José Madera (Percussion & Arranger)

Total Page:16

File Type:pdf, Size:1020Kb

José Madera (Percussion & Arranger) José Madera (Percussion & Arranger) One would think that a job with the world famous Tito Puente band keep busy a percussionist. But the musician , arranger and composer José Madera had yet found the time to record and write music for some of the most influential bands in the world. Prior to joining Tito Puente over 35 years ago , Madera play for four years with the famous Machito Orchestra , and recorded with many artists of R & B ( including James Brown , Diana Ross, David Sanborn and Aztec Two – Step) . As an arranger for Fania Records Plant , played in several comrciales successes, and through the years has composed music for the Fania All- Stars, Larry Harlow , Johnny Pacheco , Willie Colón, and Celia Cruz . Although he has recorded some 75 albums in 20 years, as well as numerous radio jingles and film soundtracks , Madera still had time for his other career : for 15 years he had worked as a teacher and conductor in a high school for the performing arts with private funds, in the city of New York. Jose has written many arrangements for countless commercial Latin artists and has recorded or worked with many of them as well. Some of them include: Larry Harlow, Johnny Pacheco, Chico O’Farill, The Lincoln Center Afro-Cuban jazz orchestra, Celia Cruz, Tito Rodriguez, Fania All-Stars, Willie Colon, Joe Farrell, Machito, Graciela, Mario Bauza, Willie Rosario, Earl Klughand Eddie Palmieri, just to name a few. Jose has also worked and recorded with many pop, R&B and jazz artists. Some of them include Diana Ross, James Brown, Dizzy Gillespie, Paquito D’Rivera, George Benson and Lionel Hampton among others. Jose has performed on over 250 recordings. He has worked on several television show soundtracks including “The Simpsons” and several motion picture soundtracks including”The Mambo Kings Play Songs of Love,” where he was the musical arranger and conductor for the Tito Puente segment of the film. Jose also taught the art of playing Latin percussion instruments at BOYS HARBOR in New York City for 28 years. Jose has done and continues to do musical clinics around the country at various schools. He was the musical director of the Latin Giants of Jazz from 2001 to 2009. Jose continues his musical direction with the Mambo Legends Orchestra, a band comprised of former members of the Tito Puente Orchestra, which is dedicated to performing new creative Latin and Latin jazz concepts, as well as some of the music of Machito, Tito Rodriguez and Tito Puente. Jose has personally re-created and re-arranged much of the music that the bands performed during the heyday of the Mambo at the Palladium Ballroom in New York City, which is considered by many critics to be the “Greatest and Most innovative Era” in the history of Latin music. Madera’s saxophonist father , Jose “Pin ” Madera, was one of the original members of the Afro -Cuban Orchestra Machito . Young Joseph was influenced by drummer Machito (“the best Latin Big Band drummer I’ve ever heard ” ) . Later I was influenced by José Mangual and the same Tito Puente. The LP Timbale bell (circa 1966) was the first instrument Wood LP , today , plays a variety of congas , bongos , guiro and bells LP. ” Compared