Jazzin Magazine August 2015

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Jazzin' ISSUE 05/ August 2015

Puerto Rico Jazz Guide

Jazzin' Goes Vegan with The Jazzy Vegetarian Singer Laura Theodore

The Jazzy Vegetarian cooks a delicious Puerto Rican Vegan Recipe

A Guide to Puerto Rico Vegan Restaurants


LAURA THEODORE JAZZY VEGETARIAN RECIPE Vegan Garbanzos Stew with Spicy Rice (Vegan Garbanzos Guisados with Spicy Rice) Makes 6 servings This hearty and comforting stew has a spicy kick that gives it real jazzy-pizazz! The vegan sausage adds classic texture and the Jazzy Sazón (recipe below) provides an authentic taste. This stew is delicious served over Spicy Rice (recipe below), with a green salad on the side to make a truly satisfying meal. 1 medium sweet onion, chopped 1 tablespoon Jazzy Sazón (see recipe below) 2 teaspoons extra-virgin olive oil ½ cup filtered or spring water 2 cups vegetable broth 2 cups peeled and cubed red or white potatoes 1 large sweet red or yellow pepper, seeded and chopped 1 small green bell pepper, seeded and chopped 2 large cloves garlic, minced 2 cans garbanzo beans, drained and rinsed 14 ounces vegan sausage, sliced (see note) 10 green queen olives with pimentos, diced 1 can (28 ounces) diced tomatoes with juice 1/8 teaspoon cayenne pepper (optional) Sea salt, to taste Put the onion, 1 teaspoon sazón, 1 teaspoon olive oil and ½ cup water in a large skillet or soup pot. Cover and let cook 7 minutes, stirring occasionally. Add 1 cup vegetable broth, potatoes, red or yellow sweet pepper, green bell pepper, garlic, 1 teaspoon sazón and 1 teaspoon olive oil. Cover and let cook 15 minutes, stirring occasionally. Stir in the garbanzo beans, vegan sausage and olives. Add the diced tomatoes, 1 cup vegetable broth, 1 teaspoon sazón and 1/8 teaspoon cayenne pepper (optional) and stir to combine. Cover and cook 35 to 45 minutes, or until vegetables are soft. Season with salt, to taste. Serve over Spicy Rice (recipe below) with green salad on the side. NOTE: If you prefer not to use the vegan sausage, substitute 1 additional cup cubed potatoes (add when the potatoes are added) and 1 additional

Vegan Garbanzos Stew with Spicy Rice (Vegan Garbanzos Guisados with Spicy Rice) cup garbanzo beans (add when the garbanzo beans are added Jazzy Sazón Makes 2 ¾ tablespoons This jazzylicious seasoning blend enhances soups, stews, casseroles, roasted or grilled vegetables and so much more! 2 teaspoons ground coriander 2 teaspoons ground cumin 2 teaspoons smoked paprika 1 teaspoon garlic powder 1 teaspoon sea salt 1/2 teaspoon oregano 1/4 teaspoon cayenne pepper Put all of the ingredients into a small bowl Stir to combine. Store in a tightly covered container away from light. Spicy Rice Makes 6 servings The perfect compliment to any savory meal, this rice has just the right amount of spicy flavor to serve with a stew, steamed vegetables or any entrée. 4 ½ cups filtered or spring water 2 cups long grain brown rice 1 teaspoon Jazzy Sazón Put all of the ingredients in a medium sauce pan. Cover and cook over medium heat for 40 to 45 minutes or until almost all of the water is absorbed. Fluff with a fork. Cover and let stand for 10 minutes before serving.

