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Cachao Y Su Ritmo Caliente Cuban Jam Sessions in Miniature "Descargas" Mp3, Flac, Wma
Cachao Y Su Ritmo Caliente Cuban Jam Sessions In Miniature "Descargas" mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin Album: Cuban Jam Sessions In Miniature "Descargas" Country: US Released: 1961 Style: Son Montuno, Descarga, Latin Jazz, Rumba, Cha- Cha, Salsa MP3 version RAR size: 1852 mb FLAC version RAR size: 1987 mb WMA version RAR size: 1767 mb Rating: 4.8 Votes: 416 Other Formats: MPC DXD XM MP3 VQF VOX MIDI Tracklist Hide Credits Trombon Criollo A1 3:06 Trombone – "Tojo" Jimenez*Written-By – Gerardo Fortillo* Controversia De Metales A2 3:11 Trombone – Tojo*Trumpet – Vivar*Written-By – Israel Lopez* Estudio En Trompeta A3 2:17 Congas [Tumbadora] – Tata GüinesTrumpet – Vivar*Written-By – Israel Lopez* Guajeo De Saxos A4 2:19 Tenor Saxophone – Emilio Peñalver*Written-By – Emilio Penalver Oye Mi Tres Montuno A5 2:39 Tres [Solo] – Niño RiveraWritten-By – A. Echevarria* Malanga Amarilla A6 3:17 Piano – Orestes LopezWritten-By – Silvia Contreras* Cogele El Golpe B1 2:39 Written-By – A. Castillo Jr.* Pamparana B2 2:34 Written-By – Alfredo Leon* Descarga Cubana B3 3:01 Soloist [Double Bass] – CachaoSoloist [Drums] – Barreto* Goza Mi Trompeta B4 2:55 Trumpet – Vivar* A Gozar Timpero B5 2:57 Trumpet – Vivar* Sorpresa De Flauta B6 2:51 Flute – Richard Egues* Companies, etc. Record Company – Panart Recording Corp. Made By – Panart Recording Corp. Credits Bongos – Rogelio "Yeyo" Iglesias* Congas [Tumbadora Drum] – Tata Güines Drums – Guillermo Barreto Guiro – Gustavo Tamayo Leader, Double Bass [String Bass] – Israel Lopez "Cachao"* Liner Notes [English] – Sorrentino Liner Notes [Spanish] – Andres Castillo Jr. Trumpet – "El Negro" Vivar* Written-By – O. -
Proquest Dissertations
ISRAEL LOPEZ "CACHAO": The Godfather of Cuban Bass The History and Development of the Bass in Cuban Popular Music WILLIS MICHAEL JARVIS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO, CANADA MAY 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre r&terence ISBN: 978-0-494-80661-6 Our file Notre r6f4rence ISBN: 978-0-494-80661-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Introducing Leonardo Acosta, Music and Literary Critic
Vol. 5, No. 3, Spring 2008, 95-121 www.ncsu.edu/project/acontracorriente Introducing Leonardo Acosta, Music and Literary Critic Raúl A. Fernández University of California—Irvine Daniel Whitesell Irvine Valley College The recent awards bestowed on Leonardo Acosta, in particular Cuba’s Premio Nacional de Literatura (2006), come as no surprise to the authors of this article who have long been aware of the breadth and depth of Acosta’s essays on music and literature. To many, however, Acosta’s writing career has remained largely invisible. In part this is because Acosta’s major essays began to appear in the early 1980s when he was nearly fifty years old, a time by which most professional writers have established their careers; in part, because he had labored rather independently of any official Cuban institutions. As Acosta noted in his acceptance speech for the Premio Nacional de Literatura he had not been identified as “associated with any literary ‘group,’ or ‘revista,’ or ‘generation,’ or ‘cohort’. Neither had [he] participated in any aesthetic or ideological polemic affecting arts and letters…” His ‘invisibility” may also be in part because his writing has consisted primarily of ensayos, a genre Fernández 96 that attracts less attention from literary critics than poetry or prose narrative. Another contributing factor has been the diversity of the intellectual field Acosta defined for himself—he began as a professional musician, became a journalist, poet and short story writer for a decade, and then became a writer on music and literature. This career trajectory makes it difficult for any other single author to evaluate Acosta’s work as a whole. -
Bebo Valdes: the Flavor of Cuban Jazz