with the instruments that were used years ago , the sounds I get from the LP instruments are very authentic. As an arranger , it is very gratifying to know that whatever you write will be accompanied by instruments LP, which only improve the quality of interpretation. “ In 2008 , Madera was entrusted to the Department of Research and Development LP designing the Signature Series Jose Madera Congas . José is proud that these drums , bearing his name , present a sound and a visual such outstanding features. Video Links: Credits Year Album Artist Late Night Latin 2013 Guitar/Two of a Earl Klugh Percussion Kind/Nightsongs Quatro: The Flute, 2012 Definitive Tito Puente Saxophone Collection Jazz: The Congas, Sax 2011 Smithsonian (Tenor) Anthology The Complete Charlie 2011 Masters Sax (Tenor) Parker 1941-1954 Arranger, Executive Producer, Mambo Watch Out! [¡Ten Liner Notes, 2011 Legends Cuidao!] Quotation Orchestra Author, Soloist, Timbales Year Album Artist Good King George 2010 Bad/Benson & Congas Benson Farrell Original Album David 2010 Percussion Series Sanborn The Rough Guide 2010 Arranger To Salsa Divas Spanish Viva La 2010 Harlem Arranger Tradición Orchestra Arranger, Mixing, Musical Director, Yolanda 2009 Many Moods Orchestration, Duke Producer, Quotation Author, Timbales The Complete Héctor 2009 Studio Albums, Arranger Lavoe Vol. 2 Campeones: A Fania All- 2008 Band and Their Arranger Stars Music 2008 Gozando Chaparro Arreglos Congas, Group Live at the Member, Member 2008 Monterey Jazz Tito Puente of Attributed Festival 1977 Artist Claves, Guiro, Janine 2008 Soft as Granite Maracas, Santana Timbales Year Album Artist The Kerouac 2008 Brew Moore Sax (Tenor) Connection Unique: 30th Willie 2008 Trumpet Anniversary Rosario Frankie 2007 A Toda Velocidad Arranger Morales Guitar, Member Amantes Sunt 2007 Panda of Attributed Amentes Artist Claro Y Landy Y Su 2007 Arranger Conc.iente Orquesta Manteca: The 2007 Roots of Afro- Sax (Tenor) Cuban Jazz Member of Attributed 2007 Relax & Mambo Machito Artist, Sax (Tenor) Rough Guide to 2007 Arranger Salsa Dura NYC Salsa Bands of 2007 Arranger New York Bananas Swing: 2006 Sax (Tenor) Latin Jazz Fever Golden Years of Varied 2006 Sax (Tenor) Jazz 1948-1955 Artists Mambo Jambo: 2006 Vintage Mambo Sax (Tenor) 1948-1955 Mosaic Select: Sidney Clarinet, Sax 2006 Sidney Bechet Bechet (Alto) Year Album Artist Roots of Mambo 2006 Sax (Tenor) 1930-1950 The Complete Chico 2006 Norman Granz Sax (Tenor) O’Farrill Recordings The Quintessence New York – Los Charlie 2006 Angeles – Sax (Tenor) Parker Toronto, Vol. 2: 1947-1954 Con Mucho Ritmo! Arranger, 2005 The Very Best of Congas Tropijazz Concord Picante Congas, 2005 25th Anniversary Percussion Collection Bongos, Cric? Crac!: A Congas, Latin 2005 Magical Musical Percussion, Fable Timbales The Complete Charlie 2005 Norman Granz Sax (Tenor) Parker Master Takes Spanish Across 110th 2004 Harlem Arranger Street Orchestra Coconut Grooves 2004 Sax (Tenor) Viva Latin Jazz Sirak y su 2004 De la Mata!! Sonora Arranger Antillana Year Album Artist Congas, Main 2004 Instant Party Tito Puente Personnel, Percussion Lullabies of Birdland – A George 2004 Congas Musical Shearing Autobiography George 2004 Mi Ritmo Llego Arranger Delgado Modern Jazz Charlie 2004 Sax (Tenor) Archive Parker