DOCSLIB.ORG

Latin America

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Latin America All Around This World lyrics cheat sheet Latin America 1. We Are Happy/Hello 7. Our Story May Be Sad 13. La Llave 19. Ahora es Cuando es (Uganda, originally in English and Luganda (Honduras, Garifuna: Punta) (All over Latin America, Spanish: Corrido [jarocho style]) (Cuba, Spanish: Conga) Genre on CD: Merengue) Yunruhuma ya arihabei habuidunmenia, ¿Dónde esta la llave? Mate-rile-rile-rile. Ahora es cuando es, ahora es cuando es Ooh, bop bop bop! Ooh, bop bop bop. mafarulubadina lamise. ¿Dónde esta la llave? Mate-rile-rile-ro. Now is the time, now is the time We are happy, we are happy on this day. Our story may be sad but we laugh anyway. Where is the key? Mate-rile-rile-rile ¡Hola everybody! (“Hello” in Spanish), Dance dance dance, ma lubuidun, dance dance dance, Where is the key? Mate-rile-rile ro. (pon!) 20. Arroro Mi Niño habinahan . Bom dia everybody! (“Good morning” in Portuguese), (Argentina, Spanish: Lullaby) Buiti binafi everybody! (“Good morning” in Garifuna), 14. O Pião Arroro mi niño, arroro mi sol, Imaynallam everybody! (“How are things going?” in Quechua) 8. Este Torito (Brazil, Portuguese: Fusion) arroro pedazo de mi corazón (Mexico, Spanish: Son Jarocho) O pião entrou na roda, ó pião Go to sleep my child, go to sleep my love 2. La Guacamaya Este torito que traigo lo traigo desde Tepango, Roda pião, bambeia pião (Mexico, Spanish: Son Jarocho) Lo traigo desde Tapango, este torito que traigo 21. Los Pollitos Y lo vengo manteniendo con cascaritas de mango. Pobrecita guacamaya, you’re a hungry little bird 15. Las Mañanitas (Puerto Rico/U.S., Spanish: Son) You’re a hungry little bird, pobrecita guacamaya Este torito que traigo lo traigo desde Tepango, (All over Latin America, Spanish: Huapango [mariachi]) All the little chicks say pio pio pio Pobrecita guacamaya, I will share my food with you This little bull I am bringing comes here from Tepango How beautiful is morning, we’re here to sing along, when they are hungry and when they are cold. If you only help me too, pobrecita guacamaya He comes here from Tepango, the little bull I am bringing We all will sing together and we’ll start with this song Mother chicken looks for corn and wheat. Fly fly fly, can you teach me how to fly, To get him to come here with me I feed him lots of mango. Wake up dear, wake up my darling, She will give them shelter and something to eat. Pour our hearts out to the sky, pobrecita guacamaya This little bull I am bringing, he comes here from Tepango rub your eyes, it’s almost dawn Under mama’s wing the little chickens keep, Vuela, vuela, vuela, can you teach me how to fly The little birds are singing and the nighttime has gone. until the next morning they are all asleep. Pour our hearts out to the sky, pobrecita guacamaya 9. A Canoa Qué linda es la mañana en que vengo a saludarte, Los pollitos dicen pío, pío, pío, (Brazil, Portuguese: Pagode [samba]) venimos todos con gusto, y placer a felicitarte cuando tienen hambre, cuando tienen frío. 3. Bambo du Bambu The canoe flipped and who made it flip was it you? Despierta, mi bien, despierta, mira que ya amaneció, La gallina busca el maíz y el trigo, (Brazil, Portuguese: Samba) It was because of Molly, now what are we going to do? ya los pajarillos cantan, la luna ya se metió. les da la comida y les presta abrigo. We dance bambo de bambulelê, Paddle left and paddle right, paddle left and paddle right, Bajo de sus alas, acurrucaditos, we dance bambo de bambulalá A canoa virou, quem deixou ela virar 16. Mayan Peace Song duermen los pollitos hasta el otro día! Foi por causa da [Ajai], que não soube remar We dance bambo de bambu we’re dancing the samba (Mexico, vocables: Aztec) with our mother, brother, sister and papa Siriri prá cá, siriri prá lá, siriri prá cá, siriri prá lá La la la la . 