Dr bobby rodriguez

Dr bobby rodriguez DEFAULT



















Born and raised in East Los Angeles, Latin legend and Grammy Nominated Artist, Dr. Bobby Rodriguez is a trumpeter, dynamic leader, charismatic performer, entertainer, gifted composer/arranger, author and educator. He is an active speaker and clinician who has dedicated his life to help promote music.

His latest textbook "ABC's of Brass Warm-Up" One Note Approach, is a valuable new addition to the pedagogical literature for aspiring brass players. "ABC's of LatinJazz," his first textbook, teaches the basics of how to play LatinJazz music and how to create an ensemble based upon this music.

Rodriguez has earned...
One Gold and Three Platinum records

Produced Six of his own recordings

Produced countless recordings
for other artists

Dr. Bobby's newest release is "Celebration!" This CD reflects who I am and what my music is today, says Rodriguez. It’s a combination of hot Latin rhythms, screaming horns, sophisticated Jazz chordal structures, great modern voices, new style LatinJazz compositions, brilliant solos and pop elements that add up to what I call “21st century LatinJazz.”

"Trumpet Talk" featuring Kenny Burrell and Alex Acuña. Other CD's include "LatinJazz Romance" and his Grammy Nominated "LatinJazz Explosion." Winner of numerous awards, the Los Angeles New Times Salsa/Tropical Artist of the Year, Lifetime Achievement Award in Jazz from Drew University, KLON's Best New Latin Jazz Artist and "Jazz Educator of the Year." Rodriguez has earned a Gold and three Platinum records, produced six of his own recordings and has produced countless recordings for other artists. Dr. Bobby Rodriguez is on a roll.

Rodriguez is very active in the community. Some of the areas where his expertise has been invaluable are as a member of the Board of Governors of the National Academy of Recording Arts & Sciences (NARAS), member of the Board of the California Institute for the Preservation of Jazz, an educator in the City of Los Angeles Jazz Mentorship Program, and Buddy Collette's Jazz America.

He is presently director of LatinJazz Music and Jazz Trumpet at UCLA, UCI and Pasadena City College, director of the Jazz Adventure, and president of the Hispanic Musicians Association, Inc. And Rodriguez spent four years touring around the world on the "Love Boat."

His fiery and sensitive brand of trumpet playing along with his special ability to communicate with students and adults is amazing. He makes learning and performing fun.

He is very concerned with the musical future of children and has dedicated his life to promoting the Art form of Music and to motivate and educate young musicians.




University of California at Los Angeles - UCLA (2003-2006), Los Angeles, California, USA
Doctor of Musical Arts (DMA)

California State University at Los Angeles (1999-2001), Los Angeles, California, USA
Master of Arts-Music

University of Southern California - USC (1998-1999), Los Angeles, California, USA

California State University, Long Beach (1975-1977), Los Angeles, California, USA
Bachelor of Arts-Music,

Rio Hondo Community College (1973-1975), Whittier, California, USA
Career Academy School of Broadcasting (1968-1969), Hollywood, California, USA

Dr. Bobby Rodriguez
Can Help!

He is available for...

His expertise is...

Dr. Rodriguez is...

On the Board of the California Institute for the Preservation of Jazz

Director of LatinJazz at UCLA and Jazz trumpet

Director of LatinJazz at UC Irvine and Jazz trumpet

Director LatinJazz Ensemble at Pasadena City College

Leader of the Jazz Adventure, Music Center, L.A.

Member of the City of Los Angeles Jazz Mentorship Program

Performing member of Jazz Goes To School

Teaching member of Buddy Collette's Jazz America

Dr. Bobby Rodriguez has been president of the Hispanic Musicians Association, Inc. for the past twenty-two years.

Dr. Bobby is a wonderful role model for our youth.

