Her dei med låta Ay Un Son frå plata Antidiotico utgitt i 2007.
lørdag 29. desember 2007
Llavecitas de Oro
Om du skriv para bailar casino i søkevinduet på Youtube kan du sjå mange flotte klipp av kubansk dans og musikk.
Her er den yngste ruedagruppa eg har hatt gleda av å sjå nokon gong. Dei danser til ei låt av NG La Banda.
Her er den yngste ruedagruppa eg har hatt gleda av å sjå nokon gong. Dei danser til ei låt av NG La Banda.
fredag 28. desember 2007
Manolito Simonet y su trabuco
Her er ein video med ei av mine favorittgrupper, Manolito Simonet y su trabuco. Låta er Tu Me Dijiste Mentiras frå plata Se Rompieron Los Termometros utgitt i 2002.
Se Rompieron Los Termómetros
"The long awaited new release by Manolito Simonet is a terrific blending of salsa, timba and son that begs to be played in the dance clubs. There are nice surprises throughout, such as when Alberto Mendéz does a fine job riffing his fuzz-toned electric guitar over the tumbao grooves on “Se Rompieron Los Termómetros.”
Although there are four lead vocalists involved in this project, and all of them do a fine job, it’s Sixto Llorente’s seasoned vocals that are a perfect fit for the pumped up salsa tunes. But it’s Carlos Calunga Camero’s delivery on “Linda Melodía” and “Quien Manda En El Cielo” that creates the timba tornado. This guy is outta control, and he’s perfect for the part.
This may be Mr. Simonet’s best release to date. With this project, his direction, arrangements and piano style have taken on a new level of sophistication and fire. Even the more traditional son cuts like “El Paso de Encarnación” throw sparks so big you have to keep moving to avoid being set ablaze.
Highly recommended."
Kjelde: descarga. com
Se Rompieron Los Termómetros
"The long awaited new release by Manolito Simonet is a terrific blending of salsa, timba and son that begs to be played in the dance clubs. There are nice surprises throughout, such as when Alberto Mendéz does a fine job riffing his fuzz-toned electric guitar over the tumbao grooves on “Se Rompieron Los Termómetros.”
Although there are four lead vocalists involved in this project, and all of them do a fine job, it’s Sixto Llorente’s seasoned vocals that are a perfect fit for the pumped up salsa tunes. But it’s Carlos Calunga Camero’s delivery on “Linda Melodía” and “Quien Manda En El Cielo” that creates the timba tornado. This guy is outta control, and he’s perfect for the part.
This may be Mr. Simonet’s best release to date. With this project, his direction, arrangements and piano style have taken on a new level of sophistication and fire. Even the more traditional son cuts like “El Paso de Encarnación” throw sparks so big you have to keep moving to avoid being set ablaze.
Highly recommended."
Kjelde: descarga. com
mandag 24. desember 2007
Calle Real i Noreg
I samband med Latinfestivalen i Trondheim skal Calle Real holde konserter 25. og 26. januar.
For meir informasjon sjå latinfestivalen under festivallenker.
Her er ein video med gruppa og låta Princesa frå plata Con Fuerza.
"Calle Real's debut CD, Con Fuerza, is the culmination of a seven-year journey that has taken the band from Buena Vista Social Club style son group to a Timba band with a sello diferente. The band today consists of ten musicians, but the CD features the participation of several previous members who have moved on to other projects as well as many invitados, for a total of 21 people beyond the regular band members, so you'll just have to read the cover yourself for the complete list. Oh, by the way, the CD has different distributors for Sweden, Europe and the US, so the CD cover will differ depending on where you buy it.
The name Calle Real immediately takes your thoughts to the streets, and the CD has some interesting moments where they have included recordings from the streets of Cuba, such as beginning of the first song, Somos Calle Real, that features a recording of the introduction of Calle Real at their performance at the Beny Moré Festival in Cuba in 2003. Rompiendo Murallas fades into a 35-second Rumba de la Calle with Horacio Rodríguez on lead vocals. Amore Tal Vez Perdido ends with a 30-second recording of a girl improvising on the streets of Havana, and Soy Bueno, Soy Malo (La Rosa) begins and ends with something that sounds like it was recorded from a TV or radio program. These little moments underline the fact that while the band is Swedish, La Habana is their inspiration.
