Compay Segundo Se

Total Page:16

File Type:pdf, Size:1020Kb

Compay Segundo Se RAYUELA ¿De quién es la pelona mano que mece la cuna priísta? DIRECTORA GENERAL: CARMEN LIRA SAADE I DIRECTOR FUNDADOR: CARLOS PAYAN VELVER I MARTES 15 DE JULIO DE 2003 MEXICO D.F., AÑO DIECINUEVE NUMERO 6782 I Cuba y la UE se Murió el músico adentran en una Compay Segundo se fue; cubano; México crisis de alcances era para él su impredecibles queda su sonrisa eterna segunda patria I Fidel Castro, funcionarios públicos e intelectuales desairan GERARDO ARREOLA invitación del embajador francés CORRESPONSAL para conmemorar la toma de la LA HABANA, 14 DE JULIO. “Yo sé cómo me Bastilla I El diplomático había voy a morir”, dijo una vez Compay convocado a decenas de activis- Segundo: “La otra noche soñé que había tas opositores muerto, que estaba entre las nubes, en el cielo, me encontraba de pronto a Miguel PAG Matamoros. Y que él me decía: ‘¡Eh, DE LA CORRESPONSALIA 26 Francisco! ¿Qué haces aquí?’ Y que yo le decía: ‘No, chico, ya yo estoy conti- go, ya yo estoy aquí. Vamos a hacer NYT nombra nuevo música’”. Compay había dejado mudos y fríos a director en busca de sus músicos, que oían el relato, esperan- do con él un vuelo en París. recobrar credibilidad Como reclamando la evocación inde- seable, alguien dijo: ante los lectores –¡Coño, Compay! I Y todos se echaron a reír. El periodista Bill Keller sustituye Esta mañana de lunes quizá Francisco a Howell Raines tras el escándalo Repilado ya estuviera uniendo su armó- por la publicación de noticias falsas nico a la voz de Matamoros. Lo que aquí se podía ver, en la funeraria Rivero de La PAG 23 Habana, era el rostro sereno, cobrizo, que estaba en sintonía cromática con la alfombra ensortijada de cabello blanco, el terno café con leche y el amarillo claro FOTO Exigen comuneros de la camisa, todo lejos de competir con el dorado brillante de la corbata, corona- CRISTINA RODRIGUEZ del Ajusco que la da en un triángulo definitivo. Arropado “La otra noche soñé que había muerto, que estaba entre las nubes, en el cielo, y que me encon- en la bandera cubana, Compay seguía traba de pronto a Miguel Matamoros”, contaba una vez Compay antes de salir de viaje a París PFP intervenga en la acompañado de su sombrero indispensa- de Buenavista Social Club, recuerda a netista del grupo de Compay, dice que disputa con Xalatlaco ble, esta vez a la altura de las rodillas. Compay como “un hombre que es eter- éste casi nunca hablaba de la muerte. La atmósfera de la pequeña capilla namente joven. Siempre que trabajaba Menos de su propia muerte. Pero una funeraria mezcla el sosiego con una conmigo no sé cómo se las arreglaba, vez dijo que pensaba en los muertos PAG 32 tenue provocación musical. Detrás del como un hombre que era, para venir y como en mariposas: “Cuando las perso- ataúd, bajo un palio azul celeste, un apa- tocarme los glúteos en el escenario. El nas mueren se convierten en maripo- rato repite Las flores de la vida en ver- público estaba allí y yo no podía hacer sas”. Homenaje a Eulalio sión de la Orquesta Sinfónica de Cuba, nada. Será recordado con alegría, con “Por eso”, dice Armenteros, “si veo una primicia que no pudo esperar para otra esa sonrisa eterna que tenía, esa picardía mariposa siempre me voy a acordar de Ferrer en España; es ocasión. Es parte de un trabajo, todavía de hombre viril. Deja un legado muy Compay. Pero sobre todo lo vamos a en preparación, de piezas escogidas de fuerte para la cultura cubana. El se recordar con la música. Esa es la tarea símbolo del “espíritu Compay para orquestación de gran for- queda en el recuerdo, en la música, en que él nos dejó: muchachos, sigan ade- mato. A la izquierda del cuerpo hay una las palmas, en la bandera cubana”. lante.” de los trasterrados” corona con la leyenda: “A Compay También está Hugo Garzón, el