Educational Experience

2003 to present - UC Irvine - Director of LatinJazz Music and Jazz Trumpet

2000 to present - UCLA - Director of LatinJazz Music and Jazz Trumpet

2001 - California Music Educators Association (CMEA)

1997 Music Center on Tour special assignment: Song writing techniques at Fletcher Drive Elementary.

1996 to present - Jazz Sports L. A., Thelonius Monk Institute, West Coast trumpet teacher

1996 to present - Buddy Collette's Jazz America

1994 to present - Hispanic Musicians Association, Improvisation Courses

1994 to 2002 - NARAS, Grammy's in the Schools

1994-to 2003 Los Angels County High School of the Arts, Director of Jazz Studies, (Artist in Residence - 1993-1994)

1994 to present - DA Camera Society
"Salsa Connection"

1993 - Roosevelt High School, Artist in Residence

1992 to present - Jazz Mentorship Program, City of Los Angeles

1991-1997 - Los Angeles Music and Art School

1990-1993 - IOJA, Jazz Goes To School

1988 to present - Jazz Adventure, Music Center on Tour "Jazz Adventure"

1997 to present - International Association of Jazz Educators (IAJE)



The Jazz Leaders


Trumpet Talk

LatinJazz Romance

LatinJazz Explosion
(Grammy Nominated)

LatinJazz Christmas

Bobby Rodriguez Plays
Duke Ellington

California Salsa II
HMA Salsa/Jazz Orchestra

California Salsa I
HMA Salsa/Jazz Orchestra

Tell An Amigo

Simply Macrame


Trumpet/Flügelhorn/Valve Trombone



In 2000 he received a Lifetime Achievements Award in
Jazz from Drew University of Los Angeles, California.  In 2000 he was Nominated for a Grammy Award for his
"LatinJazz Explosion," CD.In 1999 he received KLON's Best New Latin Jazz Artist.In 1998 Bobby was awarded Jazz Educator of the Year by the Los Angeles Jazz Society.



HMA "Spirit of Music Awards," 1991, 1992

Latin Business Association's 16th Annual Awards Banquet, 1992-1994

VONS Retirement Concert/Dinner for Bill Davila, 1992

TELACU 10th Annual Scholarship Awards, 1993

Celebrando la Diferencia, 1993

Mariachi Christmas, 1993


Paquito's Christmas, 1994-1996

Carmen (Adaptation), 1997

LatinJazz Christmas Show, 1997-2004

Caribbean Caliente Show for Princess Cruises, 2004



Professional Musicians Local #47, Hollywood, California, USA

NARAS (National Association of Recording Arts & Sciences), Los Angeles, California, USA

Hispanic Musicians Association, Inc., Los Angeles, California, USA
ASCAP, Hollywood, California, USA
International Association of Jazz Educators (IAJE), International
"B & R Time Music" Publishing Company, Los Angeles, California, USA

NOSOTROS, Hollywood, California, USA
Sours: http://www.bobbyrodriguez.com/biography.html

Dr. Bobby Rodriguez bringing Latin jazz Christmas concert to Irvine Barclay Theatre

For Dr. Bobby Rodriguez, it was love at first sound when he first heard jazz music.

He was only 10 years old when he picked up the trumpet and hasn’t put it down since.

“I was all in right away,” Rodriguez said.

The jazzman went on to play with Quincy Jones, Ray Charles, Herbie Hancock and Carlos Santana. Now he’s bringing his signature Latin jazz style to the Irvine Barclay Theatre on Dec. 2 for a Christmas concert.

Rodriguez will lead about two dozen musicians as they play Latin jazz renditions of classic Christmas tunes like “Deck the Halls” and “Silent Night.”

The songs are from Rodriguez’s 1997 record, “A Latin Jazz Christmas,” which he said was the first Latin jazz Christmas record ever produced.

Jerry Mandel, president of Irvine Barclay Theatre, said he booked Rodriguez because he wanted a unique way to usher in the Christmas season.

“I thought this would be a great way to celebrate in a different kind of way,” Mandel said. “There is holiday music everywhere, but I wanted to do some Latin jazz. These are incredible arrangements.”

