Ralph Irizarry Raul Agraz
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Miguel Zenón Quartet
Jimmy Katz Jimmy MIGUEL ZENÓN QUARTET Miguel Zenón Alto Sax Luis Perdomo Piano Hans Glawischnig Bass Henry Cole Drums PROGRAM There will be no intermission. Saturday, February 11 @ 7 PM and 9:30 PM Prince Theatre Part of the African Roots, American Voices series. 16/17 SEASON 5 PROGRAM NOTES Miguel Zenón’s new album, Típico, is above all a celebration of his longstanding quartet. His previous releases have augmented the core unit with additional instrumentalists as Zenón looked outward to explore various aspects of his Puerto Rican heritage. This new album feels more intimate. Its focus stays closer to home, with nods to Zenón’s own personal and professional life as it zeroes in on what makes his band unique. Zenón’s quartet has been developing a common language for more than a decade. Pianist Luis Perdomo and bassist Hans Glawischnig have been with Zenón since the turn of the millennium; drummer Henry Cole joined the band in 2005. Their language is thoroughly fluent in modern jazz, with instrumental prowess. The dialect of rhythmic and harmonic complexity they’ve created together through the years is distinctive. ABOUT THE ARTISTS Miguel Zenón (Alto Sax) Multiple Grammy® nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. -
Que Pasa in La
FEBRUARY 2011 ISSUE QUÉ PASA IN L.A.? By Rudy Mangual The 2010 holiday season in Los Angeles was a total blast, with celebrations that featured everything from salsa, bachata and flamenco, to disco and reggaetón. Highlights included Los Van Van’s Conga Room performances (on December 15th and 16th) and a New Year’s Eve Party on December 31st, featuring the salsa diva known as India. Costa Azul, a local group led by brothers Freddy and Johnny Crespo returned to Alma del Barrio (L.A.’s number one salsa/Latin jazz program, transmitted through KXLU-FM 88.9 and currently celebrating its 36th anniversary) for a live presentation on Sunday, January 2nd, 2011. Costazul’s performance was enhanced by the participation of guest musicians such as Johnny Polanco, Artie Webb, Arturo Velazco, Joey de León, Papo Rodríguez, Francisco Torres, Ileanna García, Eddie Resto and Dennis Jirón, among others. The broadcast of this live performance was organized by Alma del Barrio DJs Guido Herrera, Rosalba Lara and Lily Regalado, plus guest DJ Allen Geik. The band, powered by four amazing trombones and a solid rhythm section (reforced by Johnny Polanco on tres, Artie Webb on flute, and Freddy and Johnny Crespo on lead vocals) delivered a high-octane set of classic salsa tunes. Standouts included the selections Isla del Encanto, No Critiques, and Mujer Sandunguera. We thank Costazul and all the musicians that were a part of this live event, as well as all the DJs of Alma del Barrio that made it possible. Bobby Matos and his Afro-Latin Jazz Ensemble (with special guest Poncho Sánchez) performed at the Radisson Hotel’s Jazz Club in Culver City on Friday, January 15th to an appreciative crowd, while El Gran Combo de Puerto Rico took the stage of the Conga Room on January 27th, continuing a solid live musical beginning of 2011 in the City of Angels. -
Periódico Horizontes, Pag
¿Qué opinan nuestros empleados? PUBLICACIÓN INFORMATIVA DE VEGACOOP • www.vegacoop.com • Vega Alta, Puerto Rico • diciembre 2003 ¡Felicidades! Páginas 6-7 125 estudiantes son Vega Alta Even Start: Ganadores becados por vehículo para el desarrollo certamen de VEGACOOP personal oratoria Página 10 Página 14 Página 7 El cristianismo de conversión en América Latina Páginas 18-19 ¡Gracias socios! Exitosa celebración de nuestros cincuenta Detalles en páginas años 8,10,16 y 28 Cómo protegerse del robo de identidad La pintura surrealista de Renoir Vega 10 buenas razones para ahorrar dinero Página 24 CON TENIDO Detrás de la portada... Nuevos servicios y modernas facilidades