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Diego Rivera’s fifth release as a bandleader is, as one reviewer stated, “a masterpiece that should catapult Rivera into a whole new level of conversation not only about saxophonists but about the best of our contemporary composers and arrangers”

Mestizo (Posi-Tone 2022) shows Rivera exploring his cultural background, and he does so emphatically, intelligently, and inclusively. The ten tracks on the release feature eight new compositions by Rivera, the associate director of jazz studies and associate professor of jazz saxophone at Michigan State University.

“My writing has evolved in two very specific ways that I hear: First of all, I’ve worked terribly hard at becoming a better musician and composer though rigorous study, practice, performance and playing with musicians who constantly push and challenge me,” Rivera said. “Second, I’ve developed a more informed opinion of society and opportunities to bring awareness to aspects of our consciousness that need addressing.”

With tunes like “Rasquache” and “Bracero,” Rivera explores terms within Chicano culture originally used as slurs but are now terms of endearment within the community. Bracero means “manual laborer” in Spanish, and it stems from The Bracero Program of 1942, which Rivera points out, was marred with corrupt practices that caused many Mexicans to suffer. At the same time, as much hardship as the program caused, people overcame the obstacles and began their family’s journey in the United States. It is that pride and strength that Rivera brings out in these compositions.

“The term ‘Rasquache’ comes from the Spanish word rascuache, which originated from the Nahuatl language,” Rivera explains. “The term originally was used as a derogatory slur to describe anything that originated from impoverished, lower-class or ‘ghetto’ communities. Stanford University Professor Tomás Ybarra-Frausto would coin the term ‘Rasquachismo’ as a celebration of Chicano’s survivalist attitude.”
 

Rivera is well aware of the fact that he is more outspoken about cultural issues these days. He also knows exactly where the capacity to do so originated.

“Both my mother and father were migrant workers and among a growing number of Chicanos to be recruited to Michigan State University in the 1970s. The 70s were also a time of heavy student activism and ethnocentric awareness,” he explained. “As a result, I was raised with a very strong sense of identity and an understanding of my culture. I was introduced to the lives and work of people like Cesar Chavez and Dolores Huerta, as well as the politically charged plays of writers like Luis and Daniel Valdez. So, I was introduced to the concept of art and activism intersecting. My motivation to become more outspoken has materialized as I’ve grown older, had more experiences, and learned from my mentors and those who have used their art to reflect the times in which they live.”

The times in which we live are reflected directly in the first track on the new recording, “Battle Fatigue.” Rivera composed the piece within moments of the conviction of George Floyd’s murderer, Derek Chauvin.

“’Battle Fatigue’ is a sentiment quite common within communities of color.” Rivera said. “For a long time, I felt the hardest part of my reality as a Chicano and a person of color in the United States were my encounters with prejudice and racism. As I’ve become more outspoken about my experiences, I’ve learned that what has actually been most exhausting is continually explaining a reality to others yet not being believed that it exists.”

Combine this frustration, the desire to explore issues, and Rivera’s burgeoning composition skills with his ability and opportunity to raise awareness, and you have a recording like Mestizo. It is a work of art, a call to action, and a ray of hope for the future.

“The history of Mestizos extends beyond simply those who come from Spanish and Indigenous descent. It is a fascinating history of people whose culture is woven all through the fabric of what we know as American culture,” Rivera said. “The more we celebrate our respective and collective heritages, the easier it becomes to gain an understanding of one another. We become less territorial in the social landscape and understand that what benefits one group doesn’t take from another. Social justice and cultural awareness becomes less a transactional process, and not everything is measured in terms of our own benefit. In the words of Cesar Chavez, ‘Preservation of one's own culture does not require contempt or disrespect for other cultures.’”

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Mestizo is available for purchase on diegoriverajazz.com.

In addition to his roles on the MSU College of Music faculty, Diego Rivera is a Posi-Tone Recording Artist, Vandoren Performing Artist, Ulysses Owens Jr. Big Band (New York, NY) Tenor Saxophonist, Dr. Phillips Center Jazz Orchestra (Orlando, FL) Tenor Saxophonist, and The Gathering Orchestra (Detroit, MI) Tenor Saxophonist/Mentor.