DOCSLIB.ORG

Ralph Irizarry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ralph Irizarry Ralph Irizarry Ralph Irizarry, recognized worldwide as an excellent percussionist, first fell in love with the timbal at an early age when his father coincidentally brought home a set received as payment for a debt. A self- taught musician, Irizarry has developed a highly efficient and personalized style of playing while leaving an enduring mark on the artists with whom he has collaborated. His love for the instrument evolved into a full- fledged passion that has fueled his career since 1970. Irizarry admits, without reservation, that this passion has been all consuming since he was a youngster, and is the same passion that he infuses now into his music. Born in New York’s Spanish Harlem, Ralph Irizarry’s family first moved to Brooklyn and then briefly to Queens, before finally relocating in Puerto Rico in 1970. There, he spent three years immersed in music and gained the knowledge and experience that eventually granted him the opportunity to join Ponce’s La Terrífica, as well as sitting in with such prestigious aggregations as El Gran Combo and Sonora Ponceña. In 1974, Ralph Irizarry returned to New York City to pursue a career as a professional musician. After playing and recording with local groups for almost four years, his big break finally came when Ray Barretto invited him to join his top-ranked orchestra and shortly afterward, they were in studio recording the first of six productions. In April of 1983, Rubén Blades sought out Irizarry to join in the formation of Seís Del Solar. This association lasted for fourteen years and consisted of intense performing and traveling as well as the production of eight recordings. After Blades left and with his encouragement, the group continued performing and recorded two Latin jazz albums. Ralph Irizarry has performed, recorded and toured with the likes of Bebo Valdés, Harry Belafonte, David Byrne, Celia Cruz, Paquito D’Rivera, Juan Luis Guerra, Earl Klug, Israel López “Cachao”, Wynton Marsalis, Paul Simon and many others. He has appeared on the Johnny Carson Show and the David Letterman Show, as well as Don Francisco’s Sábado Gigante and Raul Velasco’s Siempre en Domingo. Irizarry has been featured in the major motion film The Mambo Kings and documentaries such as Belafonte’s Routes of Rhythm, Cachao’s Como Mi Rítmo No Hay Dos and The Life of Rubén Blades. Timbalaye In 1996, Ralph Irizarry created his own Latin jazz project, Timbalaye, a septet with a different instrumental format: Latin percussion instruments instead of the typical drum set, as well as a fresh innovative sound. Timbalaye’s repertoire combines contemporary jazz sounds with rhythmic elements from all over Latin America and Africa, as well as Cuba and Puerto Rico. Timbalaye latest exciting release is entitled It’s Time! SonCafé SonCafé is Ralph Irizarry’s son and salsa ensemble structured in the typical conjunto fashion. The group is still making an impact on New York City’s Latin music scene. Evolved from his former ‘Son Criollo’ sextet, the eight-piece powerhouse is integrated by seasoned musicians and outstanding vocalists. SonCafé’s exciting novel sound and powerful delivery encompasses a blend of diverse influences pleasing to listening and dance audiences alike. SonCafé currently has two CDs in the marketplace, the debut CD entitled Bailando con Azucar and the all medley’s CD Tributo. As well as a Live Performance DVD entitled En Grande y En Vivo! Los Viejos de la Salsa After producing and recording three projects on his own BKS label, veteran timbalero Ralph Irizarry returns to the arena with an absolute powerful aggregation and, of course, a new recorded product. The CD, entitled ‘Viejos pero sabrosos,’ packs 12 incredible tunes, 9 of which are original compositions, all arranged by the best arrangers you can find anywhere. The band Los Viejos de la Salsa is made of seasoned musicians, like Eddie Montalvo, Elias Lopes, Reynaldo Jorge, Edy Martinez and a host of others, who have shared stages with Irizarry for over 40 years and have nothing to prove any longer, as they’ve kicked butt so many times in the past. Here, within this brand new aggregation, they sound like if they were playing exclusively for the love of music. And yes, they kick butt once again! Bruce Polin of descarga.com says, “Viejos Pero Sabrosos is a relentless barrage of fist-in-the-air salsa. It’s a statement about salsa musicians transcending age/time and, like a fine wine, can actually distill into something greater than its younger, less seasoned counterparts. It’s homage