en Dorado y Vega Alta EN ESTA EDICIÓN Pag. 4 Homenaje a fundadores de VEGACOOP Pag. 5 Dígame, que yo le digo Pag. 6 ¿Qué opinan nuestros empleados? ¡Sueños cumplidos! Pag. 9 10 formas para protegerse contra el robo de identidad Por: Jorge Montijo Con esta edición termina nuestra celebración del 50 aniversario de Pag. 10 VEGACOOP. Durante las pasadas ediciones de Horizontes en el año 2003, 125 estudiantes reciben becas de VEGACOOP publicamos fotos, anécdotas e información histórica dando testimonio del esfuerzo que representó la fundación de lo que es hoy una cooperativa modelo dentro del cooperativismo puertorriqueño: VEGACOOP. De la Pag. 12 información publicada vimos que siempre estuvo presente la solidaridad y Estrategias para ahorrar dinero el compromiso de los socios fundadores. Esos dos factores continúan presentes hoy en VEGACOOP. Ha sido una constante que ayuda a explicar la solidez de nuestras funciones y el respaldo Pag. 15 de la comunidad. Si el cooperativismo ha demostrado su capacidad para Iniciativas religiosas renovables mantenerse ante muchas adversidades, es sin duda gracias a esa constante. -
Rafael Cortijo Audición Mayo
AMIGOS DEL SON CALI Audición Mayo 6 de 2011 “CORTIJO Y SU COMBO Y VIENTOS MOVIDOS PARA EL BAILADOR” RAFAEL CORTIJO Percusionista, Compositor y Director Fecha de nacimiento: 11 de diciembre de 1928 , Parada 21, Santurce, Puerto Rico Falleció el 3 de octubre de 1982 en Santurce, Puerto Rico En el diccionario de la música afroantillana, el nombre de Rafael Cortijo es sinónimo de leyenda. Una de sus figuras cumbres y más veneradas. Líder de una de las organizaciones rítmicas más admiradas durante la segunda mitad del Siglo 20: Cortijo y Su Combo. Maestro del tambor caribeño. Inspirador de dos generaciones de cultores de la rumba y de los puertorriqueñísimos ritmos de bomba y plena. Este personaje irrepetible, de origen muy humilde, era hijo de Juan Cortijo Clemente y Juana Verdejo, quienes también procrearon a Francisco, Cecilia, Rosa y Gilberto. Contaba 11 años cuando el trompetista Paulino Flores lo introdujo al fascinante universo de la música caribeña enseñándole lo elemental en la ejecu ción del bongó. En lo sucesivo, sin maestro, aprendió a ejecutar el timbal, las tumbadoras – o congas – y algunos acordes en la guitarra. A los 14 emprendió su carrera musical uniéndose, como bongosero, al Conjunto Hermanas Soustache (1943-1944). Posteriormente (1944-1947) figuró en el Conjunto Monterrey, de Monchito Muley y Juan Palm «Mentoquín». Durante el período 1947-1953 trabajó de manera alternada con las orquestas de Frank Madera, Armando Castro, Augusto Coén y Miguelito Miranda, así como con la Son ora Boricua de Daniel Santos y los conjuntos acompañantes de Bobby Capó, Myrta Silva, Ruth Fernández y Miguelito Valdés, culminando aquella etapa con el dirigido por el pianista Mario Román en La Riviera Night Club, en el Viejo San Juan. -
Ralph Irizarry
Ralph Irizarry Ralph Irizarry, recognized worldwide as an excellent percussionist, first fell in love with the timbal at an early age when his father coincidentally brought home a set received as payment for a debt. A self- taught musician, Irizarry has developed a highly efficient and personalized style of playing while leaving an enduring mark on the artists with whom he has collaborated. His love for the instrument evolved into a full- fledged passion that has fueled his career since 1970. Irizarry admits, without reservation, that this passion has been all consuming since he was a youngster, and is the same passion that he infuses now into his music. Born in New York’s Spanish Harlem, Ralph Irizarry’s family first moved to Brooklyn and then briefly to Queens, before finally relocating in Puerto Rico in 1970. There, he spent three years immersed in music and gained the knowledge and experience that eventually granted him the opportunity to join Ponce’s La Terrífica, as