22. Azulão We dance samba . with mama. We dance samba . (Brazil, Portuguese: Cuban Bolero) with papa 10. Un Barco Chiquitito 17. La Luna Vai, Azulão, Azulão companheiro, vai! (All over Latin America, Spanish: Cuban Salsa) (All over Latin America, Spanish: Plena) Vai ver minha ingrata, diz que sem ela 4. La Colorá Había una vez un barco chiquitito O sertão náo é mais sertão! Ai! Quisiera ser tan alto como la luna, (Puerto Rico/U.S., Spanish: Changui) Que no podía, no podía, no podía parar. Vão a Azulão vai contar companheiro, vai! ¡Ay-ay-ay! Como la luna. Once upon a time there was a little boat Fly bluebird, friend, fly to my long lost love, Colorá, Colorá, Siña Maria, La Colorá, Quisiera ser paloma y poder volar, And it could, and it could, and it could not stop. Say that without her this barren land’s not the same Colorá, Colorá, make us some of your cassava ¡Ay-ay-ay! y poder volar. since she said goodbye, I’d like to be as the moon way up high, high, high, Ah, fly bluebird, friend, go and tell her, my bluebird fly. 5. Wang Boto 11. Niño Colla ¡Ay-ay-ay! way up high, high, high. (Suriname, Sranan: Soca) (Argentina, Spanish: Andean Cumbia) I’d like to be a dove so I could fly fly fly, ¡Ay-ay-ay! I could fly fly fly. 23. Goodbye/We Are Happy Wang Boto e kong nanga wang fraga Soy un Colla chiquitito, vivo solo en mi ranchito. (Uganda, English/Luganda: Merengue) Wang Fraga no’ mo’ hanga de? Con mis ojotas de cuero, ya me voy camino al cerro. One boat is coming with just one flag I’m a little Colla boy, I live on this tiny farm 18. Tambobambino We say goodbye, but we’re not sad, Wang Fraga no’ mo’ hanga de? I put on my leather sandals on my way up to the hill. (Peru, Quechua: Andean Cumbia) because of all the fun we had We are happy, we are happy on this day Tambobambino maqt’acha, tambobambino maqt’acha, ¡Adios everybody! (“Goodbye” in Spanish), 6. Cachumbambè 12. Citron Tambobambino maqt’acha, Oh what a foolish boy you are. Tchau everybody! (“Goodbye” in Portuguese), (Mexico, Spanish: Festejo) ¡Wifalita wifala, wifalita wifala! (Cuba, Spanish: Merengue) Ayo everybody! (“Goodbye” in Garifuna), ¡Wifalita wifala, wifalala, wifala! Cachumbambè, La vieja Ines, Al Citron de un fandango, Sango sango, [A-wa-lyah] everybody! (“I’m leaving” in Quechua) Se bebe guarapo y no toma café. Sabare de la randela, con su triki triki tron. Cachumbambè, old lady Ines, she will drink guarapo but she won’t drink cafe. All Around This World is a unique, interactive music program for children 0-8 years old that encourages kids to explore the world by enjoying great global music, To learn more, and more . and MORE visit: drumming and dance. Kids and their parents/caregivers sing, dance and play together while experiencing different languages, cultures and traditions. See you in class! http://www.AllAroundThisWorld.com [ ] = transliteration by non-native speaker..
Load more

Recommended publications
  • Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
    Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance.