cantante “La última vez que lo vi fue hace tres Segundo. Comandante en Jefe Fidel alto y gordito, cuya figura, tocando las semanas. Estaba consciente. Me dijo: I Recibe en Santander la Gran Castro”. maracas, aparece en casi todas las fotos ¡Contra, clarinete! Estás aquí... Cómo Cruz de Isabel la Católica Pasaban siete minutos de las once de de las actuaciones recientes de Compay. no, le dije, contigo siempre hasta el la noche del domingo, dice Salvador, el “La última vez que hablé con él fue en final. Estaba muy preocupado de lo que ARMANDO G. TEJEDA, CORRESPONSAL PAG 3a hijo menor de Repilado, representante su casa”, recuerda Hugo. “Estábamos estábamos haciendo. Le conté que del grupo que acompañó Chan chan por ensayando un número: Al ritmo diabóli- seguíamos trabajando, ensayando. decenas de escenarios en el mundo. co. El no hablaba de que le faltaran Esperamos que te restablezcas, le dije. JOSÉ BLANCO 16 “Estaba lúcido, hablamos... hablaba de fuerzas. El se imponía, trataba hasta de Te queremos ver pronto. No, me dijo, MARCO RASCÓN 16 música, estaba muy contento con el tra- no reflejar lo que tenía. Sacaba una gran estoy luchando por eso. bajo de la orquesta sinfónica. De repen- fuerza de voluntad de seguir adelante, “La muerte de Polo Montañez UIS ERNÁNDEZ AVARRO L H N 17 te vino el paro cardiaco.” de seguir con su música, con su viveza. (noviembre del año pasado) fue muy JAVIER OLIVA POSADAS 17 Decenas de personas empiezan a agol- Aunque se estuviera muriendo, no refle- fuerte para él. Casi a los dos días de la PEDRO MIGUEL 26 parse en el tercer piso de la funeraria jaba nada. Tocaba y lo hacía con deseos. muerte de Polo teníamos un concierto que todo el mundo en La Habana cono- Aprendí muchas cosas. Aprendí lo que con él. Compay quiso mucho a Polo. Lo EDUARDO R. HUCHIM 32 ce sólo por su dirección: Calzada y K. es la música tradicional cubana.” admiraba porque sabía que era un artis- TERESA DEL CONDE 4a Omara Portuondo, una de las estrellas Haskell Armenteros, el segundo clari- ta que salió de la nada, como él, del pue-.
Recommended publications
  • Entre Alto Cedro Y Marcané. Breve Semblanza De Danilo Orozco (Santiago De Cuba, 17 De Julio, 1944; La Habana, Cuba, 26 De Marzo, 2013) Between Alto Cedro and Marcané
    DOCUMENTO - IN MEMORIAM Entre Alto Cedro y Marcané. Breve semblanza de Danilo Orozco (Santiago de Cuba, 17 de julio, 1944; La Habana, Cuba, 26 de marzo, 2013) Between Alto Cedro and Marcané. A Brief Remembrance of Danilo Orozco (Santiago de Cuba, July 17, 1944; Havana, Cuba, March 26, 2013) por Agustín Ruiz Zamora Unidad de Patrimonio Cultural Inmaterial, Departamento de Patrimonio Cultural, Valparaíso, Chile [email protected] La muerte no es verdad si se ha vivido bien la obra de la vida José Martí En 2013 muere en La Habana el musicólogo cubano Danilo Orozco. De sólida formación científica y manifiesta vocación social, no solo fue autor y responsable de un sinnúmero de estudios que lo sitúan entre los más destacados musicólogos del siglo XX, sino que además acometió y gestó una prolífica labor en la promoción y valoración del acervo musical de su Cuba natal, especialmente de los músicos campesinos y olvidados con quienes mantuvo contacto y relación permanente a lo largo de su trabajo de campo. Lejos de percibir el estudio de la música en campos disciplinarios segmentados, practicó una musicología integrativa, en la que la música se explica por sus procesos musicales y no según su situación histórica, cultural o social. Aunque para muchos su más resonado logro habría sido la tesis doctoral que defendió en 1987 en la Universidad Humboldt de Alemania, sin duda que su mayor legado ha sido la magna labor que desarrolló con los músicos del Oriente cubano. Hoy está pendiente la divulgación masiva de su trabajo intelectual el que, sin dudas, fue apoteósico.