to the players of the past (Reunión Celestial sings the praises of the Fania All Stars) and an affirmation of the potency of the elder generation (Como El VIno).” Indeed, the concept behind the CD is to showcase and emphasize the continued level of excellence and experience achieved throughout the years by these veteran musicians. Their contributions have laid the foundation for younger generations who follow in their footsteps. Short of needing oxygen tanks, wheelchairs and canes, they deliver in an unparalleled fashioned. And, guess what? Like aging wine they’re better than ever! “I’ve seen so many trends come and go; and what I want to achieve with Los Viejos de la Salsa is to maintain the traditions and roots of the music we originally fell in love with,” states Irizarry. “ Since record labels appear to be a thing of the past and (we) musicians continue to have the necessity and creative drive to produce recorded material, it is a true blessing to once again connect with the public and deliver what I believe is a highly dynamic project.” By Pete Nater Video Links: Credits: Executive Producer, Leader, 2007 Bailando Con Azucar Soncafe Liner Notes, Producer, Timbales Main Personnel, 2007 Borrowed Time Steve Khan Timbales Claves, Group Member, Leader, Ralph 2007 It’s Time Mixing, Primary Irizarry Artist, Producer, Timbales Sammy 2007 The Magician Guest Artist Figueroa Executive Producer, Leader, 2007 Tributo Soncafe Liner Notes, Producer, Timbales 2007 ¡Gracias Joe Cuba! Nils Fischer Quotation Author 2006 The Green Field Steve Khan Timbales Soncafé…Bailando con Ralph 2005 Primary Artist Azúcar Irizarry 2003 Hawaiian Style, Vol. 2 Composer Issac 2003 Versos en el Cielo Drums, Timbales Delgado Gerardo 2002 La Salsa Es Mi Vida Timbales Rosales Latin Jazz: La 2002 Timbales Combinación Perfecta 2001 Cruz Control Cruz Control Composer Claves, Primary Ralph 2000 Best Kept Secret Artist, Producer, Irizarry Timbales En Vivo Desde el Lucecita 2000 Timba Carnegie Hall Benitez Latin Beat Magazine: Real Latin Jazz: Performer, Primary 2000 Percussion, Piano & Artist Strings Salsa, Sweat & Soul: Percussion, 2000 The Best of New York’s Primary Artist Latin Scene Today Live at Birdland: Primary Artist, 1999 Cookin’ at Midtown Timbales Paquito 1999 Tropicana Nights Timbales d’Rivera Larry Harlow’s Latin Timbales, Unknown 1998 Larry Harlow Legends Band 1998 Contributor Role 1998 Mis Ideas Miles Peña Timbales Claves, Composer, Ralph Mixing, Primary Ralph Irizarry & 1998 Irizarry & Artist, Producer, Timbalaye Timbalaye Timbales, Unknown Contributor Role 1998 Summer Solstice, Vol. 2 Timbales Latin Jazz Highlights: 1997 Messidor’s Finest, Vol. Timbales 5 1997 Old Devil Moon Carmen Lundy Timbales 1996 Celebremos Navidad Yomo Toro Timbales 1996 New Spirits in Jazz Timbales United Nations of 1996 Timbales, Timpani Messidor World Christmas 1996 Timbales [Capitol] A Testimonial Dinner: 1995 Timbales The Songs of XTC Member of Seis Del 1995 Alternate Roots Attributed Artist, Solar Timbales Cuba… Mi Corazon Te 1994 Candi Sosa Timbales Llama 1994 Frio Robi Rosa Percussion United Rhythms of 1994 Timbales Messidor 1994 Venus Richie Cabo Timbales United Artists of Composer, Rap, 1993 Messidor Timbales Rubén Blades 1992 Amor y Control y Son del Timbales Solar Juan Luis 1992 Areito Timbales Guerra y 440 Composer, Seis Del 1992 Decision Percussion, Rap, Solar Timbales Rubén Blades Guest Artist, 1991 Caminando y Son del Timbales Solar Hermanos 1991 Together Timbales Moreno 1990 Midnight in San Juan Earl Klugh Percussion Routes of Rhythm, Vol. 1990 Timbales 1: Carnival of Cuba Rubén Blades y Son del Guest Artist, 1990 Rubén Blades Solar…Live! Timbales Rubén Blades Guest Artist, 1988 Antecedente y Son del Percussion, Solar Timbales Do the Right Thing 1988 Percussion [Soundtrack] 1988 Nothing But the Truth Rubén Blades Bata, Timbales Guest Artist, 1986 Agua de Luna Rubén Blades Timbales, Unknown Contributor Role Guest Artist, 1985 Escenas Rubén Blades Percussion, Timbales Guest Artist, 1984 Buscando América Rubén Blades Percussion, Timbales Tremendo Trio: Celia, Main Personnel, 1983 Celia Cruz Ray, Adalberto Timbales 1982 Rhythm of Life Ray Barretto Timbales Main Personnel, 1980 Giant Force Ray Barretto Timbales Cymbals, Drums (Bass), Drums (Snare), Floor 1979 Rican/Struction Ray Barretto Tom, Main Personnel, Timbales, Tma, Tom-Tom Latin Jazz [Nascente] Timbales Ralph Irizarry & Ralph Primary Artist Timbalaye Irizarry Composer, Lider, Ralph Viejos Pero Sabrosos Primary Artist, Irizarry Producer, Timbales Samuel Yaounde Soloist, Timbales Torres Source: http://zildjian.com/Artists/I/Ralph-Irizarry.
