Salsa & Latin Jazz Band

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SALSA & LATIN JAZZ BAND ð 20yrs, 9 Albums, 24 discography awards ð UNIVERSAL RECORDS, PUTUMAYO, IRMA RECORDS Recorded on Cuba with the members of legendary Buena Vista Social Club & Afro Cuban All Stars; Tito Puente’s singer Yolanda Duke; Miriam Makeba flutist & composer George Makinto, Croatian stars Josipa Lisac & Gibboni, Gipsy singer Šaban Bajramović; Macedonian orchestra : Kočani orkestar..etc. Cubismo is a group that plays energetiC DanCe musiC baseD on afro-Cuban rhythms but in its own unique anD reCognizable style. BesiDes salsa anD Latin-jazz Cubismo has also been influenced by the elements of jazz, hip-hop, gipsy, funk and roCk musiC. The banD members Come from Croatia, Slovenia, Cuba anD Venezuela The banD has so far releaseD 9 CDs, the majority of whiCh has been internationally DistributeD. In its Career Cubismo workeD with numerous international music stars. Cubismo's CD „Motivo Cubano“ was reCordeD in Cuba with the members of the legenDary Buena Vista Social Club, Teresa Garcia Caturla, Juan De Marcos González, Manuel Puntillita Licea, Amadito Valdez. Yolanda Duke, who was at that time a singer in Tito Puente Orchestra, appeareD as a guest performer on the CD „Viva la Habana“. Furthermore Cubismo has a tight anD ongoing Cooperation with Nelson Hernandez, who is one of the best arranger anD proDuCers of salsa musiC in the USA. Cubismo is well known for its high quality musiC anD the group members' performing artistry, anD has, as suCh, regularly reCeiveD numerous professional awarDs. However, the greatest aspects of Cubismo are their concerts anD live performances. Links: Ft. Teresa GarCia: https://www.youtube.Com/watCh?v=5CZ7R3M7uvs Ft Josipa LisaC: https://www.youtube.Com/watCh?v=i803oa_Div8 Ft Gibboni: https://www.youtube.Com/watCh?v=nd80Mqj5qrM Ft. Šaban Bajramović: https://www.youtube.Com/watCh?v=1HN16aygaAE Jungle Salsa: https://youtu.be/F4lKfE74- 5g?list=PLsTfuKADBTIripjJKfLEqXq88vQ4sUUIq Cubsimo on Cuba DoCumentary : https://www.youtube.Com/watCh?v=oyuDP49Yz14 All Albums Dropbox: https://www.Dropbox.Com/sh/tghm02gex4ehqlt/AACWYCYZpQFE- GIV9ea18Cloa?Dl=0 All viDeos playlist : https://www.youtube.Com/playlist?list=PLsTfuKADBTIripjJKfLEqXq88vQ4sUUIq www.Cubismo.Com .

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Lecuona Cuban Boys
SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA.
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Afro-Cuban All Stars a Toda Cuba Le Gusta Mp3, Flac, Wma
Afro-Cuban All Stars A Toda Cuba Le Gusta mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin Album: A Toda Cuba Le Gusta Country: Mexico Released: 1998 Style: Afro-Cuban, Son, Guaguancó MP3 version RAR size: 1142 mb FLAC version RAR size: 1818 mb WMA version RAR size: 1550 mb Rating: 4.1 Votes: 583 Other Formats: AAC VOC AU MIDI AA AC3 TTA Tracklist Hide Credits Amor Verdadero 1 Arranged By – Demetrio MuñizLaúd [Laoud] – Barbarito TorresLead Vocals – Manuel 6:38 "Puntillita" Licea* Alto Songo 2 Guitar [Slide] – Ry CooderLead Vocals – José Antonio "Maceo" Rodríguez, Manuel 6:46 "Puntillita" Licea*, Pío Levya*, Raúl Planas Habana Del Este 3 6:39 Flute – Richard Egües A Toda Cuba Le Gusta 4 5:48 Lead Vocals – Raúl Planas Fiesta De La Rumba 5 5:53 Lead Vocals – Félix Valoy* Los Sitio' Asere 6 5:20 Lead Vocals – Félix Valoy*, José Antonio "Maceo" Rodríguez Pío Mentiroso 7 4:37 Lead Vocals – Pío Levya* María Caracoles 8 4:48 Arranged By – José Manuel CerutoLead Vocals – Ibrahim Ferrer 9 Clasiqueando Con Rubén 5:12 Elube Changó 10 4:03 Lead Vocals – Juan De Marcos González Companies, etc. Phonographic Copyright (p) – World Circuit Copyright (c) – Discos Corason Glass Mastered At – Sony Music México Credits Arranged By – Juan de Marcos González (tracks: 2 to 7, 9, 10) Baritone Saxophone, Flute – Javier Zalba Bass – Orlando "Cachaíto" López Bongos – Carlos González Chorus – Amadito Valdés, Juan de Marcos González, Luis Barzaga Congas – Miguel "Angá" Díaz Guiro – Carlos Puisseaux Liner Notes [Translations] – Francesca Clark*, Jenny Adlington