    [Show full text]
  • ABSOLUTELY LIVE II En Word
    ABSOLUTELY LIVE II (VIVA MEXICO! / LIVE IN MARYLAND Six years after his last release, Juan de Marcos, architect of the famous Buenavista Social Club sessions, comes back with an Afro- Cuban All Stars’ new production, Absolutely Live II, an eclectic and interactive live album based on excerpts concerts performed at the Cervantino International Festival in Guanajuato, Mexico, and The Strathmore Center for the Arts in North Bethesda, Maryland, USA. Dubbed “the Quincy Jones of Cuban Music” by Down Beat Magazine, due to his creative approach to different Cuban and international genres. Juan de Marcos work received the inaugural Womex award in 1999, and his many albums, including his 1997 debut recording, A Toda Cuba le Gusta, are considered seminal in the new millennium renaissance of Afro-Cuban music. Viva Mexico! is the audio portion and features five distinct Cuban genres in eight tracks, ranging from Afro-Cuban Jazz on tunes like “Yaimara´s Groove,” where Havana meets New Orleans, to 1950s-style Pilón, and it includes a new version of Ibrahim Ferrer’s classic hit “Candela,” which first reached international audiences on the original Buena Vista Social Club album. Other highlights include Contemporary and Traditional Cuban Son (Barbaridad, Kila, Quique y Chocolate), Timba (La Mujer del Barbaro), and introspective tracks like “Camino de Santiago”, about the emergence of prostitution in Cuba during the euphemistically called “Special Period in times of Peace. ”Viva Mexico! – an explosive showcase of danceable music – was recorded live, capturing a special moment exactly as it happened. It is the first release of new label, DM Ahora! Productions, which pays tribute to both the founding members of Afro- Cuban All Stars (Ruben Gonzalez, Compay Segundo, Manuel Licea, Pio Leyva, Raul Planas, etc.) and Mexico, a nation that proudly supports the Cuban people.
    [Show full text]
  • Music Production and Cultural Entrepreneurship in Today’S Havana: Elephants in the Room
    MUSIC PRODUCTION AND CULTURAL ENTREPRENEURSHIP IN TODAY’S HAVANA: ELEPHANTS IN THE ROOM by Freddy Monasterio Barsó A thesis submitted to the Department of Cultural Studies In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (September, 2018) Copyright ©Freddy Monasterio Barsó, 2018 Abstract Cultural production and entrepreneurship are two major components of today’s global economic system as well as important drivers of social development. Recently, Cuba has introduced substantial reforms to its socialist economic model of central planning in order to face a three-decade crisis triggered by the demise of the USSR. The transition to a new model, known as the “update,” has two main objectives: to make the state sector more efficient by granting more autonomy to its organizations; and to develop alternative economic actors (small private businesses, cooperatives) and self-employment. Cultural production and entrepreneurship have been largely absent from the debates and decentralization policies driving the “update” agenda. This is mainly due to culture’s strategic role in the ideological narrative of the ruling political leadership, aided by a dysfunctional, conservative cultural bureaucracy. The goal of this study is to highlight the potential of cultural production and entrepreneurship for socioeconomic development in the context of neoliberal globalization. While Cuba is attempting to advance an alternative socialist project, its high economic dependency makes the island vulnerable to the forces of global neoliberalism. This study focuses on Havana’s music sector, particularly on the initiatives, musicians and music professionals operating in the informal economy that has emerged as a consequence of major contradictions and legal gaps stemming from an outdated cultural policy and ambiguous regulation.