Vegan Garbanzos Stew with Spicy Rice (Vegan Garbanzos Guisados with Spicy Rice) Photos Provided by Laura Theodore

JAZZIN INTERVIEW LAURA THEODORE THE JAZZY VEGETARIAN Jazzin Magazine: Tell me about your beginnings in Music. Laura Theodore: I always knew I wanted to sing. I started singing when I was about 3 years old and when I was in the 4th or 5th grade, I began to prepare and sing an acappella song every week for my class! At age 11, I began to perform regularly in musicals in a semi-professional, local theater group, and by age 17 I had acted and sung in about 40 musicals. At 17, I went on the road with my first band, singing popular tunes of the day. I formed many bands for the next 20 years and they ranged from eclectic jazz, to popular standards, to R & B to hard rock! Jazzin: Did you study Music? LT: I studied at a very young age with the musical directors from the theater I worked at, learning the basics of intonation and phrasing in show tunes and popular music. At age 20, I studied musical composition and jazz vocalization privately (for about a year) through two teachers from South Shore Conservatory in Boston, MA. Once in New York City, I studied vocal technique for about 3 years with Don MacKay, a leading teacher at that time Jazzin: Who were your first influencies? LT: Early on, I was influenced by both Broadway show tunes (like West Side Story, Oliver and Peter Pan) and contemporary artists of that time like the Beatles, Rolling Stones, Eric Burden, Guns and Roses and Janis Joplin (I created the role of, and played Janis in a show called Beehive, for 2 years offBroadway in New York City.

Jazzin: How and when you discovered jazz? LT: I first heard jazz at age 19 or 20 and my first influences there were Ella Fitzgerald, Sarah Vaughan, Chick Corea, Duke Ellington and the Groups: Yes (not jazz, but very progressive!) and Return to Forever. I became obsessed with listening to Ella and Sarah and learned their scat phrases and studied their phrasing and tone. Then I decided that I wanted to create my own sound, based on the saxophone and trumpet, and started studying Miles Davis, Charlie Parker, and modern players of the day like Tom Scott and David Sanborn. Jazzin: Your professional works and recordings. LT: My professional works have been diverse!

Below is my full discography to date: (link to all) http://www.lauratheodore.com/music/ 1993 Tonight's the Night - Laura’s debut CD won a Musician Magazine Award. Co-written with superstar pianist Don Rebic, with Big Band charts arranged by Alan Foust, this recording contains six originals and three cover tunes, and features some of New York’s finest musicians, including Randy Brecker on trumpet, Joe Beck on guitar, Chip Jackson on bass, Michael Berkowitz on drums, and Andy Snitzer and Lou Marini on sax. "This CD was an extension of me, my life, and my music in all forms. It started one spring afternoon when I got a call from my musical director and long time friend Don Rebic: “I was thinking”—he hesitated—“let’s write and produce our own jazz record. Let’s record our own music, the music we enjoy playing.” Thus, Tonight’s the Night was born. For the following year we wrote, recorded, edited, wrote again, mixed, recorded, edited again, recorded again, mastered, and finally finished our “labor of love” project. I am so grateful to Don, Alan Foust, and all of the incredible, virtuoso musicians who lent their talents to this recording to make it so special. The lyrics come from the bottom of my heart, and the music speaks my story. 1997 What is this Thing Called Jazz? This CD shines with Laura's love for the popular/jazz standard. All of the tunes on this record are simply stated and features Laura improvising with some of her favorite studio musicians. This recording truly states Laura's love for “music in the moment” and flows seamlessly from start to finish. On this beautiful CD, Laura showcases unique interpretations of some of her favorite jazz standards. “She is an extraordinary four-octave singer who blends jazz, blues, soul, and pop into seemingly the only possible expression” (New York Post). Laura has created her version of the present day smooth jazz sound, featuring an impressive array of musicians, including Eric Wollman on guitar, Kelly Conner and Don Rebic on piano, Leon Dorsey and Don Gladstone on bass, and Vincent Ector and Neil Tufano on drums.