Arranger, Party at 2004 Tito Puente Congas, Puente’s Place Percussion Ritmo Afro- 2004 Timbales Cubano 2004 Ritmo Pa Gozar Machito Sax (Tenor) The The Big 3: Live Musical 2004 Palladium at the Blue Note Direction Orchestra Concord Records Congas, 2003 30th Anniversary Percussion Concord Records Congas, 2003 SACD Sampler, Percussion Vol. 1 2003 Cuba 1923-1995 Saxophone Frankie 2003 Inesperado Arranger Negron Lullaby of 2003 Birdland [Giant Sax (Tenor) Steps] Year Album Artist New York Latin Tony 2003 Arranger Jazz Pastrana Siguiendo la Los Soneros 2003 Arranger Tradicion del Barrio Charlie 2002 Boss Bird Sax (Tenor) Parker Hot Timbales!: Adaptation, Out of This 2002 Tito Puente Congas, World/Mambo of Percussion the Times Latin Jazz: La 2002 Combinación Sax (Tenor) Perfecta Mambo Mucho Machito & Mambo: The 2002 His Afro- Saxophone Complete Cubans Columbia Masters Olivier 2002 Nocturne Violone Theurillat Sax (Tenor), 2002 Ritmo Caliente Machito Trombone The Alternative Charlie 2002 Takes, Vol. 4: Sax (Tenor) Parker 1948-1950 The Pablo Cabassa, 2002 Original Jazz Timbales Classics Sampler Verve Latin Charlie 2002 Sax (Tenor) Sides Parker Congas, 2001 Puente Caliente! Tito Puente Percussion, Timbales Year Album Artist Charlie 2000 1947-1949 Sax (Tenor) Parker 2000 Blen Blen Blen Machito Sax (Tenor) Celia Cruz and 2000 Friends: A Night Celia Cruz Arranger of Salsa Con su Conjunto y Chano Pozo, Arsenio 2000 Sax (Tenor) Machito & Rodríguez Orchestra Cuban Latino 2000 Sax (Tenor) Jazz: 1930-1949 Grammy Nominados 2000 Congas 2000: Latino Machito Y Machito Y 2000 Arranger Graciela Graciela Masterpiece/Obra 2000 Tito Puente Timbales Maestra Grupo 2000 Son de Melaza Arranger Caribe Los 2000 Tropicalisimo Congas Tropiboys 100% Salsa, Vol. 1999 Arranger 1 Afro Cuban Jazz: 1999 Sax (Tenor) 1947-1960 Afro-Cuban 1999 Grooves, Vol. 4 Arranger [Melodie] Carlos 1999 Lo Mio Congas Santos Year Album Artist Bernard 1999 O Gringo Bongos Lavilliers Charlie 1999 Talkin’ Bird Sax (Tenor) Parker The Royalty of 1999 Adaptation Salsa Arranger, 1999 Untouchable Tito Allen Bongos, Main Personnel Afro-Cuban 1998 Grooves, Vol. 3 Congas [Melodie] Al Santiago 1998 Tambo Percussion Presents Tambo Adaptation, Dancemania ’99: 1998 Tito Puente Congas, Live at Birdland Director Arranger, Hermanos de la Hermanos de 1998 Musical Salsa la Salsa Consultant Live from Soundscape: Arranger, 1998 Latin New York Piano 1980-1983 La Sonora 1998 On Target Trumpet Ponceña Year Album Artist Arranger, Composer, Mixing, Jose 1998 Que Chevere Musical Mangual Jr. Director, Percussion, Vibraphone Sabroso: The 1998 Afro-Latin Sax (Tenor) Groove Arranger, Conductor, Silver in the The Bronx Timbales, 1998 Bronx Horns Unknown Contributor Role The Concord Jazz 1998 Tito Puente Arranger Heritage Series A Billy 1997 Strayhorn Percussion Songbook 1997 Greatest Hits Tito Puente Arranger Oye Como Va: The Congas, 1997 Tito Puente Dance Collection Percussion The Best of Tito Congas, 1997 Puente: El Rey Tito Puente Timbales del Timbal! Cuban Blues: The Chico 1996 Chico O’Farrill Sax (Tenor) O’Farrill Sessions Congas, Main
Recommended publications
  • Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 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 Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference.