Episode 3. Bebo Valdes: The Flavor of Cuban Jazz !On the public health front, we have been told recently to expect tough news over the next two weeks. I remember thinking when i heard this that if it’s only two weeks of tough news, i’ll be pleasantly surprised. In any case, the warning prompted me to send everyone a link to the most joyful and uplifting recording i can think of, El Arte del Sabor (The Art of Flavor). The CD was given to me about ten years ago by my friend, Alan, and I can confidently state that it’s the CD I’ve listened to more often than any other jazz recording I’ve owned (a number exceeding 3,500). I’ve made copies of this CD for a few friends, family members, and for people recovering from illnesses. I’m convinced its effects are salubrious, among its other benefits. !Before you rush to buy a copy, caveat emptor:: Recorded by Blue Note Records in 2000, it has long (and unjustifiably) been out of print. The price for a new copy on Amazon is $975; but having checked Amazon just yesterday, the good news is there are 4 used copies you can snag “cheap”— at $150 each, !In this episode of One Track Mind, I will try to give you an idea of what makes this album so uniquely captivating, and then I will provide a (free and legal) youtube link to all the tracks on this gem of an album. But first, the musicians: The trio is led by Bebo Valdes, a Cuban pianist, arranger and composer who had an established career as a journeyman musician in Havana when he fled Castro’s Cuba in 1962. -
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University. -
“Latinizing” Your School Jazz Ensemble
“LATINIZING” YOUR SCHOOL JAZZ ENSEMBLE: PRACTICAL SUGGESTIONS FOR ACHIEVING AN AUTHENTIC LATIN SOUND Michele Fernandez Denlinger Clinician Also featuring : The ‘’Caliente’’ Rhythm Section Mr. Jose Antonio Diaz, Director December 14, 2016 The Midwest Band and Orchestra Clinic Chicago, Ill Playing and teaching the various forms of Latin music should not be viewed as an enigmatic challenge, although this undertaking is often described as such by music instructors everywhere. It is actually quite simple if one has access to the right concepts and patterns. During my years as a high school director I had the opportunity (and necessity) to observe and develop rehearsal techniques that allowed the jazz ensemble at Miami High to achieve the authentic sound that my students so much enjoyed sharing through many venues. However, it was only after my later experiences as a clinician, conference speaker and adjudicator that I actually made an attempt to collate and organize the principles and techniques I (sometimes unconsciously) applied with my students throughout my time as a director. This handout contains some basic principles and rehearsal suggestions that I hope will help any director/student unfamiliar with some of the major styles in this genre (and perhaps those a bit more familiar as well) to begin to teach and explore this infectious brand of music with more vigor and authenticity. Most of all: Have a great time; “Latin” music is truly a blast to play and teach! Michele *Questions/assistance regarding any material in this presentation will be promptly (and gladly) answered. Please refer to Section VII: Clinician BIO for contact info. -
Cachao, Mambo's Inventor, Dies at 89
HOME PAGE MY TIMES TODAY'S PAPER VIDEO MOST POPULAR TIMES TOPICS My Account Welcome, laiacabrera Log Out Help Music Arts All NYT WORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYLE TRAVEL JOBS REAL ESTATE AUTOS ART & DESIGN BOOKS DANCE MOVIES MUSIC TELEVISION THEATER Cachao, Mambo’s Inventor, Dies at 89 More Articles in Arts » By JON PARELES Published: March 24, 2008 Get UrbanEye by E-Mail E-MAIL Sign up to find out all you need to know about New York, every weekday. See Sample Correction Appended PRINT [email protected] REPRINTS Change E-mail Address | Privacy Policy Israel Cachao López, the Cuban bassist and composer who was a pioneer of the mambo, died on Saturday in Coral Gables, Fla. He was SAVE 89 and lived in Coral Gables. SHARE Enlarge This Image The cause was complications resulting from kidney failure, said Nelson Albareda, whose company, Eventus, was his manager. Cachao, as he was universally known, transformed the rhythm of Cuban music when he and his brother, the pianist and cellist Orestes López, extended and accelerated the final section of the stately Cuban danzón into the mambo. “My brother and I would say to each other, ‘Mambea, mambea ahí,’ which meant to add swing to that part,” he said in a 2006 interview with The Miami Herald. The springy mambo bass lines Cachao created in the late 1930’s — simultaneously driving and playful — became a Jack Vartoogian/FrontRowPhotos foundation of modern Cuban music, of the salsa that grew MOST POPULAR Cachao playing at the JVC Jazz Festival in New York in 2006. -