    [Show full text]
  • Cuban Music Teaching Unit
    Thesis Advisor: Frank Martignetti THE MUSIC AND DANCE OF CUBA: by Melissa Salguero Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Melissa Salguero Salguero 2 Abstract (Table of Contents) This unit is designed for 5th grade students. There are 7 lessons in this unit. Concept areas of rhythm, melody, form, and timbre are used throughout the unit. Skills developed over the 7 lessons are singing, moving, listening, playing instruments, reading/writing music notation, and creating original music. Lesson plans are intended for class periods of approximately 45-50 minutes. Teachers will need to adapt the lessons to fit their school’s resources and the particular needs of their students. This unit focuses on two distinct genres of Cuban music: Son and Danzón. Through a variety of activities students will learn the distinct sound, form, dance, rhythms and instrumentation that help define these two genres. Students will also learn about how historical events have shaped Cuban music. Salguero 3 Table of Contents: Abstract……………………………………………..…………………………..2 Introduction……………………………………….……………………………4 Research…………………………………………..……………………………5 The Cuban Musical Heritage……………….……………………………5 The Discovery of Cuba…….……………………………………………..5 Indigenous Music…...…………………………………………………….6 European Influences……………………………………………….……..6 African Influences………………………………………………………...7 Historical Influences……………………….……………………………..7
    [Show full text]
  • American Folklife
    1989 Festival of American Folklife Smithsonian Institution/National Park Service Thierry^ Benrand, maker ot" a iviize. a ii>>\\ laic 1 icnch bagpipe, in his workshop in La Garnache, a village in the Vendee region of France. (Photo by Winifred Lambrecht) On the front cover: Vallisa Vinhasa Tavares represents the island of Kaua'i in the Merrie Monarch parade in Hilo, Hawai'i. (Photo by Lynn Martin, courtesy State Foundation on Culture and the Arts Folk Arts Program) On the hack cover. Una Griffiths and Cacilda Wright, traditional cooks from Santa Caiz, Jamaica, squeeze juice from grated cassava. (Photo by Heliana Portes de Roux) 1989 Festival of American Folklife June 23-27 June 30-July 4 Smithsonian Institution National Park Service We dedicate this year's program book to the nienioiy ofJoseph Condon (1943-1988). Joe was a special assista>it to the Secretary' and a friend of the Festival for many years. Joe tanght ns a lot ahont leadership, integrity and honesty. As ivejdce both successes and crises, we will painfully miss him. Contents Celebrating Freedom by Robert McC. Adams, Secretary, Smithsonian Institution 4 Our Shared Cultural Resources by James M. Ridenour, Director, National Park Service 6 Why We Do the Festival by Richard Kurin 8 American Indian Problems of Access and Cultural Continuity by Thomas Vennum, Jr. 22 Hawai'i: Cosmopolitan Culture at the Crossroads of the Pacific by Richard Kennedy with Lynn Martin 36 French Traditions: Their History and Continuity in North America by Winnie Lambrecht 50 Creolization in the Caribbean by Heliana Portes de Roux 66 Festival of American Folklife ©1989 by the Smithsonian Institution Editor: Frank Proschan Coordinator: Arlene Liebenau Designer: ]oix\ Wolbier Assistant Designer Becky Lepkowski Special thanks: Linda Breitag, Andras Goldinger, Nicholas Spitzer Typesetter: Harlowe Typography Printer: Ameriprint Typeface: ITC Garamond Paper: Warren Patina Insert: Simpson Sundance Felt — Celebrating Freedom Robert McC.
    [Show full text]
  • The Americas
    REVIEWS The Americas Banda Black Rio require a bit of extra persuasion that they lyrics about tango’s passing, the anti- all its tumble-down, tourist-strewn glory, it SuperNovaSambaFunk need to own more than a single album by gloomy plinky-plonky piano at the front, sees the London-based Dickinson working Far Out either group. To meet this challenge, and a few deep-voiced exhortations to send alongside percussionist Hammadi Full Price (68 mins) record companies and management are us on our way. Where to is usually the Rencurrell, a fellow graduate of Havana’s HHH constantly seeking to set their assets in a same place, but the sure hand of the Superior Institute of Art who, like Brazil’s brightest and best team different musical context, in an attempt – a Mañana label owner and Gotan Project Dickinson, was awarded first-class up for a funky Rio rejoinder far too brazenly desperate attempt, guitarist Eduardo Makaroff means this honours, and the talented British-Spanish Over a decade that’s sometimes – to broaden their appeal. This latest collection of 13 tracks is more violinist Emma Blanco. The focus here is seen all kinds of has led to LBM recording both a classical polished and more considered than other on the music of the hallowed, still prolific obscure and often album and a horrid dance remix collection. recent Cáceres ventures. Opening with a Cuban guitarist, composer and professor fantastic Brazilian In the case of the Blind Boys, it has resulted Charleston isn’t as surprising as it might be. Eduardo Martin, whose compositions funk prised from the in duets with Lou Reed and reggae singer Juan Carlos Cáceres is a deracinated ex-pat explore the links between a host of Cuban archives, the band Toots Hibbert, a collection of Christmas pianist and he finds a home wherever his musical genres: rumba, danzon, bolero, that first carried the black Rio sound carols and a contemporary rock album vocal range fits.
