Cachao Cuban Music Jam Session Mp3, Flac, Wma

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Cachao Cuban Music Jam Session mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin Album: Cuban Music Jam Session Country: US Released: 1959 Style: Afro-Cuban, Descarga MP3 version RAR size: 1502 mb FLAC version RAR size: 1917 mb WMA version RAR size: 1294 mb Rating: 4.4 Votes: 863 Other Formats: MP3 XM RA DTS MP2 DXD AAC Tracklist A1 El Fantasma Del Combo A2 Descarga Mexicana A3 Descarga Guajira A4 Descarga En Trompeta B1 La Luz B2 Potpourrit De Congas B3 La Inconclusa B4 Descarga Naniga Notes One of the finest of the early Descarga recordings by Israel Lopez Cachao. All titles are Cachao originals. Barcode and Other Identifiers Matrix / Runout: BON-105-A Matrix / Runout: BON-105-B Other versions Category Artist Title (Format) Label Category Country Year Cuban Music In Jam BON 105 Cachao Session (LP, Album, Bonita BON 105 US 1959 Mono) Cuban Music Jam Essential 94231 32392 Cachao Session (CDr, Album, RE, 94231 32392 US 2009 Media Group RM) Cuban Music Jam BON 105 Cachao Bonita BON 105 US Unknown Session (LP, Album) Cachao Y Cuban Music In Jam MCS-22-105 Musicalia MCS-22-105 US 1988 Su Combo Session (LP, RE, W/Lbl) Cuban Music In Jam Cachao Y MCS-22-105 Session (LP, Album, RP, Musicalia MCS-22-105 US Unknown Su Combo Bla) Related Music albums to Cuban Music Jam Session by Cachao Cachao - The Last Mambo - La Leyenda En Vivo Niño Rivera - Cuban Jam Session Vol. 3 Julio Gutierrez - Cuban Jam Session Volume 2 Fajardo And His All Stars - Cuban Jam Session Cachao Y Su Ritmo Caliente - Cuban Jam Sessions In Miniature "Descargas" Various - New York Descargas Cachao Y Su Ritmo Caliente - "Descargas" Cuban Jam Sessions Charlie Palmieri - Tema De La Duboney - Descarga Rolando Aguilo Y Su Conjunto - Cuban Jam Session (Vol.1) Cachao - Master Sessions Volume I.

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MIC Buzz Magazine Article 10402 Reference Table1 Cuba Watch 040517 Cuban Music Is Caribbean Music Not Latin Music 15.Numbers
Reference Information Table 1 (Updated 5th June 2017) For: Article 10402 | Cuba Watch NB: All content and featured images copyrights 04/05/2017 reserved to MIC Buzz Limited content and image providers and also content and image owners. Title: Cuban Music Is Caribbean Music, Not Latin Music. Item Subject Date and Timeline Name and Topic Nationality Document / information Website references / Origins 1 Danzon Mambo Creator 1938 -- One of his Orestes Lopez Cuban Born n Havana on December 29, 1911 Artist Biography by Max Salazar compositions, was It is known the world over in that it was Orestes Lopez, Arcano's celloist and (Celloist and pianist) broadcast by Arcaño pianist who invented the Danzon Mambo in 1938. Orestes's brother, bassist http://www.allmusic.com/artist/antonio-arcaño- in 1938, was a Israel "Cachao" Lopez, wrote the arrangements which enables Arcano Y Sus mn0001534741/biography Maravillas to enjoy world-wide recognition. Arcano and Cachao are alive. rhythmic danzón Orestes died December 1991 in Havana. And also: entitled ‘Mambo’ In 29 August 1908, Havana, Cuba. As a child López studied several instruments, including piano and cello, and he was brieﬂy with a local symphony orchestra. His Artist Biography by allmusic.com brother, Israel ‘Cachao’ López, also became a musician and inﬂuential composer. From the late 20s onwards, López played with charanga bands such as that led by http://www.allmusic.com/artist/orestes-lopez- Miguel Vásquez and he also led and co-led bands. In 1937 he joined Antonio mn0000485432 Arcaño’s band, Sus Maravillas. Playing piano, cello and bass, López also wrote many arrangements in addition to composing some original music.
