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Castillo Mangüé
"Castillo mangüé", also known as "Chévere mangüé", is a traditional Cuban ''pregón'' ( street cry) often played as a yambú, son or guaracha. According to Helio Orovio, it is an example of an orally transmitted yambú still performed today. Recordings The song has an unknown author but has been recorded numerous times with different titles by multiple artists. It was registered as a ''son-pregón'' under the title "Chévere mangüé" by Felipe Neri Cabrera in 1932, although the Septeto Habanero did not record it. One of the most famous versions was made by Machito in New York in 1948 ("Chévere"), a guaracha later released as a single by Verne. Senegalese singer Fonseca recorded it at the end of "A guarachar" in the mid-1960s. Arsenio Rodríguez recorded it as part of the yambú medley "Esto es yambú" (credited to his brother Israel "Kike" Travieso Scull) for his 1968 album ''Arsenio dice''. Carlos "Patato" Valdés recorded it as a rumba ("Chévere") for his 1976 album ''Au ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pregón
Pregón, a Spanish word meaning ''announcement'' or ''street-seller's cry'', has a particular meaning in both Music of Cuba, Cuban music and Latin American music in general. It can be translated as ''a song based on a street-seller's cry'' or ''a street-seller's song'' ("canto de los vendedores ambulantes"). Background Oral proclamations made in the street were an important form of mass communication throughout Europe and the Americas until the late 19th-century when other forms of communication emerged to replace the town criers. In Spain and Latin-America, those who read these proclamations were known as ''pregoneros'' and their speech as a ''pregón''. Over time, the official town crier, who read public announcements sanctioned by governments, disappeared, but the street cries associated with itinerant vendors continued into the 20th-century, and can still be heard in commercial marketplaces and fairs. Street vendors and their cries were known in medieval period, medieval Eu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Street Cries
A street is a public thoroughfare in a city, town or village, typically lined with buildings on one or both sides. Streets often include pavements (sidewalks), pedestrian crossings, and sometimes amenities like streetlights or benches. A street can be as simple as a level patch of dirt, but is more often paved with a hard, durable surface such as tarmac, concrete, cobblestone or brick. It can be designed for both social activity and movement. Originally, the word ''street'' simply meant a paved road (). The word ''street'' is still sometimes used informally as a synonym for ''road'', for example in connection with the ancient Watling Street, but city residents and urban planners draw a significant modern distinction: a road's main function is transportation, while streets facilitate public interaction.Dictionary E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yambú
Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based '' coros de clave''. According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba (yambú, guaguancó and columbia), as well as their contemporary derivatives and other minor styles. Traditionally performed by poor workers of African descent in streets and ''solares'' (courtyards), rumba remains one of Cuba's most characteristic forms of music and dance. Vocal improvisation, elaborate dancing and polyrhythmic drumming are the key components of all rumba styles. '' Cajones'' (wooden boxes) were used as drums until the early 20th cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guaracha
The guaracha () is a genre of music that originated in Cuba, of rapid tempo and comic or picaresque lyrics. The word has been used in this sense at least since the late 18th and early 19th century. Guarachas were played and sung in musical theatres and in working-class dance salons. They became an integral part of bufo comic theatre in the mid-19th century. During the later 19th and the early 20th century the guaracha was a favourite musical form in the brothels of Havana. The guaracha survives today in the repertoires of some trova musicians, conjuntos and Cuban-style big bands. Early uses of the word Though the word may be historically of Spanish origin, its use in this context is of indigenous Cuban origin. These are excerpts from reference sources, in date order: A Latin American carol "Convidando esta la noche" dates from at least the mid 17th century and both mentions and is a guaracha. It was composed or collected by Juan Garcia de Zespedes, 1620–1678, Puebla, Mexico ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septeto Habanero
A septet is a formation containing exactly seven members. It is commonly associated with musical groups but can be applied to any situation where seven similar or related objects are considered a single unit, such as a seven-line stanza of poetry. Classical and romantic period One of the most famous classical septets is Beethoven's Septet in E major, Op. 20, composed around 1799–1800, for clarinet, bassoon, horn, violin, viola, cello, and double bass. The popularity of Beethoven's septet made its combination of instruments a standard for subsequent composers, including Conradin Kreutzer (Op. 62, 1822), Franz Berwald, and Adolphe Blanc (Op. 40, ca. 1864), and, with small changes in the instrumentation, Franz Lachner (1824; violin, viola, violoncello, contrabass, flute, clarinet, horn), and Max Bruch (1849; No Opus; Clarinet, Horn, Bassoon, two Violins, Cello and Contrabass). When Franz Schubert added a second violin in 1824 for his Octet, he created a standard octet that i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Machito