well as sitting in with such prestigious aggregations as El Gran Combo and Sonora Ponceña. In 1974, Ralph Irizarry returned to New York City to pursue a career as a professional musician. After playing and recording with local groups for almost four years, his big break finally came when Ray Barretto invited him to join his top-ranked orchestra and shortly afterward, they were in studio recording the first of six productions. In April of 1983, Rubén Blades sought out Irizarry to join in the formation of Seís Del Solar. This association lasted for fourteen years and consisted of intense performing and traveling as well as the production of eight recordings. -
Managers Tun, to Indie Promotion
ICD 08120 LO9O6 t13 1-1Dti30 ONO-1 z W13 01Lf tt d ti A 3 l 0 1 !' 0 A1N3389 A1NDW 4'a adW ß2?Z09t099010 slv * ** YY i r 1986/$3.50 (U.S.) VOLUME 98 NO. 21 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT May 24, CDs Are A Growth Business LEVY ON AUDIO HARDWARE ONLY? For In -Store Thieves, T00 Senate Bill May Drop Tape Royalty Plan tion's higher cost, but also to tight provision to place a royalty fee on en -month -old bill, S. 1739, intro- BY GEOFF MAYFIELD supply. "When you've got a demand BY BILL HOLLAND blank tape when it takes the bill to duced by subcommittee chairman NEW YORK The compact disk is product that people can fence for WASHINGTON In a dramatic con- markup Wednesday (21). This could Charles McC. Mathias (R -Md.), may becoming the darling of profession- more than a record or tape -they cession to consumer electronics in- chop the anticipated $200 million an- find the necessary votes to send it al and amateur thieves. can get as much as $6 or $8 apiece dustry opponents of the audio-only nual royalty pool by more than half. to the full Judiciary Committee, At least two major chains and for CDs -the value of the product home taping bill, the Senate Copy- Sources say that with the hotly with only the hardware royalty fea- several regional webs report that (Continued on page 89) right Subcommittee may drop the contested provision deleted, the sev- ture intact. -
Salsa Y Sociedad
MÚSICA Y SOCIEDAD (INT – 151) Estudios Generales Letras Profesor: Jesús A. Cosamalón Aguilar Asistente: José Carlos Rojas Salsa! https://www.youtube.com/watch?v=NWejAsYs1NQ ENFOQUE TEMÁTICO “Mire señora agarre bien su cartera, no conoce este barrio aquí asaltan a cualquiera.” Es uno de los soneos más conocidos de Héctor Lavoe, parte de su interpretación de Calle Luna, Calle Sol. La canción es conocida en muchos países, incluyendo el Perú, a pesar de que la referencia urbana corresponde a la ciudad de San Juan (Puerto Rico). ¿Qué condiciones hacen posible que una producción musical elaborada para un lugar específico sea aceptada fuera de sus fronteras? ¿De qué manera la salsa expresa las características culturales de las poblaciones de América Latina? Estas son algunas de las preguntas que el curso pretende contestar. Para lograr ese objetivo abordaremos los estudios socioculturales que permiten relacionar la producción musical denominada salsa con la sociedad. Estos trabajos señalan la importancia de reconocer los códigos musicales, los intérpretes y el tipo de público que consumía este género musical. Luego pasaremos revista a la historia de la salsa, desde sus raíces en el Caribe hasta su difusión desde Nueva York y el resto de ciudades de América Latina. De este modo intentaremos comprender cómo la salsa expresa diversos contextos históricos comunes a varios países de América Latina: las tensiones de la modernización, las migraciones, la lucha contra la discriminación, la creciente pobreza, la marginalidad, entre otros aspectos. Por medio de esta perspectiva no solo se procura abrir un nuevo camino para entender a las sociedades de América Latina, también se pretende dar relevancia a productos culturales históricamente relegados de los estudios sociales, frecuentemente catalogados de manera inferior por su carácter popular o masivo. -