    [Show full text]
  • New • Nouveaute • Neuheit
    NEW • NOUVEAUTE • NEUHEIT 08/11-(5) El canto quiere ser luz Song wants to be Light Cuban Choral Music Works by Valera, Hernández, Cal, Brouwer, Silva etc. Coro Nacional de Cuba Chamber Choir Entrevoces Digna Guerra, cond. 1 CD Order No.: MDG 602 1704-2 UPC-Code: Caribbean Fascination Choral music in Cuba – and, what is more, a current Cuban music has also furthered the work cappella? Yes, the Coro Nacional de Cuba under of his fellow Cubans Wilma Alba Cal, Frank its conductor Digna Guerra presents itself to the Fernández, Oscar Hernández, Miguel public in absolute top form: singing without Matamoros, Silvio Rodríguez, Electo Silva, and vibrato, self-assuredly flawless intonation, the Roberto Valera and the internationally successful finest Latin American rhythms, and a choral Leo Brouwer. Choral pieces by Liliana Cangiano sound full of dynamic power and absolute (Argentina), César Alejandro Carrillo fascination. No wonder that the ensemble (Venezuela), René Clausen (United States), and recently won the International Chamber Choir Jorge Martínez (Mexico) round off the recording. Competition with aplomb in Marktoberdorf! Spectacular Discovery Cuban Internationalism Digna Guerra, today the “grande dame” of Latin The CD offers an extremely colorful depiction of American choral music, was trained as a choral the classical Cuban choral song. The fourteen conductor in Berlin. Under her leadership the composers heard on this recording, most of them Cuban National Chorus founded in 1960 has Cubans, draw on the traditional musical roots of become a sought-after ensemble with a their native region and also clearly reflect command of many genres. Just listen to the European influences.
    [Show full text]
  • Grupo Compay Segundo
    GRUPO COMPAY SEGUNDO Buena Vista Social Club Nel 2007 si sono celebrati i 100 anni dalla nascita del mitico musicista cubano Compay Segundo . Prima di morire, egli stesso scelse i suoi successori, affinché divulgassero la sua musica nel mondo: il gruppo di undici musicisti, di cui fanno parte due suoi figli Salvador e Basilio , si chiama: " Grupo Compay Segundo ", alcuni dei quali parteciparono al film di Wim Wenders "Buena Vista Social Club". L’anima di Maximo Francisco Repilado Muñoz (Compay Segundo) è sempre presente nel “Grupo Compay Segundo” ed irradia lo spirito cubano con questo gruppo che ha assunto il suo nome dopo la sua scomparsa, perpetuando così la testimonianza di uno degli artisti più conosciuti al mondo. Compay Segundo è dopo Miguel Matamoros l’altro grande personaggio che pose nelle parole e nella musica un universo di immagini della conversazione e del canto caratteristici dei contadini cubani, salvando così questo patrimonio di ricchezza sonora, umoristica ed immaginifica. Oltre al suo apporto al patrimonio culturale cubano importante è la promozione di uno strumento, l’armonico, e la introduzione dei clarinetti nell’organico fisso dell’ensemble strumentale. Compay ha proseguito in attività fino ad oltre 90 anni, età dopo la quale ha tenuto più di cento concerti, con un successo sempre crescente, in tutto il mondo. E’ autore anche di un’opera di teatro musicale, “Se secò el arroyito”. “Los muchachos”, primo nome del gruppo, lo accompagnarono dal 1955 nelle sue tournée in Europa, Giappone, Stati Uniti, Canada, Centro e Sud America e Medio Oriente ed oggi si dedicano a preservare ed arricchire con assoluta fedeltà l’opera di Compay.