Load more

Recommended publications
  • Beyond Salsa Bass the Cuban Timba Revolution
    BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering..........................................................................................................................................
    [Show full text]
  • Miguel Zenón Quartet
    Jimmy Katz Jimmy MIGUEL ZENÓN QUARTET Miguel Zenón Alto Sax Luis Perdomo Piano Hans Glawischnig Bass Henry Cole Drums PROGRAM There will be no intermission. Saturday, February 11 @ 7 PM and 9:30 PM Prince Theatre Part of the African Roots, American Voices series. 16/17 SEASON 5 PROGRAM NOTES Miguel Zenón’s new album, Típico, is above all a celebration of his longstanding quartet. His previous releases have augmented the core unit with additional instrumentalists as Zenón looked outward to explore various aspects of his Puerto Rican heritage. This new album feels more intimate. Its focus stays closer to home, with nods to Zenón’s own personal and professional life as it zeroes in on what makes his band unique. Zenón’s quartet has been developing a common language for more than a decade. Pianist Luis Perdomo and bassist Hans Glawischnig have been with Zenón since the turn of the millennium; drummer Henry Cole joined the band in 2005. Their language is thoroughly fluent in modern jazz, with instrumental prowess. The dialect of rhythmic and harmonic complexity they’ve created together through the years is distinctive. ABOUT THE ARTISTS Miguel Zenón (Alto Sax) Multiple Grammy® nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz.
    [Show full text]
  • Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
    BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio .......................................................................................................................................
    [Show full text]
  • Creolizing Contradance in the Caribbean
    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
    [Show full text]
  • A La Cubana: Enrique Granados's Cuban Connection
    UC Riverside Diagonal: An Ibero-American Music Review Title A la cubana: Enrique Granados’s Cuban Connection Permalink https://escholarship.org/uc/item/90b4c4cb Journal Diagonal: An Ibero-American Music Review, 2(1) ISSN 2470-4199 Author de la Torre, Ricardo Publication Date 2017 DOI 10.5070/D82135893 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A la cubana: Enrique Granados’s Cuban Connection RICARDO DE LA TORRE Abstract Cuba exerted a particular fascination on several generations of Spanish composers. Enrique Granados, himself of Cuban ancestry, was no exception. Even though he never set foot on the island—unlike his friend Isaac Albéniz—his acquaintance with the music of Cuba became manifest in the piano piece A la cubana, his only work with overt references to that country. This article proposes an examination of A la cubana that accounts for the textural and harmonic characteristics of the second part of the piece as a vehicle for Granados to pay homage to the piano danzas of Cuban composer Ignacio Cervantes. Also discussed are similarities between A la cubana and one of Albéniz’s own piano pieces of Caribbean inspiration as well as the context in which the music of then colonial Cuba interacted with that of Spain during Granados’s youth, paying special attention to the relationship between Havana and Catalonia. Keywords: Granados, Ignacio Cervantes, Havana, Catalonia, Isaac Albéniz, Cuban-Spanish musical relations Resumen Varias generaciones de compositores españoles sintieron una fascinación particular por Cuba. Enrique Granados, de ascendencia cubana, no fue la excepción.