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A Short Note on Popular Music in Cien Botellas En Una Pared, by Ena Lucía Portela
UNA BREVE NOTA SOBRE LA MÚSICA POPULAR EN CIEN BOTELLAS EN UNA PARED DE ENA LUCÍA PORTELA A short note on popular music in Cien botellas en una pared, by Ena Lucía Portela RITA DE MAESENEER UNIVERSITEIT ANTWERPEN [email protected] Resumen: En este artículo se estudian la presenCia de la música popular y su Funcionalidad en la novela Cien botellas en una pared (2002) de Ena LuCía Portela. Se analizan los géneros utilizados y las circunstancias en las que los personajes recurren a la música popular. Se plantea que la inserCión de la músiCa popular —en el texto y en las expliCaciones de las notas— contribuye a plasmar la poética porteliana. Su uso es distinto de la manera Como procedieron otros autores para Crear un “Special Period ExotiC”. Palabras clave: cultura cubana, músiCa popular, Período EspeCial, Ena LuCía Portela Abstract: I study the presenCe oF popular music and its FunCtionality in Ena LuCía Portela’s novel Cien botellas en una pared (2002). I explore the genres that are used and the CircumstanCes in whiCh the characters evoke popular music. I argue that the inclusion oF popular musiC —in the text and in the Footnote reFerenCes— contributes to Portela’s poetiCs. It diFFers From the use by other Cuban authors as part of the SpeCial Period ExotiC. Keywords: Cuban Culture, popular musiC, SpeCial Period, Ena Lucía Portela Recibido: 17/10/2014 ISSN: 2014-1130 Aprobado: 31/10/2014 vol.º 10 | invierno 2014 | 7-15 Una breve nota sobre la música popular en Cien botellas Para Mathilde Quitard, in memoriam, que viva Changó Los textos de Ena LuCía Portela se Caracterizan por “la esCritura Como tema; la deConstruCCión/ desmitiFiCación de los valores del sistema; la Fragmentación CaótiCa y la FunCión lúdiCa del relato; el des-Centramiento y predominio de lo marginal, y el tratamiento de temas tabúes” (Timmer, 2004: 29).
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Cachao Y Su Ritmo Caliente Cuban Jam Sessions in Miniature "Descargas" Mp3, Flac, Wma
Cachao Y Su Ritmo Caliente Cuban Jam Sessions In Miniature "Descargas" mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin Album: Cuban Jam Sessions In Miniature "Descargas" Country: US Released: 1961 Style: Son Montuno, Descarga, Latin Jazz, Rumba, Cha- Cha, Salsa MP3 version RAR size: 1852 mb FLAC version RAR size: 1987 mb WMA version RAR size: 1767 mb Rating: 4.8 Votes: 416 Other Formats: MPC DXD XM MP3 VQF VOX MIDI Tracklist Hide Credits Trombon Criollo A1 3:06 Trombone – "Tojo" Jimenez*Written-By – Gerardo Fortillo* Controversia De Metales A2 3:11 Trombone – Tojo*Trumpet – Vivar*Written-By – Israel Lopez* Estudio En Trompeta A3 2:17 Congas [Tumbadora] – Tata GüinesTrumpet – Vivar*Written-By – Israel Lopez* Guajeo De Saxos A4 2:19 Tenor Saxophone – Emilio Peñalver*Written-By – Emilio Penalver Oye Mi Tres Montuno A5 2:39 Tres [Solo] – Niño RiveraWritten-By – A. Echevarria* Malanga Amarilla A6 3:17 Piano – Orestes LopezWritten-By – Silvia Contreras* Cogele El Golpe B1 2:39 Written-By – A. Castillo Jr.* Pamparana B2 2:34 Written-By – Alfredo Leon* Descarga Cubana B3 3:01 Soloist [Double Bass] – CachaoSoloist [Drums] – Barreto* Goza Mi Trompeta B4 2:55 Trumpet – Vivar* A Gozar Timpero B5 2:57 Trumpet – Vivar* Sorpresa De Flauta B6 2:51 Flute – Richard Egues* Companies, etc. Record Company – Panart Recording Corp. Made By – Panart Recording Corp. Credits Bongos – Rogelio "Yeyo" Iglesias* Congas [Tumbadora Drum] – Tata Güines Drums – Guillermo Barreto Guiro – Gustavo Tamayo Leader, Double Bass [String Bass] – Israel Lopez "Cachao"* Liner Notes [English] – Sorrentino Liner Notes [Spanish] – Andres Castillo Jr. Trumpet – "El Negro" Vivar* Written-By – O.