Frank Grillo (born Francisco Raúl Gutiérrez Grillo; December 3, 1909 – April 15, 1984) known professionally as Machito (previously as Macho), was a Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music. Ginell, Richard S. ''Biography''. Allmusic, 2011/ref> He was raised in Havana with his sister, singer Graciela. In New York City, Machito formed the Afro-Cubans in 1940, and with Mario Bauzá as musical director, brought together Cuban rhythms and big band arrangements in one group. He made numerous recordings from the 1940s to the 1980s, many with Graciela as singer. Machito changed to a smaller ensemble format in 1975, touring Europe extensively. He brought his son and daughter into the band, and received a Grammy Award in 1983, one year before he died. Machito's music had an effect on the careers of many musicians who played in the Afro-Cubans over the years, and on those who were attracted to Latin jazz after hearing him. Georg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arsenio Rodríguez
Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull; August 31, 1911 – December 30, 1970)Giro, Radamés 2007. ''Diccionario enciclopédico de la música en Cuba''. La Habana, v. 4, p. 45 et seq. was a Cuban musician, composer and bandleader. He played the Tres (musical instrument), tres, as well as the tumbadora, and he specialized in Son cubano, son, Cuban rumba, rumba and other Afro-Cuban music styles. In the 1940s and 1950s Rodríguez established the ''Conjunto#Cuban conjunto, conjunto'' format and contributed to the development of the son montuno, the basic template of modern-day salsa (music), salsa. He claimed to be the true creator of the Mambo (music), mambo and was an important as well as a prolific composer who wrote nearly two hundred songs. Despite being blind since the age of seven, Rodríguez quickly managed to become one of Cuba's foremost ''treseros''. His first hit, "Bruca maniguá" by Orquesta Casino de la Playa, came as a songwriter in 1937. For the f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carlos "Patato" Valdés
Carlos may refer to: Places ;Canada * Carlos, Alberta, a locality ;United States * Carlos, Indiana, an unincorporated community * Carlos, Maryland, a place in Allegany County * Carlos, Minnesota, a small city * Carlos, West Virginia ;Elsewhere * Carlos (crater), Montes Apenninus, LQ12, Moon; a lunar crater near Mons Hadley People * Carlos (given name), including a list of name holders * Carlos (surname), including a list of name holders Sportspeople * Carlos (Timorese footballer) (Carlos Mateus Ximenes, born 1986) * Carlos (footballer, born 1995) (Carlos Alberto Carvalho da Silva Júnior), Brazilian footballer * Carlos (footballer, born 1985) (Carlos Santos de Jesus), Brazilian footballer Others * Carlos (Calusa) (died 1567), king or paramount chief of the Calusa people of Southwest Florida * Carlos (singer) (1943—2008), French entertainer * Carlos the Jackal, a Venezuelan terrorist Arts and entertainment * ''Carlos'' (miniseries), 2010 biopic about the terrorist Carlo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guaguancó
Guaguancó () is a subgenre of Cuban rumba, combining percussion, voices, and dance. There are two main styles: Havana and Matanzas. Percussion * battery of three conga drummers: the ''tumba'' o "''salidor''"(lowest), ''tres dos'' (middle, playing a counter-clave), and ''quinto'' (highest, and lead drum). These parts may also be played on cajones, wooden boxes. * claves usually played by a singer * guagua (aka Catà) (hollowed piece of bamboo) * maraca and/or a chekeré playing the main beats Other instruments may be used on occasion, for example spoons, palitos (wooden sticks striking the side of the drum), and tables and walls played like drums. Clave Rumba clave is the key pattern (guide pattern) used in guaguancó. There is some debate as to how the 4/4 rumba clave should be notated for guaguancó. In actual practice, the third and fourth stroke often fall in rhythmic positions that do not fit neatly into music notation. Triple-pulse strokes can be substituted for dup ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jane Bunnett
Mary Jane Bunnett, (born October 22, 1956) is a Canadian musician and educator. A soprano saxophonist, flautist and bandleader, she is especially known for performing Afro-Cuban jazz. She travels regularly to Cuba to perform with Cuban musicians. Early life and education She changed her instruments, from pursuing her career "as a classical pianist...at age 20 to jazz and to flute and soprano saxophone." Career Bunnett founded and leads an all-female Afro-Cuban/jazz group, Maqueque. Its other members are: Dánae Olano (vocals, piano), Yissy Garcia (drums), Magdelys Savigne (vocals, batá drums, congas); Elizabeth Rodriguez (vocals, violin), and Celia Jiménez (vocals, bass). The group has won one Juno Award (Best Group Jazz Album of the Year in 2014 for its debut CD) and garnered two Grammy Award, Grammy nominations, while Bunnett herself has won four additional Juno Awards. Honors and awards In 2004, Bunnett was appointed an Officer of the Order of Canada, the highest civilian h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orlando "Puntilla" Ríos
Orlando "Puntilla" Ríos (December 26, 1947 – August 12, 2008) was a percussionist/vocalist well known in Cuba and the Americas as a master of the many Cuban musical folkloric forms. Born in Havana, Puntilla came to U.S. in 1981 with the Mariel boatlift The Mariel boatlift () was a mass emigration of Cubans who traveled from Cuba's Mariel Harbor to the United States between April 15 and October 31, 1980. The term "" is used to refer to these refugees in both Spanish and English. While the ex ..., quickly changing the batá scene in New York single-handedly, becoming the new influence for American bataleros. When 'Puntilla' arrived in New York, he brought with him a wealth of knowledge of the profound folkloric music unique to Cuba and became a teacher and mentor to many. Ríos was also the foundation of the religious community in New York, providing and guiding the music at ceremonies and celebrations throughout the tri-state area. He performed with great musicians from the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
