Ozomatli: A Definitive Study Guide on LA's Cultural Ambassadors
Musical Style and Categorization:
The music of Ozomatli is described as difficult to categorize due to its extensive range of influences that reflect the diverse culture of Los Angeles.
Influences include salsa, hip hop, Colombian cumbia, funk, merengue, rhythm and blues, reggae, rock, ska, and even elements of jazz and Latin music.
The band is noted for blending these styles in a seamless, non-haphazard way, using unique arrangements and instrumentation to create a distinctive sound that is representative of the multiculturalism in Los Angeles.
Their songs often incorporate both English and Spanish lyrics, showcasing the bilingual nature of the band's members and appealing to a diverse audience.
Historical Context (Band Formation):
Ozomatli formed in 1995 amidst a vibrant Los Angeles music scene that was marked by a blend of genres.
The band emerged from grassroots influences and cultural movements of the time, reflecting the social and political climate of the city.
Various hubs for different genres included:
Troy Cafe (Little Tokyo) and Self Help Graphics (Boyle Heights): Known for nurturing East Side bands, a cultural epicenter for Latino artists.
Project Blowed (Lumber Park): A pioneering center for hip hop which provided a platform for artists like Freestyle Fellowship and other influential acts.
Al's Barn (Downtown) and Spacelight (Silverlake): Popular venues for rock music that attracted a diverse crowd, contributing to the blending of genres.
Accolades and Achievements:
The band has won two Grammy Awards, recognizing their contributions to both Latin and world music genres.
They have toured extensively across the globe, performing in various countries and sharing their music with international audiences.
The US State Department recognized their cultural impact by inviting them to serve as official cultural ambassadors on tours across Asia, Africa, South America, and the Middle East, allowing them to promote cultural exchange.
Community Involvement: Ozomatli received a local heroes award from KCET for their ongoing service to the Southern California community, engaging young people through outreach programs and cultural workshops.
Sports Connection: The Los Angeles Dodgers commissioned them to write the song "Can't Stop the Blue," which remains a staple at Dodger Stadium and represents the team's spirit.
Official Recognition: The city of Los Angeles officially declared April 23 as Ozomatli Day, honoring their contributions to music and community service.
Musical Samples and Instrumental Analysis
"Chota" (1997):
This track features a mix of traditional Latin sounds and modern rhythms, displaying the band's ability to honor the past while innovating in the present.
Instruments featured: A dynamic horn section, Cuban tres (a three-course guitar), clarinet, electric bass, drums, and a variety of percussion instruments including congas and timbales.
Vocals: Includes singing in Spanish and rapping in English by the emcee Harley Tuna from Jurassic Five, showcasing a blend of cultures.
"City Of Angels" (2007):
This track highlights a fusion of hip hop, funk, and rock influences, a testament to the band's evolving sound over the years.
The emcee on this track is Justin Porter, who brings a fresh energy to the group's already diverse sound.
"La Segundo Mano":
Blends Hiroto music (a folk style from Veracruz) with hip hop, highlighting the band's commitment to showcasing lesser-known musical styles.
Instruments: Features the Hirana, Rachinto, and harp, traditional to Hiroto music, layered over a contemporary hip hop beat.
Vocals: Features Martha Gonzalez from the band That's All, further emphasizing collaboration with other artists.
"When I Close My Eyes":
Showcases rock influences drawn from prominent LA bands such as Oingo Boingo and Fishbone, illustrating their connection to the broader LA music scene.
Origins at the Peace and Justice Center
The LA Conservation Corps Incident:
Following the LA riots, the LA Conservation Corps implemented programs aimed at providing jobs for at-risk youth, reflecting community needs.
One specific section performed earthquake preparedness plays at schools across the region.
A group of approximately 30 workers attempted to unionize, resulting in their subsequent firing, which drew public criticism and highlighted ongoing labor issues.
The Peace and Justice Center:
Through mediation efforts, the terminated workers retained rights to their building located at Fort and Bixell for approximately three to four years.
They renamed the venue the Peace and Justice Center, transforming it into an inner-city art center for Downtown LA that served as a creative hub for various artistic expressions.