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Por Alante Y Por Atrás El Humor Como Sustancia En La Música Popular Cubana
Por alante y por atrás El humor como sustancia en la música popular cubana i en el cielo no hay humoristas, como afirmó mark S Twain, entonces sólo el diablo sabe adonde han ido a parar los grandes guaracheros de Cuba, los desbocados del son montuno y de todas las variantes del son, los subli- mes verdugos de la crónica social cantada, que condenan o salvan con sólo un estribillo, los ídolos del repentismo en la música guajira. Al final ya se sabe que el pícaro no es más que un apa- leado a quien natura y los palos le encendieron el bombi- llo de la picardía. Y no hay espejo que refleje mejor sus contornos que la figura del jodedor cubano, artífice de tanto y tanto canto y tanto cuento. Por lo demás, se identifican fácilmente tres vías de imprescindible examen para comprender esa comunión de todos los infiernos que ha tenido lugar entre el humor y nuestra música popular. Por alante, el auge del teatro de costumbres y tipos criollos, a la vez que el des- plazamiento de soneros y juglares desde la manigua, desde el solar al salón de baile, a los medios de difusión, al disco. Por atrás, el modo en que creadores y actores propiamente humorísticos aprovecharon las singulares virtudes de la música, así como el hecho curioso de que José Hugo Fernández su público, encima de aportarle motivos y personajes al género, lo enriquece constantemente a través de una particular visión, vinculando lo que se canta con lo que se vive. Intentaremos entonces el repaso a la obra de algunos contemporáneos hacedores del humor en la música, sus aciertos y limitaciones, en estrecha conexión con las desventuras que experimenta esta vertiente en la Cuba de las últimas décadas.
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JUAN DE MARCOS & the AFRO-CUBAN ALL STARS After
JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS After gaining international fame for reviving the classic sound of Cuban son, tres master Juan de Marcos turned the Afro-Cuban All Stars into a sensational showcase for Cuba’s most prodigious young musicians. While long revered in Latin America and Europe as a founding member of Cuba’s great son revival band Sierra Maestra, de Marcos first gained notice in the US as founder of the Buena Vista Social Club. It was de Marcos who assembled Ibrahim Ferrer, Eliades Ochoa, Ruben Gonzalez and the rest of the crew for Ry Cooder when he came to Havana looking for illustrious old timers. But de Marcos is just as interested in promoting Cuba’s brilliant young musicians as in highlighting Cuba’s senior talent. The Afro-Cuban All Stars not only features a rotating, multi-generational cast; the group draws on both classic Cuban styles, like son and danzón, and contemporary dance rhythms like timba. “What I’m trying to do is create a bridge between contemporary and traditional Cuban music,” de Marcos says. “I’m trying to mix both things so people can realize that Cuban music didn’t stop in time, that it developed in this long period when Cuban music disappeared from the market.” Juan de Marcos was born in Havana in 1954 and grew up surrounded by music (his father was a singer and played with Arsenio Rodríguez amongst others). At university he studied hydraulic engineering and Russian before working as a consultant at the Agronomic Science Institute, gaining his doctorate in 1989.