The instrumentation of the group is typical for Timba: drums with timbal, congas, güiro, piano and synth, bass (baby and electric), trombones and trumpet, and the sound of the band is rounded off with tres. There is only one lead singer, Thomas Eby, while trombonist/güirero Karl Frid and tresero Patricio Sobrado sing coro. Thomas has a tenor voice with a light timbre that makes him instantly recognizable, even on the coros.
Their music is hard-driving Timba, including excellent piano tumbaos, and plenty of gear changes that let you get your despelote on, an essential part of Timba for me. The inclusion of the tres adds another dimension to the guajeos, and although this instrumentation leads one to think of Revé, the band doesn't sound like Revé. In fact, they don't quite sound like anyone else. There is a swing or a groove that is very distinctive throughout the entire album; fast songs and slow songs alike. For me it is this heavy groove that characterizes the CD. I saw the band perform recently at a youth center and the young people were dancing, not casino, but they were all able to dance to the songs, and I think this groove is what makes it possible.
Honestly I enjoy the album so much that it is hard to pick favorite songs. The mark of a good CD is when you don't have to skip any songs to get to the ones you like best.
In conclusion, I feel confident recommending this CD to timberos. I have to admit that I am as guilty as the next person of having a skeptical attitude to any Timba group that is not Cuban. As surprising as it may seem, the guys of Calle Real have really understood what Timba is about, and they have mixed the Timba of Cuba with their own influences from Europe to create a very successful debut CD that is both Timba, yet different but always meant for dancing."
Kjelde: Michelle White, timba.com
For meir informasjon sjå latinfestivalen under festivallenker.
Her er ein video med gruppa og låta Princesa frå plata Con Fuerza.
"Calle Real's debut CD, Con Fuerza, is the culmination of a seven-year journey that has taken the band from Buena Vista Social Club style son group to a Timba band with a sello diferente. The band today consists of ten musicians, but the CD features the participation of several previous members who have moved on to other projects as well as many invitados, for a total of 21 people beyond the regular band members, so you'll just have to read the cover yourself for the complete list. Oh, by the way, the CD has different distributors for Sweden, Europe and the US, so the CD cover will differ depending on where you buy it.
The name Calle Real immediately takes your thoughts to the streets, and the CD has some interesting moments where they have included recordings from the streets of Cuba, such as beginning of the first song, Somos Calle Real, that features a recording of the introduction of Calle Real at their performance at the Beny Moré Festival in Cuba in 2003. Rompiendo Murallas fades into a 35-second Rumba de la Calle with Horacio Rodríguez on lead vocals. Amore Tal Vez Perdido ends with a 30-second recording of a girl improvising on the streets of Havana, and Soy Bueno, Soy Malo (La Rosa) begins and ends with something that sounds like it was recorded from a TV or radio program. These little moments underline the fact that while the band is Swedish, La Habana is their inspiration.
The instrumentation of the group is typical for Timba: drums with timbal, congas, güiro, piano and synth, bass (baby and electric), trombones and trumpet, and the sound of the band is rounded off with tres. There is only one lead singer, Thomas Eby, while trombonist/güirero Karl Frid and tresero Patricio Sobrado sing coro. Thomas has a tenor voice with a light timbre that makes him instantly recognizable, even on the coros.
Their music is hard-driving Timba, including excellent piano tumbaos, and plenty of gear changes that let you get your despelote on, an essential part of Timba for me. The inclusion of the tres adds another dimension to the guajeos, and although this instrumentation leads one to think of Revé, the band doesn't sound like Revé. In fact, they don't quite sound like anyone else. There is a swing or a groove that is very distinctive throughout the entire album; fast songs and slow songs alike. For me it is this heavy groove that characterizes the CD. I saw the band perform recently at a youth center and the young people were dancing, not casino, but they were all able to dance to the songs, and I think this groove is what makes it possible.