    [Show full text]
  • CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ
    CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey
    [Show full text]
  • Mario Ortiz Jr
    Hom e | Features | Columns | Hit Parades | Reviews | Calendar | News | Contacts | Shopping | E-Back Issues NOVEMBER 2009 ISSUE FROM THE EDITOR Welcome to the home of Latin Beat Magazine Digital! After publishing Latin Beat Magazine for 19 years in both print and online, Yvette and I have decided to continue pursuing our passion for Latin music with a digital version only. Latin Beat Magazine will continue its coverage of Latin music through monthly in-depth articles, informative Streaming Music columns, concert and CD reviews, and extensive news and information for everyone. Access to Somos Son www.lbmo.com or www.latinbeatmagazine.com (Latin Beat Magazine Online) is free for a limited Bilongo time only. Windows Media Quicktime Your events and new music submissions are welcome and encouraged by emailing to: [email protected]. The Estrada Brothers Latin beat is number one in the world of authentic Latin music. For advertising opportunities in Mr. Ray lbmo.com, call (310) 516-6767 or request advertising information at Windows Media [email protected]. Quicktime Back issues are still in print! Please order thru the Shopping section! Manny Silvera Bassed in America This issue of Latin Beat Magazine Volume 19, Number 9, November 2009, is our annual "Special Windows Media Percussion/Drum Issue", which celebrates "National Drum Month" throughout North America. Our Quicktime featured artist this month is Puerto Rican percussionist/bandleader Richie Flores. In addition, also featured are Poncho Sanchez (who's enjoying the release of his latest production Psychedelic Blues), and trumpeter/bandleader Mario Ortiz Jr. (who has one of the hottest salsa Bobby Matos productions of the year).
    [Show full text]
  • Stage Door Swings Brochure
    . 0 A G 6 E C R 2 G , O 1 FEATURING A H . T T D C I O I S F A N O E O A P T B R I . P P G The Palladium Big 3 Orchestra S M . N N R U O E O Featuring the combined orchestras N P L of Tito Puente, Machito and Tito Rodriguez presents Manteca - The Afro-Cuban Music of The Dizzy Gillespie Big Band FROM with special guest Candido CUBAN FIRE Brazilliance featuring TO SKETCHES Bud Shank OF SPAIN The Music of Chico O’ Farrill Big Band Directed by Arturo O’Farrill Bill Holman Band- Echoes of Aranjuez 8 3 0 Armando Peraza 0 - 8 Stan Kenton’s Cuban Fire 0 8 0 Viva Tirado- 9 e The Gerald Wilson Orchestra t A u t C i Jose Rizo’s Jazz on , t s h the Latin Side All-Stars n c I a z Francisco Aguabella e z B a Justo Almario J g n s o Shorty Rogers Big Band- e l L , e Afro-Cuban Influence 8 g 3 n Viva Zapata-The Latin Side of 0 A 8 The Lighthouse All-Stars s x o o L Jack Costanzo B . e O h Sketches of Spain . P T The classic Gil Evans-Miles Davis October 9-12, 2008 collaboration featuring Bobby Shew Hyatt Regency Newport Beach Johnny Richards’ Rites of Diablo 1107 Jamboree Road www.lajazzinstitute.org Newport Beach, CA The Estrada Brothers- Tribute to Cal Tjader about the LOS PLATINUM VIP PACKAGE! ANGELES The VIP package includes priority seats in the DATES HOW TO amphitheater and ballroom (first come, first served JAZZ FESTIVAL | October 9-12, 2008 PURCHASE TICKETS basis) plus a Wednesday Night bonus concert.