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Sfor Perfoftmiho ARTS Governors State University Presents
SfOR PERfOftMIHO ARTS Governors State University presents Cafe 28 is a proud supporter of The Afro Cuban All Stars A<^<^A t&- €.1.<-yt-*Z-S. • HoneyJalapeno Pork Chops • Almond Crusted Halibut Classic Ropa Vieja • Mojitos • Fresh Lime-Squeezed Margaritas Serving Brunch, Lunch and Dinner (nightly©5:30) Friday, March 20,2009 WIW7. 9"-591.5 FM Mlflil Jk 1800-1806 W. Irving Park Rd. Chicago, IL 60613 DREAMHAVAN y&JU? Chicago ' Pt-iklJst'Rrublic Kadi0 Uf -~££<*<*"* 773 528-2883 www.cafe28.org The Center tor Performing Arts'08-09 Season sponsored in part by agrant from The Illinois Arts Council, Agency ofthe State otIllinois. evertwo Buena Vista Social Club concerts in Amsterdam and New York's Carnegie Hall. Despite the new found worldwide successof Cuban music, it istheappreciation of the music within Cuba itself that Gonzalez finds most satisfying. In his own words, "When you live in an isolated country you always think things are better elsewhere. Because of that, the influence of American music has been very strong. People were trying to play American music before they learnt Cuban music. We have to use what isgood from around the world, but first we have to be conscious of the importance of our own music. Afew years ago young Cuban musicians didn't care about real Cuban music. Now there are hundreds of bands playing traditional music. Of course, music will change, there will benew dances and styles. Juande Marcos Gonzalez isoneof themost important figures in Cuban music today. But we are going to keep the roots. Iam very confident about that." His mission istoshow theworld thewealth, diversity, andvitality ofCuban music.
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Discover Music from CUBA with ARC Music
ENGLISH P. 2 DEUTSCH S. 5 Discover music from CUBA with ARC Music The Caribbean island of Cuba has been perhaps the most influential place in the evolution of what we commonly call Latin music. The slave trade and mass migration from Europe brought African and Spanish instruments and rhythms to Cuba, where new styles were cultivated before finding their way to the Americas. Afro-Cuban influence can be heard in all musical styles of Latin and South America. Its proximity to the USA encouraged the spread of Cuban music into western culture. By the 1950s, band leaders like Benny Moré were incorporating Cuban music into the swing music of the time, while emigration to the US gave birth to popular musical forms such as salsa and mambo. When the Buena Vista Social Club was released in the late 1990s, the world was exposed to the music of Cuba like never before. This collection highlights a variety of Cuban music. Details of the albums from which these songs are taken follow below. These and more can be found at our website, arcmusic.co.uk Discover music from Cuba! 1. Cesar Pedroso – Que cosa tiene la vida EUCD2410 Best of Buena Vista, Featuring Original Members of the Buena Vista Social Club – Pío Leyva, Puntillita, Raúl Planas, Maracaibo Oriental Published by Termidor Musikverlag, Germany | Licensed from Termidor Musikverlag GmbH & Co.KG. A selection of the best of Buena Vista including tracks such as “Chan Chan” and “A Buena Vista” performed by old and new, featuring Pío Leyva, Puntillita, Raúl Planas, original members of the Buena Vista Social Club.
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Buena Vista Social Club Album Download
buena vista social club album download Buena Vista Social Club (1997) In March 1996 the London-based record label World Circuit arranged a recording trip to Havana, Cuba. In just over two weeks three albums were recorded*. All three were released to great critical and public acclaim. The third album, ‘Buena Vista Social Club™’ was released in June 1997 and has since come to be regarded as a classic, selling 8 million copies worldwide. Juan de Marcos González, the founder of the Afro Cuban All Stars and Sierra Maestra, had a long cherished dream of recording the music of Cuba’s golden era, the 1940s and 1950s, with the original musicians of that time. This was a dream that he shared with Nick Gold, the owner of World Circuit. Together they planned to record a collaboration between a number of African and Cuban guitarists. Gold invited Ry Cooder to participate, the two having worked together before on Ali Farka Toure’s Grammy Award-winning ‘Talking Timbuktu’ (WCD040). Cooder replied within hours saying he would be there. The Africans failed to make the trip but recording went ahead anyway. ‘Buena Vista Social Club’™ is both the name given to this extraordinary pool of musicians and the album, recorded in just six days in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club™ would become a worldwide phenomenon, outselling any other record in the same genre, elevating the artists to superstar status and popularising Cuba’s rich musical heritage, all of which has contributed to a massive boom in Cuba’s tourist and recording industries.