    [Show full text]
  • Building Bridges of Learning and Understanding: a Collection Of
    DOCUMENT RESUME ED 328 636 UD 027 886 AUTHOR Perez-Selles, Marla E., Ed.; And Others TITLE Building aridges of Learning and Understanding: A Collection of Classroom Activities on Puerto Rican Culture. INSTITUTION NETWORK, Inc., Andover, MA.; Regional Laboratory for Educational Improvement of the Northeast & Islands, Andover, MA. SPONS AGENCY Office of Educational Research and Improvement (ED) Washington, DC. PUB DATE 90 CONTRACT 400-86-0005 NOTE 140p. AVAILABLE FROMThe Regional Laboratory for Educational Improvement of the Northeast and Islands and New England Center for Equity Assistance, a Project of The NETWORK, Inc., 300 Brickstone Square, Suite 900, Andover. MA 01810 ($12.95 + $2.50 shipping; order no. 9072). PUB TYPE Guidt:3 - Classroom Use - Guides (For Teachers) (052) -- Collected Works - General (020) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Class Activities; *Cultural Background; Elementary Education; Folk Culture; Geography; Latin American History; *Learning Activities; *Lesson Plans; Migration; Multicultural Edumtion; *Puerto Rican Culture; *Puerto Ricans; Sym'oolism ABSTRACT This collection of 35 self-contained teaching activities about Puerto Rican culture for elementary school students is designed for teachers who wish to incorporate multicultural concepts into their curriculum or make their teaching more relevant to Puerto Rican students. All lesson plans and student worksheets needed for immediate classroom use are included. Section I, "here and There: Location and Migration," explores the geography, climate, and location of Puerto Rico as well as issues that surround why people move from place to place. Section II, "Puerto Rico: A Blend of Cultures," highlights some of the history of the island, from the indigenous Taino Indians to the arrival of the Spanish to stories of several heroes from diverse backgrounds.
    [Show full text]
  • Redalyc.Salsa Music As Expressive Liberation
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization.
    [Show full text]
  • Introduction to Afro-Caribbean Performance
    By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Introduction to Afro-Caribbean Performance Claves Africa Bembe/Abakúa 1 Caribbean Islands 2 Son Clave 3-2 (A) 3 Rumba Clave 3-2 (B) 4 2 Introduction to the Afro-Cuban Performance Brazil 5 Bossa Nova 6 North America 7 New Orleans 7.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Percussion “Son” Conga 1 Fingers Fingers Fingers Palm Abajo (down) basic pattern normally played in soft and quiet sections, introductions, solo beginnings, etc. 2 2.1 4 Introduction to the Afro-Cuban Performance Arriba (up) variation of the basic pattern usually played at strong sections, climax, etc. 3 3.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Timbal Abajo (down) 1 1.1 Arriba (up) 2 2.1 6 Introduction to the Afro-Cuban Performance Bongó Abajo (down) 1 1.1 Arriba (up) 2 2.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Percussion to Drums Abajo (down) 1 1.1 Arriva (up) 2 2.1 8 Introduction to the Afro-Cuban Performance Bass 1 1.1 2 2.1 3 (Mambo) By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 3.1 (Mambo) 2 chords per measure 4 10 Introduction to the Afro-Cuban Performance Piano Piano voicings featuring 3rds and 7ths 1 Dm7 G7 CΔ è Dm7 G7 CΔ Piano Montuno Rebeca Mauleon 1 1.1 2 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 2.1 Luis Marin 3 3.1 Piano, Tres Cubano and Guitar 4 4.1 12 Introduction to the Afro-Cuban Performance 2 chords per measure 5 Melody By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 14 Introduction to the Afro-Cuban Performance Some Latino-American Rhythms/Styles Brazil Argentina Peru Venezuela Samba Tango Lando Joropo Bossa Nova Chacarera Festejo Merengue Venezolano Baião Zamba Marinera Gaita Partido Alto Vals Chorinho Colombia Panama Puerto Rico Rep.
    [Show full text]
  • JULY 27 – 31, 2020 Our Office Is Located On, and This Conference Is Rooted In, the Ancestral Territory of the Onkwehon:We, Anishinaabe and Huron-Wendat
    JULY 27 – 31, 2020 Our office is located on, and this conference is rooted in, the ancestral territory of the Onkwehon:we, Anishinaabe and Huron-Wendat. The Dish With One Spoon Treaty was established between the Anishinaabe, Mississaugas and Haudenosaunee as an agreement to share and protect the land we call Tkaronto (Toronto) — “The Gathering Place”. We honour the ancestors of this land by acknowledging the shared responsibility of inhabiting this territory and its ongoing legacy as a meeting place for people across Turtle Island and from around the world. We are grateful for the stewardship, past, present, and future, that has enabled, and will enable, us to be here continuing the work that has been done over millennia in this very location. Table of Contents Welcome Message................................................................................................................................................................................................................... 4 About Global Toronto ............................................................................................................................................................................................................. 5 Schedule.................................................................................................................................................................................................................................... 7 Program....................................................................................................................................................................................................................................