    [Show full text]
  • Actividades Y Recursos ¿Qué Es Latin Music USA? Es Carlos Santana, Gloria Estefan, Tito Puente, Selena, Shakira, Marc Anthony, Los Lobos
    ¡Escucha! ¡Explora! ¡Descubre! Actividades y recursos ¿Qué es Latin Music USA? Es Carlos Santana, Gloria Estefan, Tito Puente, Selena, Shakira, Marc Anthony, Los Lobos. Ritmos irresistibles, la cadencia del conguero y las alegres melodías del acordeón tejano. Es todo eso y mucho, mucho más. Descubre las fascinantes fusiones de música, idioma y cultura que han elevado la música latina a la cúspide de los mayores éxitos de acogida y venta en Estados Unidos. Te invitamos a ver Latin Music USA el lunes, 12 de octubre y el lunes, 19 de octubre 9pm (hora del este) u 8pm (hora central) por PBS confírmalo en tu horario local pbs.org/latinmusicusa Aquí hallarás Los sonidos y las voces de Latin Music USA página 3 Actividades para hacer con los amigos y la familia página 7 Te invitamos a ver Latin Music USA el lunes, 12 de Libros y música para los niños octubre y el lunes, 19 de octubre a las at 9pm (hora página 8 del este) u 8pm hora central por PBS confírmalo en tu horario local Selección de sitios web, pbs.org/latinmusicusa Acude al sitio de Latin Music USA películas y libros en Internet para escuchar la música, ver los videos y aprender página 9 más sobre la música y los artistas que se destacan en la serie. Latin Music USA se podrá ver en Internet a partir del 19 de octubre de 2009. Miniexamen sobre Latin Music USA Nota: En algunos episodios se tratan temas que quizás no sean aptos para todos los públicos. página 11 Podrás adquirir Latin Music USA en DVD en ShopPBS.org a partir del otoño.
    [Show full text]
  • ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
    DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
    [Show full text]
  • Biography and Film of His Life
    Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr.
    [Show full text]
  • Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
    Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action.
    [Show full text]
  • Tito Rodríguez (January 4, 1923 – February 28, 1973) Was a Popular 1950S and 1960S Puerto Rican Singer and Bandleader
    Tito Rodríguez Tito Rodríguez (January 4, 1923 – February 28, 1973) was a popular 1950s and 1960s Puerto Rican singer and bandleader. He is known by many fans as “El Inolvidable” (The Unforgettable One), a moniker based on his most popular interpretation, a song written by Cuban composer Julio Gutiérrez. Rodríguez (birth name: Pablo Rodríguez Lozada ) was born in Santurce, Puerto Rico, to a Puerto Rican father from San Sebastian. He worked in Dominican Republic as land developer. Not as formally posted being Dominican and mother from Holguin Cuba, became interested in music as a child. He was always surrounded by musical toys, such as guitars, pianos and trumpets. His older brother, Johnny Rodríguez was a popular song composer and bandleader, who inspired the younger Rodríguez to become a musician. In 1936, 13-year-old Rodríguez joined the group of Ladislao (El Maestro Ladí) Martínez, “Conjunto de Industrias Nativas”, as a singer and when he was 16 years old he participated in a recording with the renowned Cuarteto Mayarí. In 1940, Rodríguez emigrated to New York City shortly after his parents, José and Severina, died. He went to live with his brother Johnny, who had been living there since 1935. Musical career In New York, Rodríguez found a job as a singer and bongó player for the orchestra of Eric Madriguera. In 1941, he recorded “Amor Guajiro“, “Acércate Más” (Come Closer) and “Se Fue la Comparsa“. In 1942, Rodríguez joined the band of Xavier Cugat, and recorded “Bin, Bam, Bum” and “Ensalada de Congas” (Conga Salad). Rodríguez joined and served in the U.S.
    [Show full text]
  • Creating Salsa, Claiming Salsa: Identity, Location, and Authenticity in Global Popular Music
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2010 Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music William Guthrie LeGrand University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2010 William Guthrie LeGrand Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Ethnomusicology Commons Recommended Citation LeGrand, William Guthrie, "Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music" (2010). Dissertations and Theses @ UNI. 553. https://scholarworks.uni.edu/etd/553 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. CREATING SALSA, CLAIMING SALSA: IDENTITY, LOCATION, AND AUTHENTICITY IN A GLOBAL POPULAR MUSIC An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music William Guthrie LeGrand University of Northern Iowa July, 2010 ABSTRACT Although Latin American ethnomusicological scholarship in the last twenty years has addressed much of the Caribbean, particularly Cuba, the popular genre salsa has often been treated as a side project of scholars with other specialties. Much of previous Latin American scholarship has favored nation-based, particularly folkloric, genres, while current trends have largely moved toward either re-engaging nation-based scholarship within postmodern critical contexts or addressing reggae ton as part of the scholarly fascination with global hip-hop culture. Salsa, which has always been created, contested, and claimed.