    [Show full text]
  • 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.
    [Show full text]
  • Buena Vista Social Club (1998)
    Buena Vista Social Club (1998) The musicians: Compay Segundo, Eliades Ochoa, Ry Cooder, Joachim Cooder, Ibrahim Ferrer, Omara Portuondo, Rubén González, Orlando "Cachaíto" López, Amadito Valdéz, Manuel "Guajiro" Mirabal, Barbarito Torres, Pío Leyva, Manuel "Puntillita" Licea, Juan de marcos González. FILM REVIEW; A Cuban Band's Testament To the Powers of the Music By STEPHEN HOLDEN Published: June 4, 1999 The most incandescent moment in Wim Wenders's exhilarating documentary portrait of the Cuban ensemble Buena Vista Social Club is a concert performance of the song ''El Cuarto de Tula'' filmed last July at Carnegie Hall. Sung by the band's septuagenarian lead singer, Ibrahim Ferrer, who is described as a Cuban Nat (King) Cole, the song is a sexy musical fire alarm alerting the world to a blaze in the bedroom of a woman who forgot to blow out a candle before falling asleep. Shouted fervently by Mr. Ferrer, who bears a marked resemblance to Nelson Mandela, the song is more than a scintillating erotic metaphor; it is an impassioned assertion of an unquenchable lust for life. The performance is one of many stirring moments in ''Buena Vista Social Club,'' a documentary that mixes music with impressionistic glimpses of urban life in contemporary Cuba. Filmed in Amsterdam and New York, the concert scenes find the stage awash in such intense joy, camaraderie and nationalist pride that you become convinced that making music is a key to longevity and spiritual well-being. That conviction is underscored in an interview snippet shown moments before the performance in which Mr. Ferrer recalls having given up singing two years before the formation of the Buena Vista Social Club, whose principal musicians come from Cuba's pre-revolutionary musical old guard.
    [Show full text]
  • Seccion 03 L
    LOS ANGLOPERSAS((¿) 1930 Brunsw 41206 Lamento africano EL 1930 Brunsw 41206 El manisero MS LOS ARAGÓN(Me?) 1961 Dimsa 45-4249 Sacuchero de la Habana 1961 Mus 4298 Guantanamera JF ORQ. LOS ARMÓNICOS (ve) Lp Discolando 8096 (con licencia Discomoda, ve) “La tachuela – Orq. Los Armónicos” Incluímos los números cantados por Manolo Monterrey (MM); Osvaldo Rey (OR) y Frank Rivas (FR). ca.196_. La tachuela / paseito E. Herrera MM Contigo en la distancia / b CPL OR Pasillaneando / tn La Riva MM Mosaico: Dónde está Miguel, MM,OR, Arrebatadora. FR Mosaico de merengues MM,OR, FM De corazón a corazón / b FM OR Mosaico de congas: Los MM componedores, Una dos y tres, Carnaval de Oriente, La conga se va. TRÍO LOS ASES(Me) 1952 rca 23-5960 Me Comienzo GU 1952 rca 23-5960 Me Juana Reverbero GU 1953 rca 75-1927 Me Contigo en la distancia/c CPL 1953 rca 75-8951 Me Comienzo GU 1953 rca 75-8951 Me Juana Reverbero GU 1953 rca 23-6154 Me Contigo en la distancia CPL 1 1953 rca 23-6154 Me Mil congojas JPM 1955 rca 23-6964 Me Sufre mas JAM 1954 rca 75-9452 Me Yo sabía que un día/ch Ant.Sánchez 1954 rca 75-9452 Me Yo no camino mas/ch N.Mondejar 1955 rca 23-6566 Me Yo no camino más/ch N.Mondéjas 1955 rca 23-6595 Me Tú mi adoración JAM 1955 rca 75-9497 Me Tú mi adoración JAM 1955 rca 75-9830 Me Sufre mas JAM 1955 rca 23-6668 Me Rico Vacilón RRuiz jr 1955 rca 23.6668 Me Para que tu lo bailes Fellove 1955 rca 75-9552 Me Para que tu lo bailes Fellove 1955 rca 23-6682 Me Nuestra cobardía JAM 1955 rca 75-9571 Me Nuestra cobardía JAM 1955 rca 23-6911 Me Delirio CPL 1955 rca 75-7980 Me Delirio CPL 1955 rca 75-9552 Me Rico vacilón/ch RRjr 1956 rca 76-0050 Me Tu me acostumbraste/c FD 1958 rca 23-7220 Me Tu me acostumbraste/c FD 1957 rca 79-0205 Me Mil congojas JPM 1957 rca 23-7430 Realidad y fantasía/c CPL CONJUNTO LOS ASTROS Ver: Conjunto René Álvarez TRIO LOS ASTROS (Me) 195? Vik 45-0240 Me Inolvidable/b JG TRIO LOS ATÓMICOS (Me) 1949 Pee 3037 Me Amor de media noche OS 1950 Pee 3143 Me Afrodita GU LOS BAMBUCOS (ar) (orq.