Honestly I enjoy the album so much that it is hard to pick favorite songs. The mark of a good CD is when you don't have to skip any songs to get to the ones you like best.
In conclusion, I feel confident recommending this CD to timberos. I have to admit that I am as guilty as the next person of having a skeptical attitude to any Timba group that is not Cuban. As surprising as it may seem, the guys of Calle Real have really understood what Timba is about, and they have mixed the Timba of Cuba with their own influences from Europe to create a very successful debut CD that is both Timba, yet different but always meant for dancing."
Kjelde: Michelle White, timba.com
Timba Night 8. januar 2008
Dj Charanga og Dj Fuerza mikser kubansk salsa og timba på Macumba Social Club frå kl 20.
Me kjem til å presentere låter frå dei nyaste albuma til Elio Reve "Fresquecito", Tirso Duarte "Fin Del Juego" og Baily Ramos "Disco Duro."
Me kjem til å presentere låter frå dei nyaste albuma til Elio Reve "Fresquecito", Tirso Duarte "Fin Del Juego" og Baily Ramos "Disco Duro."
mandag 17. desember 2007
Guaguanco show
Her er Enrique Aguero og ei av dei kvinnelege instruktørane i eitt show frå Cubamemucho sin festival i Munchen -07.
lørdag 15. desember 2007
Danny Lozada y su Timba Cubana
Her er Danny Lozada y su Timba Cubana i eitt opptak frå Casa De La Musica i Havanna med låta Virar La Habana Reves.
"Danny Lozada Guzmán is one of timba's best singers, composers, and bandlears.
He was born in Havana, Cuba on April 27th in 1973 and began his musical career in 1991 with a group called Salsa de Esquina. However, he didn't gain public recognition until 1994 when he made a name for himself as a vocalist and composer for the group Conexión Salsera.
In early 1996, after hearing Danny's first big hit, Beso de queso, David Calzado hired him to sing lead and composer with Charanga Habanera. Danny developed an incredible creative chemistry with pianist/arranger Juan Carlos González, with the two of playing defining roles in the landmark album Tremendo delirio. For that album, Lozada wrote Dime si te quedarás, Lo siento por tí, Qué quieres de mí and Usa condón and sang lead on No estamos locos, Charanguéate, and El coleccionista. He also wrote the controversial Mango song which was banned after its first performances.
When Charanga Habanera was suspended in August of 1997 after a nationally televised concert at La Piragua on the Malecón, Lozada and González set out to form their own group, which, at the suggestion of Juan Formell, they called "Danny Lozada y su Timba Cubana". The created an extraordinary album entitled Tanto le pedí, which remains to this day a cult classic among timberos around the world. All the songs were written by Danny and arranged by Juan Carlos.
His performing and bandleading abilities are second to none and seeing him in concert is a must for any red-blooded timbero!"
Kjelde: timba.com
"Danny Lozada Guzmán is one of timba's best singers, composers, and bandlears.
He was born in Havana, Cuba on April 27th in 1973 and began his musical career in 1991 with a group called Salsa de Esquina. However, he didn't gain public recognition until 1994 when he made a name for himself as a vocalist and composer for the group Conexión Salsera.
In early 1996, after hearing Danny's first big hit, Beso de queso, David Calzado hired him to sing lead and composer with Charanga Habanera. Danny developed an incredible creative chemistry with pianist/arranger Juan Carlos González, with the two of playing defining roles in the landmark album Tremendo delirio. For that album, Lozada wrote Dime si te quedarás, Lo siento por tí, Qué quieres de mí and Usa condón and sang lead on No estamos locos, Charanguéate, and El coleccionista. He also wrote the controversial Mango song which was banned after its first performances.
