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Danzón-mambo
The danzón-mambo (also known as ''danzón de nuevo ritmo'') is a subgenre of Cuban dance music that marked the transition from the classical danzόn to the mambo and the cha-cha-chá. It was also in the context of the danzón-mambo that the Cuban dance band format called charanga reached its present form. Origins The danzón-mambo was created by the musicians and arrangers of Antonio Arcaño's charanga, Arcaño y sus Maravillas, which was founded in 1937 (Orovio 1981:324). According to Santos (1982), The main forces behind Arcano's mambo were the Lopez brothers, Orestes ... and Israel (the great " Cachao") ..., who did most of the composing and arranging for the group, and played the 'cello and the string bass, respectively. Characteristics Generally speaking, the ''danzón-mambo'' represents a further and stronger incorporation of elements of the '' son'' into the ''danzón''. The first sections, or ''danzones'', did not depart significantly from the traditional ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arcaño Y Sus Maravillas
Arcaño y sus Maravillas was a Cuban charanga founded in 1937 by flautist Antonio Arcaño. Until its dissolution in 1958, it was one of the most popular and prolific danzón orchestras in Cuba, particularly due to the development of the danzón-mambo by its two main composers and musicians: Orestes López (piano, cello, bass) and his brother Israel López "Cachao" (bass). Such upbeat version of the danzón served as a precursor of the mambo popularized by Pérez Prado, as well as the chachachá created by Enrique JorrÃn, a violinist who started his career in the Maravillas. Other important musicians in the Maravillas were pianist Jesús López (unrelated to Orestes and Israel), timbalero Ulpiano DÃaz, violinist Félix Reina and flautist Eulogio Ortiz. Antonio Arcaño, former member of singer Fernando Collazo's La Maravilla del Siglo, founded his orchestra in November 1937 under the name La Maravilla de Arcaño, featuring many of the members of Collazo's group. Collazo him ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mambo (music)
Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado. It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the ''guajeos'' typical of son cubano (also known as '' montunos''). These ''guajeos'' became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing and jazz. By the late 1940s and early 1950s, mambo had become a "dance craze" in the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito RodrÃguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mambo (music)
Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado. It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the ''guajeos'' typical of son cubano (also known as '' montunos''). These ''guajeos'' became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing and jazz. By the late 1940s and early 1950s, mambo had become a "dance craze" in the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito RodrÃguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Danzón
Danzón is the official musical genre and dance of Cuba.Urfé, Odilio 1965. ''El danzón''. La Habana. It is also an active musical form in Mexico and Puerto Rico. Written in Duple time, time, the danzón is a slow, formal partner dance, requiring Sequence dance, set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a Charanga (Cuba), charanga or Orquesta tÃpica, tÃpica ensemble. The danzón evolved from the Cuban Habanera (music), contradanza, or habanera ('Havana-dance'). The contradanza, which had English and French roots in the country dance and Quadrille, contredanse, was probably introduced to Cuba by the Spanish, who ruled the island for almost four centuries (1511–1898), contributing many thousands of immigrants. It may also have been partially seeded during the short-lived History of Havana#British occupation, British occupation of Havana in 1762, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chanchullo
"Chanchullo" (; literally: "scam", "racket", "hustle") is a danzón-mambo composed by Cuban bassist Israel "Cachao" López. It was first released as a single in 1957 by Arcaño y sus Maravillas. It was the third single released on Cuban independent record label Gema and has been covered by multiple artists including Tito Puente, TÃpica '73 and Rubén González. Puente himself reworked the song as the successful " Oye cómo va", later recorded by Santana, for which Cachao received no credit. Instrumental versions of the song have been recorded variously under the titles "Mambolandia" and "MambologÃa", often credited to PeruchÃn. Composition and recordings The first recording of "Chanchullo" was made in 1949 for RCA Victor by Julio Gutiérrez's orchestra under the title "Mambolandia" and credited to PeruchÃn, who plays piano on the track. An edited version of "Mambolandia" was included in the 1950 Cuban-Argentine film ''Off to Havana I Go'', specifically for a dancing scen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Danzón
Danzón is the official musical genre and dance of Cuba.Urfé, Odilio 1965. ''El danzón''. La Habana. It is also an active musical form in Mexico and Puerto Rico. Written in Duple time, time, the danzón is a slow, formal partner dance, requiring Sequence dance, set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a Charanga (Cuba), charanga or Orquesta tÃpica, tÃpica ensemble. The danzón evolved from the Cuban Habanera (music), contradanza, or habanera ('Havana-dance'). The contradanza, which had English and French roots in the country dance and Quadrille, contredanse, was probably introduced to Cuba by the Spanish, who ruled the island for almost four centuries (1511–1898), contributing many thousands of immigrants. It may also have been partially seeded during the short-lived History of Havana#British occupation, British occupation of Havana in 1762, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orestes López