Rodriguez, 68, of Yucaipa has worked as a professional musician since he made $10 playing a show at age 13.

“That blew my mind,” Rodriguez said. “I thought, ‘I could play this thing that I love and make money. This is a great thing.’ ”

Rodriguez quickly climbed to the upper echelons of musicdom, co-conducting Quincy Jones’ band in his late 20s. Stints followed with other jazz legends, like Ray Charles.

“I loved Ray, but worked with him for a short period of time because it was not easy working with the Ray Charles organization,” Rodriguez said. “But, the time on stage was unbelievably wonderful.”

Along the way Rodriguez produced seven albums, with an eighth currently in the works.

He was nominated for a Grammy Award in 2000 for his album, “Latin Jazz Explosion.”

For the last several years Rodriguez has been focused on his legacy. In particular, he wants to do his part to ensure that young musicians have the tools they need to succeed to ensure a future for jazz music.

He worked as a music professor at UCLA for 18 years and currently is in his 16th year at UC Irvine.

“Music has been very good to me and I think it’s my turn to try and help it continue to change lives,” Rodriguez said.

Some of Rodriguez’s students at UC Irvine will be performing in the big band at the Christmas show.

“Big band is like a freight train to your face,” Rodriguez said. “It’s something very beautiful.”

If You Go

What: Dr. Bobby Rodriguez’s “Latin Jazz Christmas”

Where: Irvine Barclay Theatre, 4242 Campus Drive, Irvine

When: 7 p.m. Dec. 2

Tickets: $35 to $100


[email protected]


Sours: https://www.latimes.com/socal/daily-pilot/news/tn-wknd-et-rodriguez-20181120-story.html
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The trumpet riff at the beginning of Gerald Wilson’s “Before Motown” is a triumphant and blast, possessed of what Jelly Roll Morton called “the Spanish tinge.” It is delivered in its elegant audacity by Bobby Rodriguez, the Grammy-nominated musician, composer, and educator known to his fans, students, and colleagues as “Dr. Bobby.”

Drawing from his Mexican American roots in East Los Angeles, Rodriguez composed the score for the musical, “Paquito’s Christmas,” working with the show’s lyricist Luis Avalos. The musical, which is set in multicultural Los Angeles, has been presented in cities across the country since 1994.


A professor of music at the University of California, Irvine and at the University of Redlands, Rodriguez brings consummate musicianship and professional expertise to his students, as well as his flair for adding that sabor to jazz. During his 18-year career at UCLA, Rodriguez created the Latin Jazz Big Band in 2000 with strong support from Kenny Burrell, legendary guitarist and a Distinguished Professor and founding director of Jazz Studies at UCLA. Rodriguez, who taught at UCLA until earlier this year, also co-directed Burrell’s Los Angeles Jazz Unlimited Orchestra.

Rodriguez is currently working on a new recording of his music and is writing a book on the “ABCs of Jazz Improvisation.” He performs regularly throughout Los Angeles and on September 27, 2018, will be a featured soloist with the Gerald Wilson Orchestra at Catalina’s Bar and Grill in Hollywood. Rodriguez, who works to motivate the youth of Los Angeles in their pursuit of music education, is also a sought-after clinician and soloist at numerous high schools.

How does your heritage as a Latino from Los Angeles inspire your music?

My music has always been jazz with a Latin feel. There’s always been an East Coast/West Coast rivalry. The music is different, first of all, because of the warmth of Southern California, and certainly because of the environment of Los Angeles.

For example, salsa music that’s written in New York has a strong [influence] from the Cuban tradition. Here on this coast, I think we’re much more able to free ourselves from the confinement of the clave– a two-bar rhythmic concept (snaps fingers) that comes from the New Orleans tradition – dukka-dukka-dukka-du-du-du. That element is built into the Cuban soul. Cuban music [is] music based on clave. We can alter it here on the West Coast; we’re not as strict about it, and I think that’s an advantage.

