Prominent Afro-Cuban Musicial Figures/Ensembles

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Prominent Afro-Cuban Musicial Figures/Ensembles

Prominent Afro-Cuban Musical Figures/Ensembles 1920's - Sexteto Habanero < First son band to use acoustic bass. The botija (clay jug) and marimbula (thumb piano ) were previously used. < Added brass to the orchestration. Late 1920's - Septeto nacional < In general, this group played much tighter and faster than son bands of the past. < the Spanish influence was much more prevalent than with the Sexteto Habanero. 1930's - Arsenio Rodriguez < Revolutionized the son by extending the estribillo (call and response) section to a full blown montuno. < Enlarged the orchestration by adding the tumbadora (conga). < Paved the way for the popular dance craze, the mambo. 1940's-50's - Machito, Tito Puente, Tito Rodriguez < First figures to be associated with “Latin-Jazz” < Still considered to be son ensembles, these groups began to employ jazz harmonies into their music. < Salsa craze begins to explode in New York City 1950's - present - Chano Pozo, Celia Cruz, Mongo Santamaria, Poncho Sanchez, Dizzy Gillespie Good books which focus on Latin Styles: Castro, Ruy. Bossa Nova - The Story of the Brazilian Music Tha Seduced the World. A Cappella Books. Chicago, 2000. da Fonseca, Duduka & Bob Weiner. Brazilian Rhythms for Drumset. Warner Bros. Hialeah, FL, 1996. Faria, Nelson & Korman, Cliff. Inside the Brazilian Rhythm Section. Sher Music. Petaluma, CA. 2001. Gerard, Charlie, et al. Salsa: The Rhythm of Latin Music. Loza, Steven. Tito Puente and the Making of Latin Music. Univ. of Illinois Press, Urbana and Chicago, 1999. Malabe, Frank & Weiner, Bob. Afro-Cuban Rhythms for Drumset. Warner Bros. Hialeah, FL, ca. 1990. Mauleon, Rebecca. 101 Montunos. Sher Music. Petaluma, CA., 1999. Mauleon, Rebecca. Salsa Guidebook. Sher Music. Petaluma, CA., 1993. McGowen, Chris & Pessanha, Ricardo. The Brazilian Sound. Billboard Book, NY., 1991. Roberts, John Storm. Latin Jazz - The First of the Fusion, 1880's to Today. Schirmer. NY, 1999. Rodriguez, Dr. Olavo Alen. From Afro-Cuban to Salsa. .