When Charanga Habanera was suspended in August of 1997 after a nationally televised concert at La Piragua on the Malecón, Lozada and González set out to form their own group, which, at the suggestion of Juan Formell, they called "Danny Lozada y su Timba Cubana". The created an extraordinary album entitled Tanto le pedí, which remains to this day a cult classic among timberos around the world. All the songs were written by Danny and arranged by Juan Carlos.
His performing and bandleading abilities are second to none and seeing him in concert is a must for any red-blooded timbero!"
Kjelde: timba.com
torsdag 6. desember 2007
Elio Revé: Fresquecito
Her er dei med låta Se Sigue Comentando frå plate med samme namn.
Elio Revé, Jr: Fresquecito
"Ah, the real deal that makes everything else pale. Here’s one of Cuba’s long standing bands, and one of the better bands in that country, a band that will come to your hometown and scramble the minds of your better musicians. It is, as some have said about some American music, ragged but right. If one is looking for what’s slick or smooth, go elsewhere. This stuff is non-stop intense, slightly maniacal, with endless rhythm arrangements, coro after coro, breakdowns, everything stacked on everything, just a riot of bandleading and crowd riling. Can’t help but loving it, and if there are any complaints about the typically average Cuban recording quality, turn this up, just like it deserves. This history.
Highly Recommended."
Kjelde: Peter Watrous, descarga.com
onsdag 5. desember 2007
Spilleliste frå Timba Night 4. desember
Adalberto Alvarez: Esta Como Villegas
Angel Bonne: Havana City
Azucar Negra: La Prometido Es Deuda
Braily Ramos: Me Moriria Sin Ti
Cesar Pedroso: El Gato No Arana
Charanga Forever: Tumba Tumba
Charanga Habanera: Charanguero Mayor
Chispa & Los Complices: Tu te enamoras sola
Donaldo Flores: Dejame Vivir En Paz& Lucha, Pero No Me Estrujes
Elio Reve Jr: Asi Es El
Fito Reinoso: Tu Voz
Issac Delgado: En Espuma Y Arena
Klimax: La Mujer De Mi Vida
Los Ases De La Timba: Soy Tu Pesadilla
Maikel Blanco: La Masa
Manolin: Pero me falta la Habana
Manolito Y Su Trabuco: Llego La Musica Cubana
Maravilla De Florida: A Recogerse
Paulito FG: Pasta Con Tostones
Pedro Pablo& La Rebambaramba: Sera Posible
Sama Y El Expreso Oriental: Tengo Una Situacion
Sur Caribe: Por Y Para Maria
Tiempo Libre: Se Ponen
Tirso Duarte: Lala
Angel Bonne: Havana City
Azucar Negra: La Prometido Es Deuda
Braily Ramos: Me Moriria Sin Ti
Cesar Pedroso: El Gato No Arana
Charanga Forever: Tumba Tumba
Charanga Habanera: Charanguero Mayor
Chispa & Los Complices: Tu te enamoras sola
Donaldo Flores: Dejame Vivir En Paz& Lucha, Pero No Me Estrujes
Elio Reve Jr: Asi Es El
Fito Reinoso: Tu Voz
Issac Delgado: En Espuma Y Arena
Klimax: La Mujer De Mi Vida
Los Ases De La Timba: Soy Tu Pesadilla
Maikel Blanco: La Masa
Manolin: Pero me falta la Habana
Manolito Y Su Trabuco: Llego La Musica Cubana
Maravilla De Florida: A Recogerse
Paulito FG: Pasta Con Tostones
Pedro Pablo& La Rebambaramba: Sera Posible
Sama Y El Expreso Oriental: Tengo Una Situacion
Sur Caribe: Por Y Para Maria
Tiempo Libre: Se Ponen
Tirso Duarte: Lala
søndag 2. desember 2007
Rapport frå Maikel Blanco Y Su Salsa Mayor i Stockholm 9.11
Her er dei i eitt klipp frå ein konsert i Modena i Italia i sommer med låta Anda Pegate.