For example, salsa music that’s written in New York has an extremely strong [influence] from the Cuban tradition. Here on the West Coast, I think we’re much more able to free ourselves from the confinement of the clave– a two-bar rhythmic concept (snaps fingers) that comes from the New Orleans tradition – dukka-dukka-dukka-du-du. That element is built into the Cuban soul. Cuban music [is] built with clave. We can alter it here on the West Coast; we’re not as strict about it, and I think that’s an advantage.

Jazz is a hard sell because it’s very intellectual music and there usually no dancing. That’s basically why I’ve made my music “LatinJazz,” so it would be more attractive to a larger audience.

Gerald Wilson’s compositions embody that California warmth…

Gerald is one of my heroes. Of course, he wrote straight jazz charts for many years. But when it came to playing his own stuff, his wife, Josefina, a Mexican American woman from Los Angeles, also had a big influence on him. She took him down to Tijuana and they experienced a bullfight, and when he saw that bullfight, his whole world changed.

Gerald used more harmonic information, not so much rhythmic information. His flat-9 chords, which of course, is what he’s famous for, give his music an immediate and absolute Spanish feeling. For example, his “Carlos” is magnificent.

How have you been able to further Latin jazz – or jazz with a Latin feel – in Los Angeles?

We – Eddie Cano, Lionel “Chico” Sesma, Paul Lopez, Tony Garcia, Mike Pacheco, Johnny Martinez, Rudy Macias, me and many more – started this organization called the Hispanic Musicians Association in 1986. This organization afforded me the opportunity to form a Latin Jazz big band in L.A. Some of the music we created then, I’m still using with my students today. I haven’t heard some of the songs in 30 years and when I hear the kids play them, it amazes me because they still sound good and are still high-quality. In my music I use the songs as vehicles for improvisation. Good and correct music lives for a long time.

The actor Luis Avalos wrote the book for “Paquito’s Christmas.” We had met through Elizabeth Peña when we both worked on the project ,“Celebrando la Differencia” in 1989. He liked what I had done with the music and contacted me and said, “I have an idea for a play.” It had a beautiful Christmas theme, [with] the story of this boy, Paquito, who goes away and finds all these strange and funny things and eventually gets back into his own bed where he is safe and secure.

I introduced Luis to the head of the LA Cultural Affairs at the time, and I introduced him to the idea of getting sponsors to finance school age students to come and see the play for free, with sponsorship by a company, a corporation, LAUSD, or L.A. Cultural Affairs.

What did you think of the depiction of jazz musicians in L.A. in “La La Land”?

I’ve actually lived that experience. People have come to me and tried to [lure] me with different enticements [to fame] and I’ve never taken to that path. I always felt that I just wanted to be true to what I have inside me. If it takes me to the top, great. If it takes me four steps up, that’s okay too. As I’ve always said, “If it’s honest, it’s real and that’s what I am.”

Have you done much studio work for film or television?

Not on a regular basis. Some of my music has been picked up by independent music supervisors and has been placed in different movies for ambience and background. I’m still looking for that major hit. But if 22 seconds of my music is used, yes, there is a payment.

Do you get writer’s credit for this music?

I think you have to have a minute or some perimeter of how much time is used, or if it’s a featured theme. But if it’s background, they pay you by the second. It just depends on if a music supervisor says, “I want a fill right there.” And off it goes. Sometimes the temp music becomes the [actual] music because the director enjoys it so much.


What got you started on the trumpet?

I wanted to play since I was eight years old. I saw a trumpet player on TV, I think it was Harry James and I fell in love with the whole thing – his sound, the image, the beauty of the notes. But my mother was newly divorced at that time so money was very tight, we didn’t have extra. She thought it was just a passing fancy of mine and that she would pay and lose out on the money and I would go and do something else.