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Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
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“Mongo” Santamaría
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Stage Door Swings Brochure
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Spitting Fire: Black Mountain and the Black Arts Movement in the Poetry of Jayne Cortez Joseph Pizza
Spitting Fire: Black Mountain and the Black Arts Movement in the Poetry of Jayne Cortez Joseph Pizza Journal of Black Mountain College Studies Volume 12: Expanding the Canon (Spring 2021) Article URL: https://www.blackmountainstudiesjournal.org/pizza-black-arts/ Published online: May 2021 Published by: Black Mountain College Museum + Arts Center Asheville, North Carolina https://www.blackmountaincollege.org Editors: Thomas E. Frank, Wake Forest University Carissa Pfeiffer, Black Mountain College Museum + Arts Center Production Editor: Kate Averett, Black Mountain College Museum + Arts Center Note: The Journal of Black Mountain College Studies is a digital publication, intended to be experienced and referenced online. PDFs are made available for offline reading, but may have changes in layout or lack multimedia content (such as audio or video) as compared to the online article. Journal of Black Mountain College Studies, Volume 12 (Spring 2021 Spitting Fire: Black Mountain and the Black Arts Movement in the Poetry of Jayne Cortez Joseph Pizza Connections between Black Mountain and the Black Arts Movement may, at first, appear surprising. Literary histories, after all, tend to mimic the groupings arranged by writers and editors in a given era and, despite the period’s relative progressivism, schools and anthologies in post-war America appear as segregated as the larger society of the time. In addition to this, while Black Mountain may have been the first higher education institution in the Jim Crow South to integrate, little connection has been made between this fact and the school’s larger pedagogy and aesthetics. Nevertheless, during Charles Olson’s tenure as rector, Black Mountain faculty and students did continually work in the spirit of 1930s and 1940s popular front politics to integrate the campus, looking also to African American models, and particularly jazz, in reimagining the shape of postwar teaching and writing.
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327 Rosa Marquetti Torres Chano Pozo Was a Troublemaker Who
Book Reviews 327 Rosa Marquetti Torres, Chano Pozo: La vida (1915–1948). Santiago de Cuba: Editorial Oriente / Baranquilla: La Iguana Ciega. 2018. 358 pp. (Paper n.p.) Chano Pozo was a troublemaker who smoked marihuana, sniffed cocaine, and spent a great deal of his life with gun bullets in his body. He was also the great- est conguero of Cuba of all times. In 2001, Jordi Pujol issued the CD box Chano Pozo: El tambor de Cuba (Tumbao TCD 305) with a 143-page booklet. It consti- tutes a landmark in the research on Chano. Now Rosa Marquetti extends our knowledge about the legendary tumbador a great deal further. She sets the mood with a description of Chano Pozo, the dandy, in fancy stage clothes and with his best conga drum. By 1942, he had completed his look—expensive and extravagant suits (he had 23), fancy shoes, outrageous hats, and flashy jewelry. Chano was obsessed with clothes. After rising to fame, he was never short of money, but what came in was spent immediately. At the same time, he stuck to his origins. He continued to live in a solar, a tenement building with one-room apartments and common kitchen and toilet, though in his case it was furnished in style. Chano was a man of contradictions. He also drove a red Cadillac convertible, rolled in bills on his bed and spent those that stuck to his body. He epitomized the myth of the triumphant Cuban musi- cian. Marquetti narrates Chano Pozo’s life in a lively, fluent, easy-to-read style— from his humble beginnings through his reform-school teens, his subsequent rise to fame in Cuba as a composer, drummer, and rumbero, his apogee on the vanguard of Afro-Cuban jazz in the pathbreaking big band of Dizzy Gillespie in “Nuebayol” and his catalytic role in it, to his violent death in NewYorkin 1948, at the age of 33 and his posthumous larger-than-life reputation.
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Arsenio Rodríguez
Arsenio Rodríguez Birth name Ignacio Arsenio Travieso Scull Born August 31, 1911 Güira de Macurije, Matanzas Province, Cuba Origin Cuba Died December 31, 1970 (aged 59) Los Angeles, California, United States Genres Son montuno, guaracha, guaguancó, bolero, afro, cha- cha-cha, lamento Occupations musician Instruments tres, tumbadora (conga) Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull, Güira de Macurije, 31 August 1911 – Los Angeles, 31 December 1970)was a Cuban musician, composer and bandleader.He played the tres (Cuban string instrument) in son-based music and tumbadora, or conga, in folkloric rumba. In the 1940s and 50s Rodríguez reorganized the son conjunto (‘son group’) and developed the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred song lyrics.Early lifeRodríguez was born in Güira de Macurije in Bolondrón, Matanzas Province as the third of fifteen children, fourteen boys and one girl.As a young child, Rodríguez was blinded when a horse (or a mule) kicked him in the head.Rise to FameLater, Rodríguez became a musician, and eventually became one of the most renowned bandleaders on the island earning him the nickname El Ciego Maravilloso (the Marvellous Blind Man). His music emphasized Afro-Cuban rhythm as well as the melodic lead of the tres, which he played. In 1936 he played his own compositions with the Sexteto Boston, led by his cousin Jacinto Scull. The group disbanded in 1937, and he joined the Septeto Bellamar of cornetist José Interián in 1938.
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Bibliografia Cubana 1986
MINISTERIO DE CULTURA vi BIBLIOGRAFIA CUBANA 1986 ISSN 0574-6086 BIBLIOTECA NACIONAL JOSE MARTI MINISTERIO DE CULTOR/ BIBLIOGRAFIA CUBANA 1986 NUMERO 6 NOVIEMBRE-DICIEMBRE CIUDAD DE LA HABANA 1987 "AÑO 29 DE LA REVOLUCION" Compilada por Dep. de Investigaciones Bibliográficas Elena Graupera Arango Juana Ma. Mont Cárdenas Corrección Sonia Remigio Impreso en el Dep. de Ediciones y Conservación de la Biblioteca Nacional José Marti TABLA DE CONTENIDO Siglas v abreviaturas ............................ v PRIMERA SECCION: JOSE MARTI........................ 3 SEGUNDA SECCION: LIBROS Y FOLLETOS................. 7 Autores cubanos en el extranjero ................... 47 Suplemento ............................ 49 TERCERA SECCION: PUBLICACIONESSERIADAS .............. 63 CUARTA SECCION: MATERIALES ESPECIALES Cartelografía ..................................... 67 Catálogos de exposiciones ......................... 72 Emisiones postales ................................ 83 Fonorregistros .................................... 85 Obras musicales ................................... 89 Producción cinematográfica ........................ 90 Programas ......................................... 95 INDICES Indice analítico ................................ 113 Indice de colecciones, series y editoriales......... 218 SIGLAS Y ABREVIATURAS a ................. ........... ano abr............... adapt............. ag................. A.L................ algs.............. A.N.E.C........... mistas de Cuba arr............... b. y n............ c................. CAME.............
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Redalyc.CENTRAL PARK RUMBA: NUYORICAN IDENTITY and THE
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