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And the Author(S) 2019 JC Kent, Aesthetics and the Revolutionary
INDEX A aestheticization, 1, 150, 156, 170, Abbott, Berenice, 20 171, 201 Académie des Beaux-Arts (French aesthetics Academy of Fine Arts), 11 Buena Vista aesthetic, 7, 150, 153, Académie des sciences (French 155, 173, 195. See also Buena Academy of Sciences), 11 Vista Social Club (flm) Academy Awards, 153, 162 geographical aesthetics, 1 advertising “post-Special Period” aesthetic, 3, 6, alcohol, 118, 119 86, 90, 108, 117, 140, 150 brand image, 117, 120–126, 129, “post-Castro Cuba” aesthetic, 203, 204 132, 133, 139. See also iconic pre-revolutionary Cuba, 150, 172, branding 173, 186 “city-of-origin” effect, 121, 132 “Special Period” aesthetic, 3, 7, 84, “country-of-origin” effect, 120– 109, 161, 184, 186, 201 121, 123 Afro-Cuban Havana Club, 6, 117–129, 131– photography, representation in, 24, 134, 136, 139–142, 144. See 25, 29–32, 98, 99, 102–104 also Havana Club AfroCubism (project), 151 Havana in, 5, 7, 31, 124, 134, 142 AfroCubism (recording), 151 travel advertisements, 15, 24, 39, “afterimage” (theory), 7, 150, 156, 125–127, 129, 130 173, 185. See also Bruno, Giuliana advertising discourse, 6, 122, 126–128, Air Supply, 184 130, 133, 134, 141, 142, 144 A Lady without Passport, 71 advertising image, 5–7, 118, 119, 122, Álvarez Bravo, Manuel, 103, 104 125–134, 136–142, 146 Antonioni, Michelangelo © The Editor(s) (if applicable) and The Author(s) 2019 211 J. C. Kent, Aesthetics and the Revolutionary City, Studies of the Americas, https://doi.org/10.1007/978-3-319-64030-3 212 INDEX Blow-up, 92 production of photobooks, 83, 106 Arechabala, Don José, 119, 120.
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Buena Vista Social Club Free
FREE BUENA VISTA SOCIAL CLUB PDF Ry Cooder | 112 pages | 01 Apr 2002 | Hal Leonard Corporation | 9780634014468 | English | Milwaukee, United States Buena Vista Social Club () | The Criterion Collection This privacy policy relates to our website at www. We are the controller of your personal data. If you have Buena Vista Social Club questions about this privacy policy, including any requests to exercise your rights over your personal data, please contact us Buena Vista Social Club the details set out under contact us below. Buena Vista Social Club and our third-party Buena Vista Social Club providers may collect and process personal data, i. Processing means any operation which is performed on personal data, such as collection, recording, organisation, structuring, storage, adaptation, retrieval, any kind of disclosure, erasure or destruction or other use. We process personal data, such as when you:. This may include your name, postal address, email address, telephone number, age, date of birth. Furthermore, on each of your visits to the Site we collect the following Technical Data transmitted by your browser to our website:. All such personal information is collected, stored and processed by us, affiliated BMG Companies and our third-party service providers for the purposes set out in section B below. We, our affiliated BMG companies and our third-party service providers may use your personal information as described in Section A for the following purposes:. The above processing activities are based on Article 6 sec. It represents our legitimate interests. It is in our mutual legitimate interest to respond to your enquiries and requests.
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View Booklet
Opposite Page ~ Salvador Repilado, Eliades Ochoa, Compay Segundo, Orlando ‘Cachaíto’ López, Ibrahim Ferrer (Carré Theatre, Amsterdam) ~ New York Times celebrated the vitality and virtuosity of its reveled in passion or reminisced about lost love. Tú Qué Has Hecho?”, Mr. Segundo, who has musicians and mourned the era they embody. spent his career singing second, or harmony, 3rd July 1998, Jon Pareles The concert began with “Chan Chan”, an elegiac, The concert toured old Cuban styles: the son, vocals, sang lead in a baritone full of ardor and minor-key love song in an old rural style; it ended with its spider webs of fingerpicked guitars (partly authority. Mr. González was the group’s most with “Silencio”, a bolero with the singers Ibrahim lost in Carnegie Hall’s acoustics), and the danzón, determined crowd pleaser, splashing across the The Buena Vista Social Club basked in the Ferrer and Omara Portuondo dancing cheek to with an almost stealthy pace and, in Mr. González’s piano with two-handed chords, ending phrases latest wave of Cubaphilia when it performed on cheek. In a love song about an unforgettable old hands, some grand Romantic piano flourishes. with sweeping glissandos and quoting Liszt during Wednesday night. The concert was more than flame, the 91-year-old guitarist Compay Segundo There were also ebullient cha-chas and mambos a danzón. In one tune, he carried a solo up to the a musical occasion. Musicians from Cuba in sang, “Hoy represento el pasado’’ (“Today I that turned into descargas (jam sessions). top of the keyboard and beyond, playing the air their 70’s, 80’s and 90’s, some emerging from represent the past’’).