Well, I wore her down, I would not give up. I kept asking to play and two years later I finally got her to let me try. It was ten dollars a month: five dollars for rental of a trumpet and five dollars for the music lessons. And as soon as I tried, it was magic, and I loved it. I started out [while] at Our Lady of Lourdes Elementary School, on 3rdand Rowland. Then I went to Salesian High School, a Catholic boys’ school. I worked hard at it and practiced a lot.

What made you decide this was what you wanted for a career?

As soon as I got to high school, I was standing on the corner [one day], and a guy came up to me and offered me a job playing music with his band he was managing. He was a senior and I was a freshman. But already, I was advanced. There were no jazz bands at that point, just concert band work. I also played in pop and rock and roll bands and then I realized I could make money. I never thought about making money [before]. “You want to play in this band?” I said, “Okay.” “Here’s ten dollars.” “Wow – ten bucks – great!” And I’ve never looked back.

I was student body president at my high school and I kept playing. At that time, KBCA had a jazz station here in Los Angeles and I got a job as a broadcaster. I did that for a year, then I got drafted. I went away to the service for three years. I played my trumpet at Ft. Lee in Richmond, Virginia, and Fulda, Germany for two years. This was right at the height of Vietnam, 1969 to 1972. I thought I was going to Vietnam and I’m so happy I didn’t – the gods were with me on that. I did not enjoy the service but do think now that it’s in my past, it’s a good growing-up place. It does teach you discipline and awareness of other things, other than just yourself.

Coming back, my one dream was to make a record. In 1973, I came back and immediately went into production to make my first record, which I did. It was called, “Simply Macramé.” The cover of it shows a macramé [piece], because I was in love with a girl who made macramé, and it was fascinating to me. I was just contacted three months ago by someone in England, who has just re-released that record on vinyl. I haven’t heard it in 40 years. He sent me a copy of it and I was stunned to hear myself as a 24-year-old, it was amazing.

It’s amazing how things work. Looking back now, it’s pretty understandable. But when you’re in the middle of it, crawling forward, there’s a lot of unknowns and sheer belief in your life moving forward. Being the greatest in your neighborhood is certainly not the way to keep a career going. I now know that you have to be schooled so you can understand how a musician works after the pop years, which of course are your 20s. I went through [those years] with Quincy Jones and the Brothers Johnson school of pop and then finished that at 30, being married and having my first child. It’s a reality check and you wonder how you’re going to pay for this new [life].

I realized my abilities were not as good as I assumed they were to compete on a world scale. So, I started taking lessons and it helped a lot. I went back to school at 33 and finished my bachelor’s degree because when I got out of the service I went to school though the G.I. Bill but never finished. I got my doctorate in music performance in 2006 from UCLA. I did it partially because of the respect I have for jazz music. There aren’t a lot of Doctors of Music who can really play. Well, I wanted to be that extraordinary one, the different one who can play, who can teach, and who has the paperwork – the big three, so to speak.

You are working on multiple writing projects, including your own autobiographical children’s book, “An East L. A. Story,” and a book on jazz improvisation. What is the importance of chronicling the history of jazz, particularly from a musician’s viewpoint?

Being part of the industry, I know some of the heights, the lows, the downfalls, and the creative spurts. I understand the practice routine, the dedication, the commitment, and the luck of having a body that will allow you to progress forward over ten, 20, 30, 40, 50, 60 years. These are the types of things a writer outside of the industry wouldn’t really touch upon because it’s “just the facts, ma’am, just the facts”: he was born, he played, he recorded. But there is so much more. We don’t play music for money, we play music for love. Then we must figure out how to make money with it.

There’s a lot of personal and emotional information on why artists do what they do. It’s taken me a long time to understand the value of history because now I’m part of it.

I happen to know LaRue Brown [Watson], Clifford Brown’s widow, and I knew her at a time when I wasn’t asking about Clifford Brown. I met Freddie Hubbard about a year before he passed and became very good friends with his wife Brigitte. And then a year later, she died too.