    [Show full text]
  • Nicky Marrero
    Nicky Marrero Master timbalero and percussionist Nicky Marrero was ubiquitous during the 1970s New York salsa boom, playing and recording with Eddie Palmieri, Larry Harlow, Ismael Miranda, Típica Novel, Louie Cruz, Fania All Stars, Machito, and on, and on – not to mention Típica 73! One of the tightest rhythm guys ever, his style is a hybrid of the greats: Manny Oquendo, Tito Puente and Orestes Vilató. He is still mesmerizing on stage, whether playing Latin or straight jazz. His place in salsa history is secure and truly deserved. John Child and Ray Rosado speak to Nicky about his extensive career, stylistic contributions and innovations. The interview is followed by a selected discography of the Latin and jazz albums on which Nicky has performed. Videos: Credits: Year Album Artist Percussion, “Live” In Puerto Rico: 2012 Fania All-Stars Timbales, June 11, 1994 Timbalitos 2012 Latin Beat Jazz Heat Percussion 2011 Live in Africa Fania All-Stars Timbales Good King Bad/Benson & 2010 George Benson Percussion Farrell Year Album Artist Composer, Drums, Effects, Percussion, Ponte Duro: The Fania Timbales, 2010 Fania All-Stars All Stars Story Timbalitos, Vocals (Background), Whistle Soloist, 2009 San Juan 73 Fania All-Stars Timbales The Never Learned to Percussion, 2009 Dance: Anthology Harvey Averne Timbales 1967-1971 Soloist, Swanee Campeones: A Band and (Slide 2008 Fania All-Stars Their Music Whistle), Timbales NYC Salsa, Vol. 2: The 2008 Incendiary Sound of Composer Latin New York The Complete Studio 2008 Héctor Lavoe Timbales Albums, Vol.
    [Show full text]
  • THIGPEN-DISSERTATION-2020.Pdf (1.774Mb)
    THE YAMULEÉ EFFECT: SOCIAL DANCE, PEDAGOGY, AND PERFORMANCE OF AN AFRO-DIASPORIC SALSA DANCE COMPANY IN THE BRONX AND BEYOND A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCES BY MILA THIGPEN, BA, EDM, MFA DENTON, TEXAS AUGUST 2020 © 2020 by Mila Thigpen DEDICATION For my mother, Cassandra. ii ACKNOWLEDGEMENTS I would like to take this opportunity to express my gratitude to the many people and places that have supported during my research. I would like to thank My advisor Dr. RoseMary Candelario for her enduring support. I aM deeply indebted to my comMittee MeMbers. Dr. Matthew Henley and the late Dr. Linda Caldwell who started me on this journey; and for Mary Williford Shade, Dr. Priya Thomas, and Dr. Thomas DeFrantz who have ushered me towards completion I cannot begin to express my thanks to Dr. Anna B. Scott for guiding me through a holistic, generative writing process. I aM also grateful to my editors, Alexandra Hoerl and Meghann Ridley. I extended my sincerest thanks to the generous mentors, colleagues, and friends across disciplines and institutions who have lovingly challenged, encouraged, and engaged with me and My research. I aM grateful to my teaching and learning comMunities at CaMbridge Rindge & Latin School, Harvard Graduate School of Education, and Boston Conservatory at Berklee/Berklee College of Music. I want to thank the Texas Woman’s University Dance DepartMent for their continuous support and for honoring me as the first recipient of the Linda Caldwell iii Scholarship.
    [Show full text]