"The venue itself deserves a few words. Berns is a large, labyrinthine complex with restaurants, bars, a big gilded room with a stage, a score of smaller rooms suitable for conferences and even it's own 60-room hotel. Built in the 1800s, Berns is located in the upper class part of town. The main hall where the concert was held is absolutely gorgeous. The walls are intricately carved and gilded, there are several huge crystal chandeliers running the length of the room. There are also balconies surrounding the central floor and along the balcony walls are paintings of people who probably were famous at the time the building was made, but I have no clue who they are. Really an incredibly beautiful setting for the concert.
The concert started right around midnight. I was relieved to see that the venue was packed. The best space for dancing casino was at the far back of the room, although a couple of mini-ruedas did form up front during the course of the concert. Most of the audience was crowded up towards the stage. And the Stockholm audience rocked! They sang along, they danced, they interacted with the band. It was really a fun bunch of people and a great ambiance.
As for the playlist, Maykel has changed the opening since the last tour. They start with the intro that you recognize from Live, Desde la Casa de la Música, and just when it sounds like Esto está is starting, they switch to Anda pégate. You have probably heard this song at clubs. It is likely to be the title track of the upcoming studio CD and it is another great dance song. The band has a great new drummer since the last tour. His name is Amaury and Maykel brought him in from Alex d'Lara's group. He is very good, as you might expect from someone who has studied under Roicel Riverón.
The other new member since their last tour is bassist Orley. He has played in traditional groups prior to joining Salsa Mayor. He plays electric bass as well but prefers baby bass.
Maykel really focused on the new material in this concert. The second song was La masa, one of the two estrenos on Live.
El Noro sings lead and it is one of those songs that instantly wins the audience over with its tumbao. Of course it was already familiar to the fans in Stockholm who have been dancing to it at the clubs for a few months. Ah, and just let me add here that El Noro was the only singer who did not mix up Suecia with Suisa when he said "Esta canción es para todas las tembas de Suecia". Congratulations Noro!
They followed up with Quitándome lo malo, and at some point during this song the singers were given t-shirts by la farandula sueca, whoever or whatever that group is. You'd think I'd know, but I don't. Anyway, they wore the t-shirts for the rest of the concert. Also new since the last tour, Maykel has added a little mambo to Quitándome lo malo with accompanying cute little choreography by the singers. Sorry, no video.
Fourth came Ella dice, which has become very popular with the people who have heard the demo. During Ella dice Norberto invited four ladies on stage: two Swedes and two Cubanas. They did the traditional despelote contest and in the end their efforts were rewarded with a poster for all contestants and a CD for the winner, who just happened to be a Cubana.
The second hour of the concert began with Lo bello por dentro, another great song from Recoge y vete. The thing I love about Salsa Mayor concerts is that even though the entire Recoge y vete CD is great as it is, the live versions are so much more hardcore.
The next two songs in the playlist were Cimarrón, with that live coro that I love "eh tú mira como es, asere cántalo" and Recoge y vete, which is just as popular in Sweden as in every other country. But still Paris is in the lead for sheer madness.
The final song of the concert was Control the second estreno from Live, Desde la Casa de la Música. This is yet another example of how Salsa Mayor is one of the most hardcore orchestras in timba at the moment.
Because the concert had started late the guys were not allowed to continue and the DJs took over again, so there was no encore. But in the days that followed Stockhom's salseros were making comments such as "That was the party of the year". The band also really enjoyed the concert and in a later interview (2007-11-16) in Latina, Italy, when Noro said that the -2° Celcius in Stockholm was abuso, Maykel made the following comment: "But in Sweden there was something very special. There was tremendous heat from the audience so we never felt the cold at any moment. Congratulations Sweden." If you understand Spanish click here to see the actual comment. The full Latina report will be coming later.
I have to say that I am eagerly looking forward to the new CD which they begin recording in January. It should contain, Control, Anda pégate, Ella dice, La masa and who knows what else? Maykel says he has 20 songs ready and just has to decide which ones he wants to use."