Senado De Puerto Rico Diario De Sesiones Procedimientos Y Debates De La Decimocuarta Asamblea Legislativa Quinta Sesion Ordinaria Año 2003 Vol
SENADO DE PUERTO RICO DIARIO DE SESIONES PROCEDIMIENTOS Y DEBATES DE LA DECIMOCUARTA ASAMBLEA LEGISLATIVA QUINTA SESION ORDINARIA AÑO 2003 VOL. LII San Juan, Puerto Rico Miércoles, 26 de marzo de 2003 Núm. 23 A las dos y veintiocho minutos de la tarde (2:28 p.m.) de este día, miércoles, 26 de marzo de 2003, el Senado reanuda sus trabajos bajo la Presidencia del señor Angel M. Rodríguez Otero, Presidente Accidental. ASISTENCIA Senadores: Modesto L. Agosto Alicea, Luz Z. Arce Ferrer, Eudaldo Báez Galib, Norma Burgos Andújar, Juan A. Cancel Alegría, José Luis Dalmau Santiago, Antonio J. Fas Alzamora, Velda González de Modestti, Sixto Hernández Serrano, Rafael L. Irizarry Cruz, Pablo Lafontaine Rodríguez, Fernando J. Martín García, Kenneth McClintock Hernández, Yasmín Mejías Lugo, José Alfredo Ortiz-Daliot, Margarita Ostolaza Bey, Migdalia Padilla Alvelo, Orlando Parga Figueroa, Sergio Peña Clos, Roberto L. Prats Palerm, Miriam J. Ramírez, Bruno A. Ramos Olivera, Jorge Alberto Ramos Vélez, Julio R. Rodríguez Gómez, Rafael A. Rodríguez Vargas, Cirilo Tirado Rivera, Roberto Vigoreaux Lorenzana y Angel M. Rodríguez Otero, Presidente Accidental. PRES. ACC. (SR. RODRIGUEZ OTERO): Se reanuda la sesión. INVOCACION El Diácono Carlos Morales y el Reverendo Heriberto Martínez, miembros del Cuerpo de Capellanes del Senado de Puerto Rico, proceden con la Invocación. DIACONO MORALES: Cuaresma es tiempo de conversión y cuaresma es tiempo de volver a Dios y por eso en esta tarde tomamos de la Carta del Apóstol Santiago a los hermanos lo que significa la verdadera sabiduría. Estamos en la Casa de las Leyes. En el Capítulo 3, Versículo 13 y siguientes, dice el Apóstol Santiago en el nombre del Padre, del Hijo y del Espíritu Santo. -
JULY 27 – 31, 2020 Our Office Is Located On, and This Conference Is Rooted In, the Ancestral Territory of the Onkwehon:We, Anishinaabe and Huron-Wendat
JULY 27 – 31, 2020 Our office is located on, and this conference is rooted in, the ancestral territory of the Onkwehon:we, Anishinaabe and Huron-Wendat. The Dish With One Spoon Treaty was established between the Anishinaabe, Mississaugas and Haudenosaunee as an agreement to share and protect the land we call Tkaronto (Toronto) — “The Gathering Place”. We honour the ancestors of this land by acknowledging the shared responsibility of inhabiting this territory and its ongoing legacy as a meeting place for people across Turtle Island and from around the world. We are grateful for the stewardship, past, present, and future, that has enabled, and will enable, us to be here continuing the work that has been done over millennia in this very location. Table of Contents Welcome Message................................................................................................................................................................................................................... 4 About Global Toronto ............................................................................................................................................................................................................. 5 Schedule.................................................................................................................................................................................................................................... 7 Program.................................................................................................................................................................................................................................... -
WAXED OOP (Cuneiform Rune 277)