The center hosted band rehearsals, poetry readings, breakdance sessions, dance classes, graffiti exhibitions, and included a skateboard ramp, fostering community engagement and youth activity.
Band Formation Details:
Founding members Anton and Will Dog were part of the aforementioned earthquake play group; their shared experiences propelled them to organize a musical jam aimed at covering the operational costs of the building.
The individuals who participated in these jams eventually formed the core of Ozomatli, showcasing their collaborative spirit from the outset.
Early performances were often chaotic, at times featuring up to 15 people on stage, including a five-piece horn section, underscoring the band's lively and energetic stage presence.
Jose Espinosa (Crunchy): A notable early member who played on the first record, he was a talented jazz musician and a longtime friend of Ulysses Bella, contributing significantly to the band's early sound. Tragically, he passed away at a young age, leaving a lasting impact on his bandmates.
Interview with Ulysses Bella: Growing Up in Los Angeles
Early Life and Geography:
Ulysses was born in the old Cedars hospital (now the Biontology building off Sunset) , a historical location that reflects the changing demographics of LA.
He lived in the Hollywood and Silver Lake areas before his family moved to Bell in 1978 or 1979, a community with its unique socio-economic challenges.
Bell is characterized as part of Southeast LA, alongside other cities like Cutlerhay, Bell Gardens, Maywood, and Park, all of which possess distinct cultural identities separate from East LA.
He witnessed the neighborhood transition from predominantly white working-class families to a more diverse immigrant community, reflecting broader societal changes in Los Angeles.
Educational Experience and Bussing:
He attended Nimitz junior high briefly, a school then considered"trouble" due to its demographics and challenges.
Due to high scores on gifted tests, he was subsequently bussed to the Open School near Rosewood and La Cienega, allowing for a more diverse educational experience.
The Open School: An experimental educational environment with no traditional desks, only couches, this unique setting helped "burst his cultural bubble" and broaden his world view.
Bussing involved a lengthy commute through Southeast LA and South Central, picking up kids at Jefferson High, passing iconic landmarks like the Coliseum, and navigating through areas like Mid City and Koreatown, which exposed him to friends from different neighborhoods and socioeconomic backgrounds.
He later attended the Los Angeles County High School for the Arts (Loxa), where he further developed his artistic abilities.
Musical Influences and Career Development
Personal Influences:
Junior high music played a significant role in defining his "tribe," bringing together friends with similar creative interests.
Genres that influenced him include punk rock (with bands like Crass and the Dead Kennedys), post-punk (Joy Division, New Order), classical music, and jazz, each contributing to his musical palette.
Ulysses participated in a band called Karate (with Chris Gomez and Roman), which was influenced by bands like Fugazi, Sonic Youth, and the early Tool EP, showcasing a punk-influenced sound.
They performed at various venues, including Al Bar in Downtown LA, gaining exposure to the vibrant local music scene.
Transition to Jamaican Music:
While attending Pasadena City College (PCC), Ulysses encountered new musicians and joined the band Yeska, experiencing a transformation in his musical direction towards Jamaican sounds.
He noted a stark difference in audience behavior between punk shows, which were often characterized by slamming and aggression, and ska shows, which featured diverse crowds dancing joyfully, thereby expanding his musical perspective and creativity.
Recent Activity (2022):
New Album: Marching On, released on July 15, produced by David Garza, showcases their continued evolution and relevance in contemporary music.
Recorded at Sonic Ranch Studios outside El Paso, which is uniquely situated on a pecan farm, blending rural tranquility with artistic creativity.
The album's recording process was interrupted by the pandemic, leading the band to adapt and finish the project in various home studios before its release on the label Blue Alone.
Political Identity of the Band:
Ozomatli's DNA is inherently political; the members come from diverse political backgrounds that shape their musical output and social engagement.
Their influences encompass workers' rights, unions, and the Zapatista movement, reflecting a commitment to social justice and activism.
They have served as a "house band" for various social causes, including immigrants' rights, women's rights, and community support initiatives.
As part of their outreach, the band has performed at group homes for children, shelters for battered women, and in jails, using music to inspire and uplift marginalized communities.