Kjelde: Michelle White, timba.com
"The venue itself deserves a few words. Berns is a large, labyrinthine complex with restaurants, bars, a big gilded room with a stage, a score of smaller rooms suitable for conferences and even it's own 60-room hotel. Built in the 1800s, Berns is located in the upper class part of town. The main hall where the concert was held is absolutely gorgeous. The walls are intricately carved and gilded, there are several huge crystal chandeliers running the length of the room. There are also balconies surrounding the central floor and along the balcony walls are paintings of people who probably were famous at the time the building was made, but I have no clue who they are. Really an incredibly beautiful setting for the concert.
The concert started right around midnight. I was relieved to see that the venue was packed. The best space for dancing casino was at the far back of the room, although a couple of mini-ruedas did form up front during the course of the concert. Most of the audience was crowded up towards the stage. And the Stockholm audience rocked! They sang along, they danced, they interacted with the band. It was really a fun bunch of people and a great ambiance.
As for the playlist, Maykel has changed the opening since the last tour. They start with the intro that you recognize from Live, Desde la Casa de la Música, and just when it sounds like Esto está is starting, they switch to Anda pégate. You have probably heard this song at clubs. It is likely to be the title track of the upcoming studio CD and it is another great dance song. The band has a great new drummer since the last tour. His name is Amaury and Maykel brought him in from Alex d'Lara's group. He is very good, as you might expect from someone who has studied under Roicel Riverón.
The other new member since their last tour is bassist Orley. He has played in traditional groups prior to joining Salsa Mayor. He plays electric bass as well but prefers baby bass.
Maykel really focused on the new material in this concert. The second song was La masa, one of the two estrenos on Live.
El Noro sings lead and it is one of those songs that instantly wins the audience over with its tumbao. Of course it was already familiar to the fans in Stockholm who have been dancing to it at the clubs for a few months. Ah, and just let me add here that El Noro was the only singer who did not mix up Suecia with Suisa when he said "Esta canción es para todas las tembas de Suecia". Congratulations Noro!
They followed up with Quitándome lo malo, and at some point during this song the singers were given t-shirts by la farandula sueca, whoever or whatever that group is. You'd think I'd know, but I don't. Anyway, they wore the t-shirts for the rest of the concert. Also new since the last tour, Maykel has added a little mambo to Quitándome lo malo with accompanying cute little choreography by the singers. Sorry, no video.
Fourth came Ella dice, which has become very popular with the people who have heard the demo. During Ella dice Norberto invited four ladies on stage: two Swedes and two Cubanas. They did the traditional despelote contest and in the end their efforts were rewarded with a poster for all contestants and a CD for the winner, who just happened to be a Cubana.
The second hour of the concert began with Lo bello por dentro, another great song from Recoge y vete. The thing I love about Salsa Mayor concerts is that even though the entire Recoge y vete CD is great as it is, the live versions are so much more hardcore.
The next two songs in the playlist were Cimarrón, with that live coro that I love "eh tú mira como es, asere cántalo" and Recoge y vete, which is just as popular in Sweden as in every other country. But still Paris is in the lead for sheer madness.
The final song of the concert was Control the second estreno from Live, Desde la Casa de la Música. This is yet another example of how Salsa Mayor is one of the most hardcore orchestras in timba at the moment.
Because the concert had started late the guys were not allowed to continue and the DJs took over again, so there was no encore. But in the days that followed Stockhom's salseros were making comments such as "That was the party of the year". The band also really enjoyed the concert and in a later interview (2007-11-16) in Latina, Italy, when Noro said that the -2° Celcius in Stockholm was abuso, Maykel made the following comment: "But in Sweden there was something very special. There was tremendous heat from the audience so we never felt the cold at any moment. Congratulations Sweden." If you understand Spanish click here to see the actual comment. The full Latina report will be coming later.
I have to say that I am eagerly looking forward to the new CD which they begin recording in January. It should contain, Control, Anda pégate, Ella dice, La masa and who knows what else? Maykel says he has 20 songs ready and just has to decide which ones he wants to use."