    [Show full text]
  • B1 Cuban History
    Cuban History A chronology of key events 1492 - The navigator Christopher Columbus claims Cuba for Spain. Guerrillas on the go Image copyright Getty Images Revolutionaries led by Fidel Castro staged a successful revolt against dictator Fulgencio Batista 1511 - Spanish conquest begins under the leadership of Diego de Velazquez, who establishes Baracoa and other settlements. 1526 - Importing of slaves from Africa begins. 1762 - Havana captured by a British force led by Admiral George Pocock and Lord Albemarle. 1763 - Havana returned to Spain by the Treaty of Paris. Wars of independence 1868-78 - Ten Years War of independence ends in a truce with Spain promising reforms and greater autonomy - promises that were mostly never met. 1886 - Slavery abolished. 1895-98 - Jose Marti leads a second war of independence; US declares war on Spain. 1898 - US defeats Spain, which gives up all claims to Cuba and cedes it to the US. US tutelage 1902 - Cuba becomes independent with Tomas Estrada Palma as its president; however, the Platt Amendment keeps the island under US protection and gives the US the right to intervene in Cuban affairs. 1906-09 - Estrada resigns and the US occupies Cuba following a rebellion led by Jose Miguel Gomez. Fulgencio Batista Image copyright Getty Images US-backed leader who was eventually toppled . 1933: Leads military coup, known as "sergeant's revolt" . 1952: Leads second coup . 1954: Becomes president . 1959: Overthrown by Castro On this Day: Rebels edge closer to capital 1909 - Jose Miguel Gomez becomes president following elections supervised by the US, but is soon tarred by corruption. 1912 - US forces return to Cuba to help put down black protests against discrimination.
    [Show full text]
  • Introduction
    Introduction Bola’s Invitation: Details to Follow Piano keys are gently pressed. You listen along as the player’s hands begin to wander the instrument. The invitational and intimate notes signal the not- quite beginning of a show. It is a music of preparation, not a demonstration of mastery over an instrument. The sound is open, hospitable, and warm. You are not sure what direction it will go, or where you, the listener, will end up. The notes affect your stride; add gusto to your gestures. Your timing is adjusted. For the performer who is playing, the music helps to announce: I am not quite here and neither are you. The sound settles you in, not to dis- cipline you into a model audience, but so you can pour another drink, hang your purse on the back of a chair, nod to someone in the room, get another kiss, make sure the signal is strong. You are given some time to find a place in the event as it begins. What I begin to describe here is a moment from a performance by the Cuban composer and musician named Ignacio Villa, also known as Bola de Nieve. The nickname “Bola de Nieve” (Snowball) was offhandedly given to him by Rita Montaner, the great musical star of stage, radio, and screen as an ironic comment on his black skin and round face.1 His intimate salon style of performing and queer charisma made him one of the most magnetic and beloved Cuban musicians of any century. He was as known for his live, late- night shows during midcentury Cuban nightlife as for his radio appearances Downloaded from https://read.dukeupress.edu/books/chapter-pdf/86664/9780822378877-001.pdf by YALE UNIV user on 01 February 2018 that aired throughout Latin America.