1998 Live at Vartan Jazz. This recording, captured “Live at Vartan Jazz” in Denver, is distinctly “alive,” showcasing riveting intensity, soulfulness, and mastery of style in familiar jazz staples as well as some lesser-known but compelling compositions. Special guests Jimmy Cook and Rich Chiaraluce sit in on tenor. Recorded live with superb musicians and produced by Vartan Tonoian who handpicked the songs to be performed from Laura's long list of jazz anthems. The result is a recording that is truly “alive,” projecting the classic sound of jazz and blues. 1999 We're Only Human Laura crosses the line into new musical realms. A true “Top 40 New Age album” that your kids will listen to as well! Producer Dik Darnell describes the recording: “Laura sings of the Earth Mother, of love and healing, of freedom and the search for our true home...the one inside.” This CD marks a departure for Laura from the jazz and blues format. Working under the guidance of renowned New Age producer Dik Darnell, this beautiful record imparts soothing Adult contemporary originals. With selections from many contributing song writers and Laura's own lyrics on “All My Heart,” this music floats on air. 2003 What The World Needs Now Is Love focuses on Laura's fascination for the 30s and 40s Big Band music craze. We decided that the recording needed to be “live” in order to effectively recreate the tone of the Big Band era, and we wanted it to showcase Laura's signature jazz and blues style which we called New Vintage Jazz. We spent two years rounding up the right arrangements and then collaborated with the late, great saxophonist/arranger, Juliene Purefoy and her excellent 17 piece band to produce this dynamic collection of favorite jazz and pop standards played with a fresh twist! Joined by the Juliene Purefoy Big Band and featuring special guests Brian Murphy, Chuck Bergeron, Doug Michels, Hernan “Teddy” Mulet, Noah Brandmark and Lee Schwartz, this fine recording will take you into the world of New Vintage Jazz.

Celebrated jazz pianist Bertha Hope remarked, in response to this recording, “Laura Theodore sings rings around anyone on the jazz, blues or pop scene today.” This CD contains immortal standards, ranging from the Golden Age of Gershwin and Rodgers, and swinging us on to Bacharach and the blues, which Laura burnishes with awesome authority and authenticity. 2007 "GOLDEN EARRINGS," was selected to appear on the 52nd Grammy Award list in the category of “Best Jazz Vocal Album.” This intimate and inspired series of duets effectively pays twin tributes. Initially conceived by jazz singer Laura Theodore as a tribute to the revered vocalist and popular music icon Peggy Lee, whose alluring, "cool" style captivated listeners through the '40s, '50s and '60s, it also stands as a tribute to the late guitar great Joe Beck, who passed away on July 22, 2008 at age 62 due to complications from lung cancer. While Theodore may have sparked the notion of interpreting tunes written by the songwriting partnership of Peggy Lee and her guitaristhusband Dave Barbour, it was Beck who came up with the intriguing arrangements and reharmonizations that underscore this winning collaboration.

Jazzin: How do you choose the Music you want to record? LT: A song has to speak to me lyrically, groove-wise and musically. Whether it be hard rock, jazz, gospel, blues or contemporary - I ask myself: "Is this a song I can relate to and does it tell my story? Does this groove speak to me? Will this share a message that means something in my life?" If the answer is yes to all of those questions, I put it on the list! Jazzin: Of all the musicians you had the opportunity to work with which one stand out and why? LT: Joe Beck. He was AMAZING! I loved working with Joe. Neither of us were fond of over-rehearsing, because we liked the idea of leaving room for improvisation, keeping the track fresh each time. When we recorded Golden Earrings, we would choose a song, choose a key, go over a few options for the groove, rehearse a few bars and GO! The result was magical! Jazzin: Is there any musician you admired you want to work with? LT: Lynne Arriale. Love her style.

Jazzin: Most jazz female singers mentioned Billie Holiday, Ella Fitzgerald and Sarah Vaughan as major influencies. Can you tell me what's the importance of these three ladies and why they were so good? LT: Billie Holiday, Her impeccable intonation, minimalistic phrasing and unique approach to lyrics, made Lady Day a top influencer in my overall singing style. Ella Fitzgerald No one can scat like Ella, and no one can deliver such a clean lyric at the same time. Her tone is one that many aspire to copy, and her intonation is surpassed by no one! The first time I heard Ella sing I was transfixed and amazed, and I spent two weeks with my ear "glued" to the record player, trying to copy her vocal techniques! Sarah Vaughan Since I have a wide range like Sarah (and often feel most comfortable in the lower, deep range), her approach to jazz singing truly speaks to me. Her deep dips into the lower depths of her voice, that then smoothly rise to the highest notes, (2 octaves above), are a signature in my style, that I learned from listening to Sarah! Her silky vocal texture and impressive emotional delivery of a lyric makes her one of my favorite vocalists of all time.