    [Show full text]
  • Sooloos Collections: Advanced Guide
    Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
    [Show full text]
  • Copyright@Fabrice Hatem 1 Petit Lexique Des Musiques Et Danses
    Petit lexique des musiques et danses Afro-Cubaines Bachata. Musique à quatre temps originaire des régions rurales de Saint Domingue. Ses thèmes romantiques rappellent un peu ceux de la Guarija cubaine. Danse de couple caractérisée par un déplacement latéral sur trois pas avec une saillie de la hanche sur le quatrième http://en.wikipedia.org/wiki/Bachata_(music) http://en.wikipedia.org/wiki/Bachata_(dance) http://video.google.fr/videosearch?hl=en&q=Bachata&um=1&resnum=1&ie=UTF- 8&sa=N&tab=wv# Bolagoo. Danse des années 1950, proche de la Pachanga, de Mambo et du Tcha-tcha- tcha. Bolero. Apparu à la fin du XIXème siècle dans l'est de Cuba, le Boléro Cubain peut être consiédré comme une variante binaire et syncopée du Boléro espagnol. http://fr.wikipedia.org/wiki/Bol%C3%A9ro http://en.wikipedia.org/wiki/Bolero Cha-Cha-Cha. Genre musical directement dérivé du son et inventé au milieu des années 1950 par différents musiciens d'origine cubaine, dont notamment Enrique Jorrin. Son rythme caractéristique est constitué par une mesure à quatre temps, ave deux noires, deux croches, une noire. www.abcbluesandsoul.com/chachacha.aspx http://fr.wikipedia.org/wiki/Cha-cha-cha http://en.wikipedia.org/wiki/Cha-cha-ch%C3%A1_(Cuban_dance) http://video.google.fr/videosearch?hl=en&q=cha+cha+cha&um=1&ie=UTF- 8&ei=v8AoS83aEZHcmgP5hZSoDQ&sa=X&oi=video_result_group&ct=title&resnu m=1&ved=0CBMQqwQwAA# Changui. Genre musical aux origines directement africaines, né vers 1860 dans la partie orientale de Cuba. Il peut être considéré comme l'ancêtre du Son.
    [Show full text]
  • AATW-Latin-America-Song-By-Song
    All Around This World Latin America Song-by-Song Overview African, European and Native American history may be present in every stroke of Latin music (and, even farther back, the North African/Roma-”gypsy”/Sephardic Jewish and other genres that influenced the music of Spain), but when the rhythms of sub-Saharan Africa fused with the Spanish melodies several hundred years ago, an entirely new and distinct set of “Afro-Latin” music formed. Today’s Latin music thrives on its own, inventing and reinventing itself. In Latin music, history may be everything, but the past is only a good indication of great music to come… 1) WE ARE HAPPY Country: Uganda (original)/ On CD:Dominican Republic Language: originally Luganda Genre on CD: Merengue Instruments on CD: Piano, Trombone, Trumpet We sing “We Are Happy” at the beginning of every All Around This World class, changing the hello to match the featured country of the week. All Around This World’s version is actually a mashup of two songs the Abayudaya of Uganda sing to greet important visitors to Nabugoye Hill, which is a small area a few miles outside of the Eastern Ugandan city of Mbale. The Abayudya of Uganda are a small community of about 500 Luganda-speaking Bagandans who have been practicing Judaism for over 80 years. Abayudaya community leaders Rabbi Gershom Sizomu and his brother JJ Keki wrote the two greeting songs and led the community in singing them for Jay when he first visited in late 1999. 2) LA GUACAMAYA Country: Mexico Language: Spanish Genre on CD: Son jarocho Instruments on CD: Jarana, Marimbula, Quijada, Requinto,Tarima “La Gucamaya” is a son jarocho song from Veracruz in Mexico.
