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-camilo-
mn0000889856/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
-Harmony:
• Style: Fusion - A section changes move closely with
• Form: similar to a “traditional big band form” the melody on accent point
- All diatonic chord changes
NOT YET
• Key Center: C minor
- B section utilizes slash chords heavily
• ABABC (pedals over G, Ab, and F)
- Salient Features:
• Solo Section over 4-bar vamp (VI, i, iv, i) - Strictly no chord extensions
- C section utilizes the solo section
- Interludes anyone?
• Tutti section (interlude) chord changes - One horn tutti; very
• 2nd solo section (changes move stepwise) technically
- Melody: challenging both
• Trade 4 section over the 4-bar vamp from
earlier
- - A section comprised of two bar rhythmically and
phrases that repeat intervallically
• Camilo-style interlude utilizing quartal - Rhythmically more notes, not - After the final solo
harmony necessarily complex before returning to
• Ends with Coda utilizing the A section from - No large intervals (no more than
fourth)
the final coda;
earlier
- B section grows more sparse utilizes quartal
- However, applies larger intervals (i.e. harmony but puts
sixths) melody from piano
- Chords change on 1 and 3 intro. In the horns
- 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