Orestes López Valdés (August 28, 1908 – January 26, 1991), nicknamed Macho, was a Cuban multi-instrumentalist, composer and bandleader. As a double bassist he was a founding member of the Havana Philharmonic Orchestra, and later a member of the National Symphony Orchestra of Cuba. A long-time member of the charanga Arcaño y sus Maravillas, where he played cello and piano, he is considered the co-creator of the mambo, together with his brother Israel "Cachao" López, and one of the most prolific danzón composers of the 20th century. Biography Early life and career Orestes López was born in Old Havana on August 28, 1908, into a family of musicians. As a pre-teenager he studied piano, cello, violin and the five-key ebony flute. In 1924, at age 15, he became double bassist for the newly-founded Havana Philharmonic Orchestra directed by Pedro Sanjuán. A few years later, he was playing bass for Miguel "El Moro" Vázquez's charanga. According to his brother Cachao, in 1926 he wa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cachao
Israel López Valdés (September 14, 1918 – March 22, 2008), better known as Cachao ( ), was a Cuban double bassist and composer. Cachao is widely known as the co-creator of the mambo and a master of the descarga (improvised jam sessions). Throughout his career he also performed and recorded in a variety of music styles ranging from classical music to salsa. An exile in the United States since the 1960s, he only achieved international fame following a career revival in the 1990s. Born into a family of musicians in Havana, Cachao and his older brother Orestes were the driving force behind one of Cuba's most prolific charangas, Arcaño y sus Maravillas. As members of the Maravillas, Cachao and Orestes pioneered a new form of ballroom music derived from the danzón, the danzón-mambo, which subsequently developed into an international genre, mambo. In the 1950s, Cachao became famous for popularizing improvised jam sessions known as descargas. He emigrated to Spain in 1962, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Arcaño
Antonio Arcaño Betancourt (Atarés, Havana 29 December 1911 – 1994) was a Cuban flautist, bandleader and founder of Arcaño y sus Maravillas, one of Cuba's most successful charangas. He retired from playing in 1945, but continued as director of the group until its dissolution in 1958. Despite his early retirement due to health problems, he is considered one of the most influential flautists in Cuba. After leaving La Maravilla del Siglo, a very popular charanga, Arcaño founded La Maravilla de Arcaño, later known as Arcaño y sus Maravillas. The band featured the López brothers, Israel López "Cachao" and Orestes López, composers and multi-instrumentalists that originated the danzón-mambo, the direct precursor of the mambo, through compositions such as " Rareza de Melitón", "Se va el matancero" and, above all, " Mambo", the piece that lent its name to the genre. Arcaño was posthumously inducted into the International Latin Music Hall of Fame in 2000. See also * José F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Son (music)
Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section (bongo, maracas, etc.) are all rooted in traditions of Bantu origin. Around 1909 the son reached Havana, where the first recordings were made in 1917. This marked the start of its expansion throughout the island, becoming Cuba's most popular and influential genre. While early groups had between three and five members, during the 1920s the ''sexteto'' ( sextet) became the genre's primary format. By the 1930s, many bands had incorporated a trumpet, becoming ''septetos'', and in the 1940s a larger type of ensemble featuring congas and piano became t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Montuno
Montuno has several meanings pertaining to Cuban music and its derivatives. Literally, ''montuno'' means 'comes from the mountain', and so ''son montuno'' may refer to the older type of son played in the mountainous rural areas of Oriente. Another possibility is that the word ''montuno'' comes from the word ''montura'', the Spanish word for "saddle", because the rhythm in son music is like riding a horse. Or it may mean the final section of a song-based composition; in this sense it is simply part of a piece of music. Here it is usually a faster, brasher, semi-improvised instrumental section, sometimes with a repetitive vocal refrain. Finally, the term ''montuno'' is also used for a piano ''guajeo'', the ostinato figure accompanying the montuno section, when it describes a repeated syncopated piano vamp, often with chromatic root movement.Orovio, Helio 2004. ''Cuban music from A to Z''. Tumi, Bath. p141 References See also *Son montuno *Call and response (music) In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conga
The conga, also known as tumbadora, is a tall, narrow, single-headed drum from Cuba. Congas are staved like barrels and classified into three types: quinto (lead drum, highest), tres dos or tres golpes (middle), and tumba or salidor (lowest). Congas were originally used in Afro-Cuban music genres such as conga (hence their name) and rumba, where each drummer would play a single drum. Following numerous innovations in conga drumming and construction during the mid-20th century, as well as its internationalization, it became increasingly common for drummers to play two or three drums. Congas have become a popular instrument in many forms of Latin music such as son (when played by conjuntos), descarga, Afro-Cuban jazz, salsa, songo, merengue and Latin rock. Although the exact origins of the conga drum are unknown, researchers agree that it was developed by Cuban people of African descent during the late 19th century or early 20th century. Its direct ancestors are thou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