Ndugu Chancler was my very good friend. He played drums on “Simply Macramé.” He died this year in 2018. And there are other friends who will go and with them will go the stories and history of jazz. It’s Hollywood, but it’s also an amazingly artsy town [with] a lot of people who want to express themselves.

How is jazz education unique from teaching about other types of music?

First of all, jazz education is important. There’s a lot of individualism involved. A lot of other music is very programmed. You’ve got to play it how Beethoven said to play it, or Mozart, or whoever. Jazz is very individual. There are rules, of course, that guide the basic sensibilities of jazz. But jazz musicians have a lot of freedom within those rules [in order] to bend them or break them. If you understand the larger picture of how jazz is to be presented, which is of course, honestly, personally, and respectfully, with the sensibilities of jazz as the core [with] the basics of the instrument – intonation, time, rhythm, knowledge, all those things. Then, your individuality can shine through.

Jazz is a very beautiful music. Many people say it can only have started in America, because of the freedoms we have here to express ourselves. And I certainly agree with that. I will forever be grateful for what jazz has allowed me to become. Jazz is freedom; jazz is America.

As an educator, what do you learn from your students?

To listen to [them]. That they are me, 40 or 50 years removed. I’m 67. I never imagined that number would be attached to me. I didn’t think it was a negative, I just never thought of it.

I see myself in them. They’re wisecracking, they’re wanting to be one of the guys of stature. They don’t know how to do it. They’re far too aggressive and they’re not talented enough – yet.

First, I try and make them understand that listening is where they must start, dedicated is what they must be, and determination is what they must forever have. I learn from my students that they are me, 40 or 50 years removed. I’m 67 and I never imagined that number would be attached to me. I didn’t think it was a negative, I just never thought of it. I see myself in them. They’re wisecracking, they’re wanting to be one of the guys of stature. They don’t know how to do it. They’re far too aggressive and they’re not talented enough – yet.

It makes me see how much I should have learned at an earlier age. I needed mentors; I was lucky to have some later. Bill Taggert was my first bandleader; Paul Lopez was my salsa guru. Don Ferrara, my first real trumpet teacher, and then the man who saved my career – Uan Rasey. These people are great individuals who were really helpful to me. Uan gave me not only great trumpet advice, but also personal advice. He said to me, you’ve got the goods now you have to use them correctly. And when someone on the outside can affirm those hidden feelings … he said all you have to do is put the pieces together. And that’s what I’m still trying to do.

I’m very lucky to be living right here right now with an ability to help myself and to help others. I’m not an inventor or re-inventor of the greatest thing in the world. But nobody can be a better me than me. That’s what motivates me to keep practicing and keep trying to get just a little bit better every day. That’s what I tell my students all the time: don’t compete with me … compete with yourself. Because no one can be a better you than you.


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Sours: https://makinglifeswing.com/2018/09/20/bobby-rodriguez-the-best-version-of-himself/
Dr Bobby Rodriguez Part 3

















Available December 1st, 2020

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L - R Charley Harrison, Kenny Burrell, Albert Lord (Field Officer for Los Angeles City Council president, Herb Wesson),
Dr. Bobby Rodriguez

Last night at Catalina’s Jazz Club (8/31/15) in Los Angeles, Kenny Burrell-Artistic Director, Dr. Bobby Rodriguez-conductor,
and Charley Harrison-conductor of the Los Angeles Jazz Orchestra Unlimited received a City of Los Angeles Certificate of

Los Angeles Jazz Orchestra is dedicated to the City of Los Angeles and proud to reflect the energy and diversity of Los Angeles,
to the great musical history of Jazz in Los Angeles and the United States of America, to promoting new musical ideas and
maintaining the highest standard of excellence, to the training and education of our youth and aspiring musicians and to expanding
the great tradition of American Jazz music in an artistic manner.


Sours: http://www.bobbyrodriguez.com/

Rodriguez dr bobby

Let it be like this. I can not. I am very. Love. Loyalty ?.

Dr Bobby Rodriguez Part 3

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