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Cantes De Ida Y Vuelta
Cantes de ida y vuelta () is a Spanish expression literally meaning roundtrip songs. It refers to a group of flamenco musical forms or palos with diverse musical features, which "travelled back" from Latin America (mainly Cuba) as styles that, having originated in the interplay between musical traditions of peninsular Spain and those of Latin America, developed into renewed forms that were reintroduced in Spain. Usually they have a more mellow character than the more traditional flamenco songs. History In the Spanish Golden Age, dramatists like Lope de Vega and Tirso de Molina already included songs and dances of Latin American influence.BLAS VEGA, José: ''Magna Antología del Cante'', Introduction booklet, Hispavox, CD Edition 1992 (First Edition 1982) There is also evidence of their popularity in the 19th century: many examples still remain of printed songbooks and sheets, often mixing Andalusian and Latin American songs, which were sold in the streets, and Baron Charles Davill ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flamenco
Flamenco (), in its strictest sense, is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia. In a wider sense, it is a portmanteau term used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage. The oldest record of flamenco music dates to 1774 in the book ''Las Cartas Marruecas'' by José Cadalso. The development of flamenco over the past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas, popular song books and song sheets, customs, studies of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Milonga (music)
Precursor to tango, milonga is a musical genre that originated in the Río de la Plata areas of Argentina, Uruguay and the Brazilian state of Rio Grande do Sul. "Milonga is an excited habanera." The original habanera divided into four pulses, in a standard two-four where every note was stressed. In becoming milonga, though, all four notes turned strong, as tempo was doubled. The strength of the first beat weakened the fourth giving an almost waltz-like feel to milonga: one-two-three (four), one-two-three (four). Habanera is a slower, more explicit sounding ''one'', two, ''three''-four. At least one modern tango pianist believes the polka influenced the speeding up of the milonga. Over time, dance steps and other musical influences were added, eventually contributing to the creation of tango. Artists Artists known for their milonga compositions and interpretations include Roberto Firpo, Angel D'Agostino, Pedro Maffia, Pedro Laurenz, Ángel Villoldo, Francisco Canaro, Rodolfo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vicente Amigo
Vicente Amigo Girol (born 25 March 1967) is a Spanish flamenco composer and guitarist, born in Guadalcanal near Seville. He has played as an accompanying guitarist on recordings by flamenco singers Camarón de la Isla, and Luis de Córdoba, and he has acted as a producer for Remedios Amaya and José Mercé. His album ''Ciudad de las Ideas'' won the 2001 Latin Grammy for the Best Flamenco Album and the 2002 Ondas award for the best Flamenco work. Biography Amigo was raised in Córdoba, where he took guitar lessons and later improved his playing with Manolo Sanlúcar, with whom he worked for ten years. After a period of accompaniment which began with El Pele, he devoted himself almost exclusively to playing concerts in 1988. ''De Mi Corazón al Aire'' (''From Out of My Heart'', 1991) was his first solo record. An admirer of Paco de Lucía since childhood, Amigo took part with him in the show Leyendas de la guitarra (Legends of the Guitar) in Seville. Amigo has worked with A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tomatito
José Fernández Torres, known as Tomatito (born Fondón, 1958), is a Spanish roma flamenco guitarist and composer. Having started his career accompanying famed flamenco singer Camarón de la Isla (with Paco de Lucía), he has made a number of collaborative albums and six solo albums, two of which have won Latin Grammy Awards. Biography Beginnings, Camarón de la Isla Jose Fernandez Torres grew up in a musical family, which included two guitar playing uncles: Niño Miguel, a flamenco guitarist, and Antonio, a professional guitarist. Tomatito, who had been playing clubs in Andalucía, became a flamenco sensation when he was discovered by guitarist Paco de Lucía. He accompanied legendary flamenco singer Camarón de la Isla for two decades. With Paco and Camarón he recorded four albums, and had a 1979 hit called "La Leyenda del Tiempo". Their album ''Paris 87'' won a Latin Grammy for best flamenco album in 2000. Their partnership continued until Camarón's death in 1992. Lat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paco De Lucía
Francisco Sánchez Gómez (21 December 194725 February 2014), known as Paco de Lucía (;), was a Spanish virtuoso flamenco guitarist, composer, and record producer. A leading proponent of the new flamenco style, he was one of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of ''Guitar: Music, History, Players'', describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of ''Guitar Atlas, Flamenco'', has referred to de Lucía as "one of history's greatest guitarists". De Lucía was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados (flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional flamenco and the evolution of new flamenco and Latin ja ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Los Chunguitos