    [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]
  • Revisedphdwhole THING Whizz 1
    McGuinness, Sara E. (2011) Grupo Lokito: a practice-based investigation into contemporary links between Congolese and Cuban popular music. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/14703 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. GRUPO LOKITO A practice-based investigation into contemporary links between Congolese and Cuban popular music Sara E. McGuinness Thesis submitted for the degree of Doctor of Philosophy 2011 School of Oriental and African Studies University of London Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
    [Show full text]
  • Cuban Music Industry Development and Marketing Plan
    UNCTAD/WIPO JOINT PR OJECT DEVELOPING COUNTRIES BECOMING A GLOBAL PLAYER: OPPORTUNITIES IN THE MUSIC INDUSTRY Expanding Economic Potential of Developing Countries: the Music Sector in the Caribbean Region Cuban Music Industry Development and Marketing Plan October 2001 All Figures and Other Material Subject to Checking CONTENTS Page No. 1. INTRODUCTION AND BACKGROUND 1 - 2 2. ECONOMIC ISSUES IN DEVELOPING THE CUBAN MUSIC INDUSTRY 3 – 4 3. ECONOMIC ELEMENTS OF TH E CUBAN MUSIC 5 - 19 4. INTERNATIONAL MARKETS FOR MUSIC 20 - 27 5. TOURISM IN CUBA AND ITS POTENTIAL LINKAGES WITH MUSIC 28 - 31 SECTOR 6. RECOMMENDATIONS FOR A PLAN TO EXPAND INTERNATIONAL 32 - 57 REVENUES FROM THE CUBAN MUSIC INDUSTRY TO INCREASE ACCESS TO FOREIGN MARKETS References Glossary/Abbreviations APPENDICES Appendix 1: Programme for Consultants Visit to Cuba in September 2000 Appendix 2: Selected Illustrative Examples of Individuals Interviewed during Pr ogramme Appendix 3: Details re ABDALA Recording Studio Appendix 4: Details re EGREM Appendix 5: Official Database on the Economic Significance of the Cuban Music Industry 1. INTRODUCTION AND BACKGROUND This report on the Cuban Music Industry makes recommendations for a development and marketing plan for this important sector of the Cuban economy. The Cuban Development and Marketing Plan Report is part of the UNCTAD/WIPO research/study project entitled, Developing Countries Becoming a Global Player : Opportunities in the Music Industry: Phase I of Part I: Expanding the Economic Potential of Developing Countries: The
    [Show full text]
  • Guantanamera’
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2006 The Saga of a Song: Authorship and Ownership in the Case of ‘Guantanamera’ Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/302 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] / Peter Manuel The Saga of a Song: Authorship and Ownership in the Case of ''Guantanamera'' This article constitutes a case study in the interaction between a localized form of music-making that emerged from oral tradition on the periphery of the Euro -American commercial mainstream and the dramatically expanded and globalized commercial music industry of the latter twentieth century. Some such encounters, of course, have resulted in the effective extinction of local traditions. In other cases, however, local genres, songs, or practices have evolved or been absorbed into modern commercial popular ones, in ways that may be at once organic and beset with tensions. Such tensions may be partic ­ ularly overt when songs circulate "schizophonically" on the global music market and generate massive profits for parties other than their cre ­ ators. This essay looks at a particular instance of such an encounter, involving the evidently step-by -step and collective evo lution of what became a renowned comme rcial popular song, "Guantanamera," and the subsequen t and ongoing disputes regarding the song's ownership.
    [Show full text]
  • Elixir Digital Booklet
    TO UNDERSTAND Jose Conde’s music, and by extension his reinvention—or fine-tuning—of Ola Fresca is the most exciting his salsa orchestra Ola Fresca, you first need to know development for salsa in La Gran Manzana (The Big Apple) in years. where he was raised and how that influenced his art. As a youth in South Florida, Conde tells us he “came into daily ThiS IS BECAUSE there is nothing quite like Ola Fresca in New contact with the mix of sounds—son, funk, rock, rumba, Haitian York, or elsewhere for that matter. It is a precious gem of a band compas, cumbia from Colombia, guaracha from Cuba, samba that keeps morphing and solidifying during its evolution, turning from Brazil… a wealth of sounds, tastes, and flavors.” He goes in the light and catching more and more of the sun’s fire as it on to relate that “Miami is a multicultural Mecca,” and his early revolves, heaving up from the depths on a shaft of molten magma influences before pursuing music “include the tropical heat, the and passing from carbon crystals to hardened jewel, honing its pervasiveness of water everywhere, and the serenity of the daily craft over time, the details sharpening in definition, its facets masterpiece: the south Florida sky, sunrise to sunset.” Interestingly being polished more and more, bringing its sound and message ever enough, Conde admits his vocabulary of music “comes not just sharper into focus with each passing year. Like a diamond, this band from listening to other musicians. It comes from how my mother is hard and it is pretty, it can cut and it can cure, and it shows us a scolded me with mambo sensibility or how a sexy girl walks reflection of ourselves refracted into multitudes of angles.
    [Show full text]