Bio information: FAST ‘N’ BULBOUS Title: WAXED OOP (Cuneiform Rune 277) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: ROCK / JAZZ / BLUES-ROCK / “THERE AIN’T NO LABEL FOR THIS BOTTLE” – Don Van Vliet "Remarkably, these instrumentals hold onto Beefheart's obsessive strangeness, which is really the best tribute that Lucas, Johnston and the rest of the Fast 'n' Bulbous crew could have given him. This CD is ragged but right, all the way. 4/5 stars" – All Music Guide "[They] recast Captain Beefheart's tunes and make the case for him as a composer the equal of Thelonious Monk." – Nashville Scene "..Fast ‘N’ Bulbous are no next best thing: They are the big brass band [Captain Beefheart] never had. With bellowing horns arranged by saxophonist Phillip Johnston and pinpoint swordplay by ex-Magic Band guitarist Gary Lucas, Fast’N’Bulbous ignite the R&B gunpowder inside the tangled surrealism… The group attacks Van Vliet's songs with the same idiosyncratic precision that he drilled into his own musicians." – Rolling Stone Captain Beefheart's music is the quintessential 'outsider art music' of the second half of the 20th century. The blues-drenched Picasso of rock music, Captain Beefheart (Don Van Vliet) created a series of recordings from the 1960s to early 1980s that shattered assumptions regarding how modern American popular music could, or even should, be composed and interpreted. Before leaving music to pursue a life- long interest in painting, he created 10 albums of astonishingly creative music that shattered conventions in popular music as profoundly as cubism had impacted modern painting a half century before. -
Medeski, Blackman Santana, Reid & Bruce Explore the Music of Tony
DOWNBEAT Steve Turre Preservation Hall Jazz Band @ 50 SPECTRUM R OA D // STEVE STEVE T URRE // P RE S ERVATION HALL JAZZ BAN D // Spectrum Road M ARY HALVOR ARY MEDESKI, BLACKMAN SANTANA, REID & BRUCE S ON EXPLORE THE MUSIC OF TONY WILLIAMS Guitar School Mary Halvorson John McLaughlin TRANSCRIBED JULY 2012 U.K. £3.50 Neil Haverstick MASTER CLASS J ULY Eric Revis 2012 BLINDFOLDED DOWNBEAT.COM JULY 2012 VOLUme 79 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Marvin Santiago
Marvin Santiago Marvin Santiago (December 26, 1947 – October 6, 2004) was a Puerto Rican salsa singer who became famous all across Latin America during the 1970s. He was also a part-time comedian on Puerto Rican television. Early life Santiago was born in the Santurce district of San Juan, Puerto Rico. In his younger years Santiago lived between the Bólivar and Sánchez streets in the Parada 22 area of Santurce. At the age of 13, Santiago and his family moved to the Nemesio Canales public housing project where he was eventually nicknamed “El Grifo de Canales” (“The kinky-haired, fair- skinned-one of Canales”) by close friends and fans. Santiago was diagnosed with type 1 diabetes at a young age. During his youth, Santiago would participate in jam sessions in his neighborhood as well as in school. His first professional job as a singer was in 1966 with Roberto Valdés group “Los Trotamundos“. Recording career Rafael Cortijo Upon a recommendation from conga player Celso Clemente, famed Puerto Rican composer Tite Curet Alonso met Santiago and brought him to an audition for Rafael Cortijo’s group. Santiago was hired to sing with Cortijo’s group and in three weeks time learned the bands repertoire and started touring with them throughout Dominican Republic, New York City and Chicago. On an impulse, Santiago decided to stay in Chicago.[2] During breaks from Cortijo’s group, Santiago played with local bands “Gilberto Y Su Sexteto” & “La Sonora De Felipe Rodríguez“.[1][3] Santiago’s first recorded tracks appeared on Rafael Cortijo Y Su Bonche’s album “Ahí Na Má! Put It There“, released in 1968.[2][4] Two of the tracks recorded where Santiago provided lead vocals, “Vasos En Colores” and “La Campana Del Lechón”, were later recorded by Santiago as a solo artist.