Humberto Cane Record Collection, 1944-1998 700
http://oac.cdlib.org/findaid/ark:/13030/kt596nc8sv No online items Finding Aid for the Humberto Cane Record Collection, 1944-1998 700 Processed by Maria Huacuja. Chicano Studies Research Center Library 2009 144 Haines Hall Box 951544 Los Angeles, California 90095-1544 [email protected] URL: http://chicano.ucla.edu Finding Aid for the Humberto 700 1 Cane Record Collection, 1944-1998 700 Contributing Institution: Chicano Studies Research Center Library Title: Humberto Cane Record Collection Creator: Cane, Humberto 1918 - 2000 Identifier/Call Number: 700 Physical Description: 7 linear feet Date (inclusive): 1944-1998 Abstract: This collection of LP records and audio cassette tapes is from the personal collection of Humberto Cane, Cuban born band leader, composer and arranger. COLLECTION STORED OFF-SITE AT SRLF. Advance notice required for access. Contact the UCLA Chicano Studies Research Center Library and Archive for paging information. Language of Material: English . Access Open for research. Acquisition Information This collection was given to the Chicano Studies Research Center by the UCLA music library. Deed is not on file here at the CSRC archive or at the UCLA music library. Provenance is inconclusive as of this writing. Biography Born in Matanzas, Cuba in 1918, multi-instrumentalist and band leader Humberto Cané organized one of the most highly regarded bands in the musical history of Mexico--specifically in the genres of Mambo and Cha Cha. In 1947 it was Cane's group that backed up Benny More in the recording of a now famous 10-inch LP at the outset of the popularization of Cha Cha and Mambo. -
La Elegancia Al Piano
La elegancia al piano Mats Lundahl n su DICCIONARIO DE LA MÚSICA CUBANA (letras cubanas, la habana, 1992), E Helio Orovio dice de Bebo Valdés que «es uno de los más completos músicos que ha dado Cuba», y en Música cubana de los últimos 50 años (Alianza Editorial, Madrid, 2003), Tony Évora lo llama «figura central de la época de oro de la música cubana». Podría citar muchas opiniones semejantes entre los historiadores y críticos profesionales que se dedican a la música cubana. Todos parecen estar de acuerdo, pero ¿en qué consiste su grandeza y cuál ha sido su importancia musical? JULIO CUEVA E ISSA EL SAIEH La primera vez que Bebo tocó con una orquesta de primera categoría fue bajo la batuta de Julio Cueva en 1945, reemplazando a René Hernández como pianista y arreglista. En aquel momento, la orquesta del trompetista acababa de ser votada como la más popular de Cuba, y Bebo contribuiría de forma decisiva al manteni- miento de la soberbia calidad de la banda, sobre todo, por medio de sus arreglos. Fue el responsable de los dos éxitos de Cueva de 1946, la guaracha «Pin pin», de Chano Pozo, un número que celebraba la caída de Alemania y Japón y el fin de la Segunda Guerra Mundial, y, todavía más, su propia «Rareza del siglo», un montuno tan avanzado armónicamente que el representante de la rca en Cuba, al principio, se negó a sacarlo en disco. También fue Bebo quien arregló el programático «Desin- tegrando», de la pluma de Cueva, una «canción protesta» contra la bomba atómica y, al mismo tiempo, una vindicación de la construcción de una sociedad colectiva. -
Diskographie1 Musiksammlungen Afrokubanische Musik/Rumba
Diskographie1 Musiksammlungen Diverse: Che. Hasta Siempre en Nuestra Música (1997), Caribe Productions. — Cuba – I am Time (1997), Blue Jackel [4 CD-Box]. — Cuba Classics II: Incredible Dance Hits of the ’60s + ’70s (1991), Luaka Bop. — Cuba Classics III: New Directions in Cuban Music – Diablo al Inferno (1992), Luaka Bop. — Cuban Lullaby (2002), ellipsis arts. — Divas of Cuba (2001), Kiddinx. — From Afrocuban Music to Salsa (1998), Piranha. — Hecho en Cuba (2002), Universal. — La Isla de la Música (1997), Magic Music. — Oriente de Cuba (2000), Nimbus [5 CD-Box plus CD-ROM]. — Santeros y Salseros (2002), Real Rhythm. Estrellas de Areito: Los Heroes (1998), World Circuit. Afrokubanische Musik/Rumba Coro Folklórico: En un Solar Habanero (2000), EGREM. Diverse: Antología de la Música Afrocubana Vol. 1-9 (1980ff.), EGREM [LP]. — Cantos de Congos y Paleros (1994), Artex. — Cantos y Toques de Santería (1994), Artex. — Cuba: les Danses des Dieux – Musique de Cultes et Fêtes Afro-Cubains (1988), Harmonia Mundi. — El Camino de la Salsa (2001), World Music Network. — Fiesta Cubana: Rumba (1991), Artex. — La Rumba Está Buena (1999), Corason. — La Rumba Soy Yo (2000), Bis Music. — Original Rumbas (1993), EPM. — Real Rumba from Cuba (1994), Corason. — Rough Guide: Afro-Cuba (2001), World Music Network. Grupo Oba-Ilu: Santería (2001), Soul Jazz Records. 