Kjelde: Michelle White, timba.com
lørdag 1. desember 2007
2004 UK Tropicana Rueda Competition Winners
Her er vinnarane av 2004 UK Tropicana Rueda Competition. Blant deltakarane er Osbanis Tejedo og Lazaro og Paola Lopez. Dei danser til låta Hey You Loca av Charanga Habanera.
onsdag 28. november 2007
Intervju med Maikel Blanco
Soy-salsero: Hola. ¿Puedes decir tu nombre completo, tu edad y donde naciste?
Maikel Blanco: Yo me llamo Maikel Blanco Cuevas. Nací en Cuba, en ciudad La Habana, específicamente en Centro Habana, el 21 de enero del año 1981.
Soy-salsero: ¿A que edad empezaste a estudiar música?
Maikel Blanco: Estudié muy poco música, porque cuando comencé a estudiar estaba desfasado. No me jugaba el grado en que estaba. La música empecé a estudiarla en tercer grado aproximadamente. Y a cuarto grado, fuí a hacer una prueba de ingreso : tenia nueve años. Quería entrar como percusionista. Entonces, había mucho escalafón : en Cuba se hacen muchos percusionistas, es un instrumento que la gente lo aprende a tocar muy rápido, en los barrios y eso. Tú pasas por cualquier lugar de Cuba y ves un niño tocando rumba. Por lo tanto, se dificulta un poco más entrar en la escuela. Pero como ese era el instrumento que yo quería, fui en cuarto grado para la prueba de ingreso. Pero solamente había una plantilla, y me cogieron en secundo. Todavía estoy buscando quién fue el primero ! Pero no me dió la posibilidad de entrar en ese año. Y luego, cuando volví, ya estaba en séptimo grado. Pero tuve que empezar a estudiar por la noche : allí estudié muy poco, porque vivía muy lejos de la escuela de música, y se me dificultaba. Era por la noche, y yo era muy chiquito, y además tenía un deseo inmenso de tocar en una agrupación. Yo no era muy estudioso, cosa que ahora me pesa un poco. Pero definitivamente percusión, estudié percusión, pero muy poco tiempo : un añito. No terminé ni el nivel elemental. Entonces, por cosas de la vida, cuando quíse empezar a hacer mis arreglos, a arreglar mi orquesta, yo le descifraba a los arreglistas lo que quería con la boca : se parecía, pero nunca llegaba exactamente a lo que yo quería. Un amigo mío me dijo un dia cuál era la voz de do, es decir do-mi-sol, y por ahí yo fui elucidando cuál era un re, cuál era un mi, cual era un fa, y empecé a escribir y a tocar un poquito el piano. ¡Los primeros arreglos sonaron bastante feo! Pero bueno, fue así que empezamos lo que estamos haciendo ahora.
Soy-salsero: ¿Entonces aprendiste en la calle, así, un poco solo ?
Maikel Blanco: No puedo decir exactamente que aprendí en la calle, así, porque Cuba es un país que le da mucha posibilidad a las personas de estudiar, y yo tuve la posibilidad de estudiar. Por cosas de la vida, no estudié como se debía. Entonces sí, una de la gran parte la aprendí en la calle, como amistades, e incluso yo haciendo muchas cosas. Pero de estudiar, no que lo debería haber estudiado.
Soy-salsero: ¿Y el piano entonces no lo estudiastes ?
Maikel Blanco: No, nunca estudié piano. Para estudiar cualquier instrumento, se da el piano complementario. Yo, cómo no : como estudié poco, ¡no llegué ni a dar piano complementario!
Soy-salsero: ¿Que instrumento prefieres tocar?
Maikel Blanco: A mí me gustan todos. Pero tengo una gran frustración con el bajo. Creo que, en cuanto tenga un tiempo libre, voy a ponerme a pasarle las manos al bajo, a ver si en un futuro puedo hacer algo con el. Me gustan todos los instrumentos, al menos todos los instrumentos de percusión, piano… Hgo arreglos, orquestaciones : me gustan todos, no tengo preferencia por ninguno. Lo que no me gustan mucho son los instrumentos de viento : es decir, me gusta escribir para ellos, pero no tocarlos, aparte no creo que nunca condicione para eso. Y bueno el canto, me gustaría también. Yo, en el disco Recoge y vete, hay un número donde participo. Al menos no creo tampoco que tenga la voz para : entonces sí, me comunico mucho con los cantantes, les guío sobre lo que quiero. Ellos ponen su grano de arena, yo pongo el mío, y entre ambos sale el trabajo.