Jazzin: What characteristics do you look for in a musician? LT: Agility and the ability to listen. Like acting, good improvisational jazz is created by listening to a phrase or chord, then responding to that phrase or chord. Talent is important, but listening is the key to great music, especially jazz. Jazzin: Besides being a great jazz singer, you are an actress, a radio and tv show personality, plus an advocate for Healthy food. Can you talk about each one of these aspects of your career? LT: I was a child actor and acting is still a craft that remains close to my heart! I starred in over 20 musicals and plays by the time I was 17 and learned so much by being part of the theater growing up. All of that training has been helpful and instrumental for forming my career in all other aspects. Regularly being on radio and television is a natural extension of my musical and acting background! I am more comfortable on television (in front of one-million viewers), than in a room filled with ten people! It seems you are as passionate working at this as you are as a singer, especially your Work as vegetarian educator.

I was fortunate to see both Ella and Sarah, live, in concert! Continues on page 12 Jazzin: Besides singers, are there other instrumentalists that influence the way you sing? LT: Yes. Chick Corea, Duke Ellington, Miles Davis, Charlie Parker, Joe Beck, Tom Scott and David Sanborn.

I love to cook, I love to sing, and I love animals - put 'em together and that makes for a passionate and joyful career as an advocate for a compassionate and healthy plant-based diet. Creating recipes is like scat singing - I love scatting a new phrase to enhance a classic song, so when I cook, I savor the process of improvising new, healthy versions of traditional recipes, depending on what’s in my kitchen or available at the local market. Fresh, fun and fabulous! Educating folks about a healthier way of living, while entertaining at the same time, has become my goal. Plant-based eating is better

Cover and additional Photos by Laura Theodore

Puerto Rico Vegan Restaurants Guide Café Berlín, Calle San Francisco 407, San Juan. 787-722-5205 La Buena Mesa de Oscar, Calle Loíza #1801, Santurce, 787.268.5202 Orgánico Bistro, Ave. Rafael Cordero, Local #16 Plaza del Mercado, Caguas, 787.600.4190 La Familia, Jose de Diego # 151, Mayagüez, 787.833.7571

Puerto Rico Jazz Legends: Willie Bobo Percussionist William Correa "Willie Bobo," one of the most important figures of Latin jazz was born in New York on February 28, 1934. He played bongos at age 7 and at 13 he was an assistant at the Machito Orchestra. The following year he met Mongo Santamaria. His nickname was given by the jazz pianist Mary Lou Williams, with whom he recorded in 1951 due yo Willie's antics in the studio. Mary Lou Williams dedicated him the composition "Bobo's Chant".

Freshmart, 201 Calle Calaf, Hato Rey, 787.762.7800

In 1953, he recorded with Noro Morales and Tito Rodriguez. When Tito Puente left Manny Oquendo Orchestra, Willie enters the orchestra as bongocero. In 1955 he recorded "Chango" with Mongo Santamaria. In 1958 Bobo and Santamaria move to San Francisco to work with Cal Tjader.

La Zanahoria, Ave. Eleanor Roosevelt 214 Hato Rey, 787.274.0058

Willie Bobo was part of the first recordings of Mongo Santamaria and also records with flutist Herbie Mann.

Cocobana Café, Calle Loíza #2000, Santurce, 787.268.7758

In 1963 Willie Bobo starts recording as leader of his group, playing drums and singing. In his music Bobo fuses elements of popular music with jazz and uses the guitar as a harmonic instrument. The theme Evil Ways, that years later would be a success of Carlos Santana, was composed by guitarist for the band Sonny Henry Willie Bobo.

Peace & Loaf, Ave. Américo Miranda 1402 Río Piedras, 787.293.7773

During his career in music Willie recorded with jazz greats, among them, Miles Davis, Chico Hamilton, Cannonball Adderley, Herbie Hancock and Wes Montgomery.

In 1964 he reunited with Cal Tjader once again and recorded Soul Sauce. Willie Bobo played in the Playboy Jazz Festival shortly before his death in Los Angeles on September 15, 1983.

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