    [Show full text]
  • José Fajardo Is a Cuban Charanga Bandleader and Flautist
    José Fajardo José Fajardo is a Cuban charanga bandleader and flautist. After performing with the band of Antonio María Romeu, he formed his own charanga band in 1957. Jose Fajardo was born in 1919 in Pinar del Rio, Cuba, and played the traditional five-keyed wooden flute in a family band led by his father Alberto Fajardo, a clarinetist, and named Orquesta Hilda after his sister Hilda, its pianist. He worked as a policeman in Havana before joining a leading charanga group of the early 1940’s, Arcaño y Sus Maravillas, when its leader, the flutist Antonio Arcaño, could no longer play flute. A few years later he started his own group, Fajardo y sus Estrellas in 1949. His recordings for the Panart label were hits, and soon, his group grew so popular that Mr. Fajardo led three bands by the same name, sometimes taking a helicopter to play sets in different cities on a single night. He performed in the United States in the mid-1950’s, performing at the Waldorf-Astoria and such prestigious ballrooms as the Palladium, where he shared a double bill with Tito Puente. In 1961, after the Cuban revolution of 1959, he was touring Japan when the Cuban government cabled to request that he continue the tour to communist countries, his wife said. He refused, and instead of returning to Cuba he stayed in the United States along with one of his band members; the rest returned to Cuba. He quickly founded two new bands, one in New York and one in Miami, playing a new, slightly more assertive rhythm called pachanga.
    [Show full text]
  • Sabor Cubano En Grammy Latino 2015
    Image not found or type unknown www.juventudrebelde.cu Image not found or type unknown Silvio Rodríguez, uno de los más importantes cantautores cubanos. Autor: Cubasí Publicado: 21/09/2017 | 06:06 pm Sabor cubano en Grammy Latino 2015 Silvio Rodríguez, Alex Cuba y el Septeto Santiaguero fueron merecedores del galardón. Pablo Milanés recibió el lauro a la Excelencia Musical Publicado: Viernes 20 noviembre 2015 | 02:13:28 am. Publicado por: Yelanys Hernández Fusté Los cubanos Silvio Rodríguez, Alex Cuba y el Septeto Santiaguero fueron merecedores del premio Grammy Latino 2015, mientras que Pablo Milanés recibió el lauro a la Excelencia Musical, según dio a conocer este jueves la Academia Latina de la Grabación, en ceremonia celebrada en la estadounidense ciudad de Las Vegas. A Silvio le fue concedido el reconocimiento en el apartado de Mejor Video Musical (versión corta) por el clip del tema Ojos color Sol, junto a los boricuas de Calle 13. Por su parte, Alex Cuba se agenció el galardón en el segmento de Mejor Álbum Cantautor con Healer (Caracol Récords). Mientras No quiero llanto. Tributo a Los Compadres (Egrem-Los Canarios Music) se consagró como Mejor Álbum Tropical Tradicional. Ese compacto, una producción del Septeto Santiaguero y el dominicano José Alberto «el Canario», ya había sido galardonada en Cubadisco 2015. En contacto con JR a través de la red social Facebook, Fernando Dewar, líder del Septeto Santiaguero, dijo que el Grammy Latino lo dedican «a la ciudad de Santiago de Cuba por cumplir en este 2015 sus primeros 500 años. También queremos enviar un afectuoso saludo al maestro Reinaldo Hierrezuelo, “Rey Caney”, quien aún vive en La Habana y consideramos que es poco reconocido para su grandeza.
    [Show full text]