Los Chunguitos are a Spanish Romani rumba flamenca group from Badajoz, Extremadura, formed in Vallecas, Madrid in 1973. The group's nucleus was the three brothers Juan (1954), Manuel (1962), and José Salazar (1957), whose uncle was the flamenco singer Porrina de Badajoz. Their sisters, Toñi and Encarna, sang backup and would later go on to success on their own as Azúcar Moreno. The name "Los Chunguitos" comes from the pastime of throwing small stones at trains. They began as street buskers, playing in Madrid. In 1977, they auditioned at the offices of record label EMI, and producer Raul Ros convinced the label to sign them. Los Chunguitosat Allmusic.com They became hitmakers both in their own country and across Europe with songs such as "Dame veneno". They also appeared in the soundtracks to films such as '' Deprisa, Deprisa'', '' Perros callejeros'', and ''Días contados''. The group plays rumba flamenca influenced by Romani music and Catalan rumba. Their lyrics often touc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peret
Pedro Pubill Calaf ( ; 24 March 1935 – 27 August 2014), better known as Peret, was a Spanish Romani singer, guitar player and composer of Catalan rumba from Mataró (Barcelona). Known for his 1971 single, "Borriquito" (Ariola Records), Peret represented Spain at the Eurovision Song Contest 1974 with the song " Canta y sé feliz" and performed during the closing ceremony at the 1992 Summer Olympics in Barcelona. In 2001, Peret recorded and released ''Rey De La Rumba'' (''King of the Rumba'') an album of updated versions of his older songs with guest musicians including Jarabe de Palo, El Gran Silencio, David Byrne of the Talking Heads, and more. In 1982 Peret withdrew from the music industry, joining the Iglesia Evangélica de Filadelfia, a large religious community of the Spanish Roma (gypsies) devoting himself in the following years exclusively to preaching and religious activities. After leaving the church in 1991, he resumed his music activity and recorded new albums. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Niña De Los Peines
Pastora Pavón Cruz, known as La Niña de los Peines (10 February 1890 – 26 November 1969), is considered the most important woman flamenco singer of the 20th century. She was a sister of singers Arturo Pavón and Tomás Pavón, also an important flamenco singer, and aunt to Arturo Pavón, the first flamenco pianist. Both brothers, Pastora and Tomás, together with singer Manuel Torre, were the inspiring models for the next generation of singers like Antonio Mairena, Pepe de la Matrona or Fosforito, who led the movement towards the revival of traditional forms in the decades of the 1950s-1970s. Biography Born in the famous quarter of Alameda de Hércules, in Seville, she started singing for the public as at the age of 8, in the Seville Spring Fair. Later, when she was singing at Café de la Marina, a café cantante in Madrid, she acquired the nickname ''La Niña de los Peines'' (''The Girl of the Combs'', a nickname she never liked), as she usually sang a stanza in tangos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Afro-Cuban
Afro-Cubans or Black Cubans are Cubans of West African ancestry. The term ''Afro-Cuban'' can also refer to historical or cultural elements in Cuba thought to emanate from this community and the combining of native African and other cultural elements found in Cuban society such as race, religion, music, language, the arts and class culture. Demographics According to a 2012 national census which surveyed 11.2 million Cubans, 1 million Cubans described themselves as Afro-Cuban or Black, while 3 million considered themselves to be "mulatto" or "mestizo". Thus a significant proportion of those living on the island affirm some African ancestry. Although, there has been much discussion over the actual demographic composition of the island. While the 2012 national census showed that only 11% of Cubans reported themselves to be Afro-Cuban or Black, most international sources and independent studies have shown the proportion of Cubans who are black, or possess significant African genetic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rumba Flamenca
Rumba flamenca, also known as flamenco rumba or simply rumba (), is a ''palo'' (style) of flamenco music developed in Andalusia, Spain. It is known as one of the ''cantes de ida y vuelta'' (roundtrip songs), music which diverged in the new world, then returned to Spain in a new form. The genre originated in the 19th century in Andalusia, southern Spain, where Cuban music first reached the country. History Rumba flamenca was primarily influenced by guaracha, an uptempo style of vocal music which originated in Havana's musical theatre. Some elements from Cuban rumba were also incorporated, although minor, despite the name. Although unlikely, both guaracha and Cuban rumba might have been influenced by flamenco earlier in the 19th century. Guarachas can be traced back to the Spanish jácaras, thus justifying the classification of rumba flamenca as a '' cante de ida y vuelta''. The first rumba flamenca recordings were made by La Niña de los Peines in the 1910s. During the late 20th c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mayte Martín
Mayte Martín (born in Barcelona, Spain, April 19, 1965) is a Flamenco cantaora (singer), bolero singer, and composer. She is widely recognized as one of the most important flamenco voices of her generation. She has also devoted part of her career to other genres such as Spanish American music, especially bolero. Biography Martín started singing as a small child, and, at the age of 10, she won an amateur singing contest organized by a supermarket. After this, she started performing regularly as an amateur at the peñas flamencas in Barcelona and its outskirts, and became a professional at the age of 16. In the meantime, she acquired a solid knowledge of flamenco styles, mainly by listening intensively to recordings of flamenco cantaores like Juan Valderrama, Manolo Caracol, Camarón de la Isla, Lole Montoya and most of all, Pastora Pavón, also known as La Niña de los Peines. She also received some formal musical training, and practiced her skills as a "cantaora de atrás ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