1 Naturgemäß eine Auswahl, erstellt von Torsten Eßer. Die Diskographie umfasst hauptsächlich neuere Einspielungen und fast nur CDs. Wo es sich um LPs oder Kassetten handelt, ist dies gesondert angegeben. Das schließt nicht aus, dass es nicht inzwischen irgendwo ein Neuauflage als CD gibt. Produkte, die in Europa nicht erhältlich sind, können fast ausnahmslos per Internet bestellt werden. -
Johnny Vadnal Aho the Vagabunds Numidia Vaillant
JOHNNY VADNAL AHO 1923-2008 Accordionist, known as the King of the Polka in Cleveland. 1955 V-20-6183 Mambo polka/ mb THE VAGABUNDS Founded in 1927, They parted ways in 1938 country name. 193_ Trilon 115 Peanut Vendor/ r MS NUMIDIA VAILLANT Pianist He resided for many years in Paris, where he died. See wwwdesmemoriados.com by Rosa Marquetti, for extensive information about this artist. See: Esther Borja. Lp Antilla 101 Reissued almost immediately as Kubaney 101. Havana, 1955. Although these are songs by Esther Borja, two piano solos by Numidia are included. Danza cubana La hija de Oriente ABELARDO VALDÉS See: Orquesta Almendra de Abelardo Valdés ALFREDITO VALDES Y SU CONJUNTO (cu) Havana, 1908 - New York, 10/28/1988. Singer, brother of the also singer Vicentico Valdés and nephew of the singer and percussionist - younger than them - Oscar Valdés, who was with Irakere for a long time. Alfredito began singing in sonero groups until he entered the National Septet in 1930. But from then on, his artistic career is very varied and sometimes it seems incredible: In 1936 he replaced the legendary Pablito Quevedo in Cheo Belén Puig's orchestra, and recorded a series of anthological sung danzones, such as Dulce serenidad, Ahora que eres mía y others, but with the same skill as up-tempo songs like Todos seguimos la conga. In 1937 he moved to New York and worked and recorded with the Cugat orchestra. He dares with numbers like Bruca maniguá, Miguelito Valdés's private preserve. He also recorded and sings in 1938, with the Nilo Menéndez orchestra and in that same year, changing completely duo format with Machito for the Caney Quartet. -
Las Estrellas Areito De Cuba Vol. 2 Mp3, Flac, Wma
Las Estrellas Areito De Cuba Vol. 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin Album: Vol. 2 Country: Venezuela Released: 1980 Style: Son MP3 version RAR size: 1165 mb FLAC version RAR size: 1583 mb WMA version RAR size: 1109 mb Rating: 4.8 Votes: 712 Other Formats: ADX VOX AA VQF XM MMF MPC Tracklist Hide Credits A1 Para Mi Cuba yo Traigo un Son Que Traigan el Guaguancó A2 Written-By – Pedro Aranzola Guaguancó a Todos los Barrios B1 Written-By – Pedro Aranzola Companies, etc. Distributed By – Interamericana De Grabaciones, S.A. – EG-13087 Licensed Through – Empresa De Grabaciones Y Ediciones Musicales (Egrem) – EG-13087 Credits Bass – Fabian Garcia* (tracks: A1, A2, B1) Bongos – Ricardo Icon (tracks: A1, A2) Chorus – Los Hermanos Bermúdez (tracks: A1, A2), Manuel Furé (tracks: A1, A2), Pepe Olmo (tracks: A2, B1), Rafael Bacallao Hernandez (tracks: A2, B1), Teresa Garcia Caturla (tracks: A1, A2), Tito Gomez (tracks: B1) Congas – Guillermo Garcia (tracks: A1), Tata Güines (tracks: A2, B1) Cuatro – Israel Pérez (tracks: A1, B1) Guiro – Gustavo Tamayo (tracks: A1, A2, B1) Piano – Rubén González (tracks: A1, A2, B1) Timbales – Armando Valdez O. (tracks: A2, B1) Tres – Niño Rivera (tracks: A1, A2, B1) Trombone – Juan Pablo Torres (tracks: A1, A2, B1) Trumpet – Adalberto Lara (tracks: A1, A2, B1), Arturo Sandoval (tracks: A1, A2, B1), Jorge Varona (tracks: A1, A2, B1) Violin – Elio Valdés (tracks: A1, A2), Enrique Jorrín (tracks: A1, A2), Félix Reina (tracks: B1), Miguel Borbón (tracks: A1, A2), Pedro Hernández (tracks: A1, A2, B1), Ángel Barbazan (tracks: A1, A2, B1) Vocals – Filiberto Hernandez (tracks: B1), Magaly Tars (tracks: A1), Miguelito Cuní (tracks: A2, B1), Teresa Garcia Caturla (tracks: A1) Other versions Category Artist Title (Format) Label Category Country Year EG-13087 Las Estrellas Areito De Cuba* Vol.