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Charanga-Fest Features Top Ny Orquestas and Artists
FOR IMMEDIATE RELEASE Press Contacts: John MacElwee – [email protected] / 718-518-6539 Ron Kadish -- [email protected] / 812-339-1195 CHARANGA-FEST FEATURES TOP NY ORQUESTAS AND ARTISTS Nov. 5 Concert to feature Orquesta Broadway ▪ Charanga ‘76 ▪ Típica Novel Pupi Legarreta ▪ Karen Joseph ▪ Connie Grossman Bronx, N.Y. (October 12, 2016) – Continuing it success of presenting programs that celebrate the popular genres in Latin music, including Boogaloo and Mambo, the Hostos Center presents a nostalgic look back at the Charanga era, based on lively Cuban dances, with “Charanga-Fest” featuring three of the top Charanga bands in New York, and special guest artists on Saturday, November 5, at 7:30 PM in the Center’s Main Theater. “Charanga-Fest” includes performances by Orquesta Broadway, under the direction of Eddy Zervigon, Charanga ‘76 with Andrea Brachfeld, and Típica Novel, led by Mauricio Smith, Jr., and special guest artists including the legendary Cuban violinist Félix ‘Pupi’ Legaretta, and flutists Karen Joseph and Connie Grossman. Chico Álvarez, host of the Latin Jazz show “New World Gallery” on WBAI, is master of ceremonies. Tickets are $25 and $30 ($10 for students and under 18) and are available through www.hostoscenter.org or by calling (718) 518-4455. The Hostos Center Box Office, 450 Grand Concourse at 149th Street, Bronx, is open Monday through Friday 1 PM to 4 PM and two hours prior to performance. “Charanga-Fest” is co-produced by the Hostos Center with Richie Bonilla Artist Management. A Charanga is a traditional ensemble that plays Cuban dance music. These ensembles made Cuban dance music popular in the 1940s and their music consisted of heavily son-influenced material, performed on European instruments such as violin and flute.
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Proquest Dissertations
ISRAEL LOPEZ "CACHAO": The Godfather of Cuban Bass The History and Development of the Bass in Cuban Popular Music WILLIS MICHAEL JARVIS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO, CANADA MAY 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre r&terence ISBN: 978-0-494-80661-6 Our file Notre r6f4rence ISBN: 978-0-494-80661-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
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Introducing Leonardo Acosta, Music and Literary Critic
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Siento Una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 Jessica Lynne Valiente Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1170 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] Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 by Jessica Valiente A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 © 2015 JESSICA VALIENTE All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Musical Arts Benjamin Lapidus Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Peter Manuel Danilo Lozano Supervisory Committee THE CITY UNIVERSITY OF NEW YOR iii Abstract SIENTO UNA FLAUTA: IMPROVISATIONAL IDIOM, STYLE, AND PERFORMANCE PRACTICE OF CHARANGA FLUTISTS IN NEW YORK FROM 1960 TO 2000 Advisor: Professor Stephen Blum The charanga, the Cuban dance music ensemble consisting of flute, strings, piano, bass, timbales, congas, and güiro, and vocals, underwent five decades of evolution in Cuba, beginning in the early 20th century.
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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.
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Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 ¡Casinando!: Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ¡CASINANDO! IDENTITY, MEANING, AND THE KINESTHETIC LANGUAGE OF CUBAN CASINO DANCING By BRIAN MARTINEZ A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2012 Brian Martinez defended this thesis on March 26, 2012. The members of the supervisory committee were: Frank Gunderson Professor Directing Thesis Michael Bakan Committee Member Charles Brewer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my father, mother, and brother, for all of your unfailing love and support iii TABLE OF CONTENTS LIST OF TABLES....................................................................................................................... vi LIST OF FIGURES.................................................................................................................... vii ABSTRACT.................................................................................................................................. ix 1. INTRODUCTION TO CASINO ..........................................................................................1
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