by Mar°a B. Del R°o
Daily Lobo
Behind a desk piled with mountains of papers sits a man intent on teaching students about Latin music.
Steve Loza, director of arts of the Americas Institute, currently teaches Chicano/a Latino Music in the Southwest. Loza previously taught as a full professor at UCLA for 18 years. Next fall, he will teach a Latin Jazz course through the Chicano/a Studies Program.
Steve Loza has published Tito Puente and the Making of Latin Music and Barrio Rhythm: Mexican American Music in Los Angeles. In addition, Loza has recorded albums and published research articles, review essays, record notes and book and record reviews.
Get content from The Daily Lobo delivered to your inbox
The Daily Lobo interviewed Loza about his musical background.
Daily Lobo: How did you get started in music, specifically Latin Jazz?
Steve Loza: Latin Jazz? Well I'm a trumpet player. I always listened to Mariachi in the house, but I got real interested in jazz in college and started to study composition. I started directing a salsa group, but we did Latin Jazz. It was called UCLAtino. I did my dissertation on music of Chicanos and Mexicanos in L.A., which I eventually turned into a book. Years later, I wrote this book that came out a few years ago.
DL: So you were involved in music at an early age?
SL: Yeah, and one thing led to another. Pretty soon you're doing research and writing books.
DL: Why are you teaching Latin Jazz next fall?
SL: There's a lot of interest in it. Right now, it's the cutting edge thing. Everyone's interested in Latin Jazz. It's really recognized more. It's also a way to teach the research that I have done.
DL: What is the most important thing people should know about Latin Jazz?
SL: The history of Latin America is a mestizaje, a mixing of race and culture. This music is a combination of cultures. Music of Latin America is a reflection of that mixing process. It's anti-segregationist, anti-racist music. It's inclusive.
DL: What are the origins?
SL: Most of Latin Jazz is based on afro-Cuban rhythms, although you can have Brazilian rhythms and other kinds of rhythms. Those were developed by slaves that came to Cuba and intermingled with the Spaniards. It was a combination of music. I would say it's largely African in terms of how the musical genres transformed themselves. So in one song you may have eight different rhythmic patterns but they fit like a glove. They perfectly interlock.
DL: Have you met any of the artists that you will teach about?
SL: Oh yes. Tito Puente was like a father to me. I knew him for close to 20 years, which is why I wrote a book on him. Poncho Sanchez is a close person who I also wrote about. There are a lot of people here that I've met or talked to.
DL: Have you worked with Tito Puente?
SL: Well he used to come and play with my group, so yeah. We performed together quite a few times. Then Poncho, I've played with his group and he's played with my group.
DL: Do you dance as well as you play music?
Well, yeah. I used to dance a lot. I guess I still can. In fact I think I had a dream. It might have been last night that someone had asked me to dance salsa. I think I'm a good dancer.
For more information contact the Arts of the Americas Institute at 277-2319.