    [Show full text]
  • Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 ¡Casinando!: Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ¡CASINANDO! IDENTITY, MEANING, AND THE KINESTHETIC LANGUAGE OF CUBAN CASINO DANCING By BRIAN MARTINEZ A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2012 Brian Martinez defended this thesis on March 26, 2012. The members of the supervisory committee were: Frank Gunderson Professor Directing Thesis Michael Bakan Committee Member Charles Brewer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my father, mother, and brother, for all of your unfailing love and support iii TABLE OF CONTENTS LIST OF TABLES....................................................................................................................... vi LIST OF FIGURES.................................................................................................................... vii ABSTRACT.................................................................................................................................. ix 1. INTRODUCTION TO CASINO ..........................................................................................1
    [Show full text]
  • Chapter 1—Introduction
    NOTES CHAPTER 1—INTRODUCTION 1. See Juan Flores, “Rappin’, Writin’ & Breakin,’” Centro, no. 3 (1988): 34–41; Nelson George, Hip Hop America (New York: Viking, 1998); Steve Hager, Hip Hop: The Illustrated History of Breakdancing, Rapping and Graffiti (New York: St. Martin’s Press, 1984); Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994); David Toop, The Rap Attack 2: African Rap to Global Hip Hop (London: Serpent’s Tail, 1991). 2. Edward Rodríguez, “Sunset Style,” The Ticker, March 6, 1996. 3. Carlito Rodríguez, “The Young Guns of Hip-Hop,” The Source 105 ( June 1998): 146–149. 4. Clyde Valentín, “Big Pun: Puerto Rock Style with a Twist of Black and I’m Proud,” Stress, issue 23 (2000): 48. 5. See Juan Flores, Divided Borders: Essays on Puerto Rican Identity (Hous- ton: Arte Público Press, 1993); Bonnie Urciuoli, Exposing Prejudice: Puerto Rican Experiences of Language, Race and Class (Boulder, CO: West- view Press, 1996). 6. See Manuel Alvarez Nazario, El elemento afronegroide en el español de Puerto Rico (San Juan: Instituto de Cultura Puertorriqueña,1974); Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cam- bridge, MA: Harvard University Press, 1993); Marshall Stearns, The Story of Jazz (Oxford: Oxford University Press, 1958); Robert Farris Thompson, “Hip Hop 101,” in William Eric Perkins, ed., Droppin’ Sci- ence: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), pp. 211–219; Carlos “Tato” Torres and Ti-Jan Francisco Mbumba Loango, “Cuando la bomba ñama...!:Reli- gious Elements of Afro-Puerto Rican Music,” manuscript 2001.
    [Show full text]
  • WAXED OOP (Cuneiform Rune 277)
    Bio information: FAST ‘N’ BULBOUS Title: WAXED OOP (Cuneiform Rune 277) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: ROCK / JAZZ / BLUES-ROCK / “THERE AIN’T NO LABEL FOR THIS BOTTLE” – Don Van Vliet "Remarkably, these instrumentals hold onto Beefheart's obsessive strangeness, which is really the best tribute that Lucas, Johnston and the rest of the Fast 'n' Bulbous crew could have given him. This CD is ragged but right, all the way. 4/5 stars" – All Music Guide "[They] recast Captain Beefheart's tunes and make the case for him as a composer the equal of Thelonious Monk." – Nashville Scene "..Fast ‘N’ Bulbous are no next best thing: They are the big brass band [Captain Beefheart] never had. With bellowing horns arranged by saxophonist Phillip Johnston and pinpoint swordplay by ex-Magic Band guitarist Gary Lucas, Fast’N’Bulbous ignite the R&B gunpowder inside the tangled surrealism… The group attacks Van Vliet's songs with the same idiosyncratic precision that he drilled into his own musicians." – Rolling Stone Captain Beefheart's music is the quintessential 'outsider art music' of the second half of the 20th century. The blues-drenched Picasso of rock music, Captain Beefheart (Don Van Vliet) created a series of recordings from the 1960s to early 1980s that shattered assumptions regarding how modern American popular music could, or even should, be composed and interpreted. Before leaving music to pursue a life- long interest in painting, he created 10 albums of astonishingly creative music that shattered conventions in popular music as profoundly as cubism had impacted modern painting a half century before.
    [Show full text]