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Discover Caribbean Music with ARC Music
Discover Caribbean Music with ARC Music The islands that make up the Caribbean archipelago are among the most beautiful in the world, sharing many similarities between them, but each with a character and charm all of their own. Much like the islands themselves, there is a familiar uniqueness about the music of the Caribbean. Many Afro-Caribbean styles are instantly distinguishable from each other but share a rhythmic palette and boast a style that is undeniably Caribbean. This collection takes you on an island hop around the Caribbean Sea, including Cuba, Trinidad, Martinique, Haïti and the Dominican Republic, and even Costa Rica, Colombia and Venezuela, which share a coastline and a musical ancestry with the Caribbean. Details of the albums from which these songs are taken follow below. These and more can be found at our website, arcmusic.co.uk Discover Caribbean Music! 2 1. La musa borracha – Grupo Cimarrón De Cuba EUCD2321 Cuba, Live Music from Havana Licensed from Danza Fuego Musikproduktion, Germany. A live recording of Cuban sones, boleros and cha-cha-chas at a concert at the Café Teatro in Havana, Cuba. An excellent concert in an enthusiastic live atmosphere! The songs: La musa borracha (cha-cha-cha), El manicero (son), Un son sin complicación (son), Imagina (bolero son), El son de los arabos (son), Ver dos caras (ballad), Mañana de carnaval (bolero bossa) and more. 2. Mamito’s Calypso – King Selewa & his Calypsonians EUCD2076 Calypso Invasion Licensed from Thierry de Crozals, Nice, France. Sixteen cheeky-cheerful and humorous calypso songs, with vocals, guitar, bass, sax, trumpet and lots of percussion.
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Buena Vista Social Club
81 Kurmacayla Belgeselin Buluflmas›: Buena Vista Social Club Ar. Gör. Gülsenem ÇOBANER [email protected] galatasaray üniversitesi iletiflim fakültesi Özet Belgesel ve kurmaca sinema tarihi boyunca kal›n çizgilerle birbirinden ayr›lan iki tür olarak karfl›m›za ç›kar. Bu ay›r›mlardan en belirgin olan›; belgeselin gerçeklerden, kurmacan›n ise hayallerden beslendi¤i fikrine dayan›r. Oysa sineman›n hiçbir türü hayal gücünden ayr› düflünülemez. Bu makalede belgesel bir film olan Buena Vista Social Club’tan hareketle belgesel ve kurmacay› ay›rd›¤› varsay›lan biçimsel ve içeriksel özellikler tart›fl›lacak, iki türün akrabal›¤› hakk›ndaki yaklafl›mlar ele al›nacakt›r. anahtar kelimeler: sinema, belgesel, kurmaca. 82 Résumé Le documentaire semble plutôt se caractériser par la représentation d’une situation réelle, et à l’opposé, la fiction raconte des sujets imaginaires. Mais aucun genre cinématographique ne peut exister sans l’imagination. Dans cet article, on va analyser Buena Vista Social Club en tant qu’exemple de rencontre du documentaire avec la fiction et discuter les différents concepts et critères de séparation habituellement établis entre ces deux genres. On va se demander dans quelle mesure les frontières que ces critères établissent sont-elles factices. mots clés: cinéma, documentaire, fiction. Abstract Documentary and fiction are assumed to be as two diverse forms in cinema history. The main difference, according to this approach, depends on the idea that a documentary stems from reality while a fiction film takes its roots from the imaginary. However, it is not possible to think that any form of cinema can occur without imagination.
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