-Cuban cultural neighborhood" in Havana, says Foundation Executive Director Bill Taylor.

Those shared roots and experiences were on display during several capstone concerts, which were also open to Havana residents. At a massive outdoor concert blocks away from Havana's famous Malecn, Getting Funky attendees enjoyed performances from Cuban salsa legends Los Van Van, reparto star Wampi and Shorty's Orleans Avenue. At a pinnacle performance the day before, more than 30 artists gathered at Havana arts hub La Fabrica for a sold-out international jam. Shorty, Big Freedia, Ivan Neville, percussionist Pedrito Martinez, PJ Morton, Tarriona "Tank" Ball, drummer Yissy Garcia and others joined forces with Cuban artists Reina y Real and X Alfonzo to create an unceasing groove.

While the concerts certainly brought the energy to a fever pitch, the beating heart of Getting Funky is its mission of music education. Ten members of the Trombone Shorty Foundation's brass band traveled to Cuba, where they performed at Getting Funky's opening night party and several other events. Throughout the week, the New Orleans students shared stages with their Cuban counterparts, learning each others' musical idioms and finding common ground.

"So much of the music [we hear in New Orleans comes] from Africa through the Caribbean to New Orleans, then spreading throughout the United States. When our students connect with those [Cuban] students, there's a natural, symbiotic connection that takes place," Taylor says.

Both Cuba and New Orleans' unique musical cultures require constant innovation to survive, Taylor adds. "You honor the past, but it needs an infusion of new life in order to thrive. Getting Cuban musicians together with New Orleans musicians infuses a shot of energy into both of those musical styles."

For many of the musicians who attended, Getting Funky was an inspirational experience that furthered their existing work as well. "I perform for a living, but performing and playing with [students] is super dope. [Their energy is] clean," says GRAMMY-winning producer, rapper and mentor Deezle. "If I can in any way help to guide their path away from the pitfalls that I've encountered and endured, I would love to do that."

Legendary singer/songwriter Ivan Neville said he was blown away while watching young musicians from different worlds performing together. "This music was making their souls feel so good. I know music is good for the soul, but it was another level that I saw."

"This band is working; they are playing many places in Havana and that's thanks to the project. They were so into the satisfaction of [feeling] that they are valued," says Erik Alejandro Iglesias Rodrguez, who records as Cimafunk. "They are learning good quality things in terms of human relationships and in terms of music. [The program is] something that changes their mentality and lets them know that they can make it."

While Cuba harbors an incredible amount of musical talent, "making it" as a musician in the country comes with a unique set of challenges. The country's shrinking economy, high rate of inflation and low monthly incomes have 62 percent of Cubans reporting that they "struggle to survive" financially, according to a 2023 survey. Purchasing a professional calibur instrument, which may cost hundreds or thousands of U.S. dollars, often comes with great sacrifice.

"An instrument is not something you can buy in a store," says Amanda Colina Gonzlez, an art historian and one of the trip guides, who studied saxophone in conservatory. Colina Gonzlez, like the majority of students, was given an instrument to play for the duration of her studies but had to return it to her school upon graduation. Remembering that moment brought tears to her eyes.

Because of its high cost and the possibility of leading to international travel, owning their own instrument can truly change a young musician's life. Getting Funky has donated approximately 50 instruments to Cuban students over three years of programming.

Fifteen-year-old Daniela Hernandez was awarded a trombone for her skill and dedication to music outside of school. Harried and teary-eyed after the recital, she shared her happiness and pride for being able to play with musicians who she's long admired. She plans to use her new trombone to study and will "take it with me everywhere."

The program's instrument donation is spearheaded by the long-running nonprofit Horns To Havana, and supported by the Gia Maione Prima Foundation and private donors. Tickets purchased to attend the program also fund its efforts; Taylor says 2024's Getting Funky raised approximately $50,000. The Trombone Shorty Foundation hopes to continue the annual event, and expand into different countries; a 2025 Havana trip is already in the works.

For Rodrguez, who recently moved to New Orleans, the effect of this musical exchange is tangible. He's noticed more musicians who are open to collaborating across borders, and is working on new music with artists who have attended Getting Funky in previous years.

The connections made during Getting Funky have led to a variety of opportunities for students on both sides of the Gulf of Mexico. Foundation alto saxophonist Jacob Jones credits the trip for broadening his way of thinking while playing music; Deezle says he wants to get Cuban trumpeter and bandleader Fabio Daniel on a track; Primera Linea may perform at San Francisco's Outside Lands festival in August.

"To be able to facilitate that, and give to these young musicians of Cuba, is unbelievable," Andrews says of the program. "It's just a blessing to be able to be a blessing and help out the next generation, and help those musicians see a brighter future."

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

He also extended his love and gratitude to his fiance, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."

Now, Beasley is back in the spotlight. At the 2023 GRAMMYs, he's nominated in three categories: Best Improvised Jazz Solo, Best Large Jazz Ensemble Album and Best Arrangement, Instrumental or A Cappella. All of those nominations came from Bird Lives, Beasley's tribute album to the late jazz great Charlie Parker that he released with Magnus Lindgren and SWR Big Band in 2021.

As the venerated musician tells it, his grandfather was a Dixieland trombonist; he became obsessed with big-band artists like the Thad Jones/Mel Lewis orchestra while growing up in Texas; and went on to work with everyone from Chaka Khan to Sergio Mendes to Walter Becker.

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