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• Bobby Benedict

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MICHEL CAMILO Emmy, Grammy, and Latin Grammy Award-winning Pianist and Composer

REFERENCES • Yanow, S. (n.d.). Michel Camilo | Biography&History. Retrieved February 21, 2018, from http://www.allmusic.com/artist/michel-camilomn0000889856/biography

DISCOGRAPHY • Albums: 1. 1985: Why Not? (with Anthony Jackson, Dave Weckl) 2. 1986: Suntan (trio with Anthony Jackson, Dave Weckl) 3. 1988: Michel Camilo 4. 1989: On Fire (trio) 5. 1990: On The Other Hand 6. 1991: Amo Tu Cama Rica (soundtrack) 7. 1993: Rendezvous 8. 1994: One More Once (full big band jazz ensemble) 9. 1996: Two Much (original motion picture soundtrack)

DISCOGRAPHY CONT. • Albums: 10. 1997: Thru My Eyes 11. 2000: Spain (with Tomatito) 12. 2001: Concerto for Piano and Orchestra Suite for Piano, Strings, and Harp Caribe (with BBC Symphony Orchestra) 13. 2002: Triangulo (w/ Anthony Jackson and Horacio Hernandez) 14. 2003: Live at The Blue Note 15. 2005: Solo 16. 2006: Rhapsody In Blue (with Barcelona Symphony Orchestra) 17. 2006: Spain Again (with Tomatito)

DISCOGRAPHY CONT. • Albums: 18. 2007: Spirit of The Moment 19. 2011: Mano A Mano 20. 2013: What’s Up? 21. 2016: Spain Forever (with Tomatito) 22. 2017: Live In London

CAMILO’S COMPOSITIONAL TRAITS/APPROACHES • Born and raised in the Dominican Republic, blends Caribbean music with traditional American Jazz Music • Short heads/short forms in his music • Commonly uses rhythmic interludes in his music in between forms that showcase his Latin/Brazilian/Caribbean influence; highly syncopated • more thematic material in his music depending the group/ensemble he’s working with • Combines simple/more traditional jazz chord progressions with complex melodies

THE MICHEL CAMILO TRIO • A large portion of Camilo’s own albums are recordings of his trio throughout the years • Has had two main trios: • 1. w/Anthony Jackson(b) and Dave Weckl(d) • 2. w/ Anthony Jackson and Horacio Hernandez(d)

CARIBE (FORM) • Style: Bomba/Latin w/Tumbao • Form: Primarily Binary (AABB) with interludes in between B section and each Solo Section • Also a ”coda” section that goes back to the A section at the very end after the last solo

CARIBE • A= no groove; hits underneath/with the melody (melody carries time) • B= drums takes time, simpler melody with less notes • Harmonic Rhythm: • 1. Harmony closely follows melody and hits, but still utilizes a harmonically simple progression

CARIBE • B section stays over the V7 chord (E7) • Solos over A only

CARIBE (MELODY) • Four phrases in the melody • Grouped in four bar phrases • The second phrase closely mirrors • A A’ B phrase structure (similar to American Songbook style) • Melody vs Bass relationship: strongly outlines the chord changes, sticking to the 1, 3, and 5 of the every chord

Melody

CHANGES

SALIENT FEATURES • Camilo often applies highly rhythmic/syncopated interludes in the middle of his tunes • After the first solo section, a syncopated call and response takes place • Quarter note triplets split between two sections

• Style: Fusion • Form: similar to a “traditional big band form” • Key Center: C minor • ABABC • Solo Section over 4-bar vamp (VI, i, iv, i) • Tutti section (interlude) • 2nd solo section (changes move stepwise) • Trade 4 section over the 4-bar vamp from earlier

-Harmony: - A section changes move closely with the melody on accent point - All diatonic chord changes - B section utilizes slash chords heavily (pedals over G, Ab, and F) - Strictly no chord extensions - C section utilizes the solo section chord changes -

• Camilo-style interlude utilizing quartal harmony

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• Ends with Coda utilizing the A section from earlier

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Melody: - A section comprised of two bar phrases that repeat Rhythmically more notes, not necessarily complex No large intervals (no more than fourth) B section grows more sparse However, applies larger intervals (i.e. sixths) Chords change on 1 and 3 C section even more sparse Climax of the melody? Middle of the B section which arrives at the end of the sequence and arrives at the end of the pedals; also the highest note

NOT YET - Salient Features: - Interludes anyone? - One horn tutti; very technically challenging both rhythmically and intervallically - After the final solo before returning to the final coda; utilizes quartal harmony but puts melody from piano intro. In the horns