Soy-salsero: ¿En que escuela hiciste la nocturna?
Maikel Blanco: La escuela nocturna la hice en Guillermo Tomás, es decir la escuela de Guanabacoa, que por el día tiene otro nombre. Por la noche, como es para adultos, tiene nombre Guillermo Tomás.
Soy-salsero: ¿Por que agrupaciones has pasado?
Maikel Blanco: Pasé por muy pocas agrupaciones, porque comencé a hacer mi primera agrupación a los 15 años. Trabajé en alguna agrupación, pero ninguna era reconocida es ese momento. Además fueron prácticamente orquestas de experimentación. Y te confieso que fue muy poco tiempo : una fue Gen-Cortés La Banda, que era un derivado de NG. Cuando hubo el boom de NG, de este proceso derivaron muchas orquestas en Cuba que querían seguir ese camino, y esta fue una de ellas, pero nunca llego a ser popular. Lo que si, ahí trabaje con muchos músicos, muy buenos, que aprendí mucho de ellos, mucha experiencia. También trabajé con la Ascensión, una agrupación que por un momento desprendió muy bien, luego subió a un estancamiento, en aquel momento desconocía porqué. Son agrupaciones donde participé, y compartí con músicos experiencia, aprendí. A los 15 años es cuando comienzo a hacer mi agrupación, que antes no se llamaba Salsa Mayor, se llamaba Suprema Ley. Tengo un disco con ese nombre, Ya llegaron los Cubanos, con la compañía Envidia Record. Con la misma compañía que luego seguí trabajando, y es con la misma que se hizo el disco Recoge y vete, con cual comenzó esta popularidad y que se dió a conocer en el mundo entero.
Soy-salsero: ¿En que año fundaste tu agrupación?
Maikel Blanco: A ver : en el año 96. De 96 a 98 también fue algo de experimentación. En el 99 cogimos un receso, no tenía los suficientes recursos ni la suficiente experiencia para llevar aquel proyecto. Ahí comencé a trabajar como productor con Envidia Record, estuve 2 años trabajando. Todavía trabajo, pero en aquel momento le dedicaba mucho más tiempo. Ahí fue donde comencé a conocer el mundo real de la música, el mercado real, y fué la gran oportunidad de trabajar con prácticamente todos los músicos de Cuba. Y obtúve una experiencia increíble sobre producción, sobre lo que quiere el bailador, conjuntamente con lo que es responsable para músicos y todo este tipo de cuestiones.
Soy-salsero: ¿Las canciones y los arreglos son tuyos?
Maikel Blanco: En la gran mayoría. Creo que tengo dos números de otro autor que no pertenecen al CD Recoge y vete. Uno está en Ya llegaron los Cubanos, y en otro disco que había hecho anteriormente. La gran mayoría son míos. Los arreglos, si, todos son míos. Y de las composiciones a 99%. No quiere decir que no quiera trabajar con otro autor, sino que todo este tiempo he estado en un proceso, en busca de algo, y no se ha acercado realmente alguien a proponerme algo de lo que yo estaba experimentando, que tenga que ver. Si, números muy buenos, con muchas perspectivas, pero por otro camino. De hecho creo que me han propuesto ya algunas cosas para el próximo disco, que las veo muy interesantes, y que ya tienen más que ver con el trabajo que estoy haciendo. Si lo que me traen se ajusta y se adapta al trabajo de la orquesta, sin problema trabajo con obra de otros autores.
Soy-salsero: ¿Has ganado premios discográficos ?
Maikel Blanco: Discográficos, no. Hice un disco, con Envidia también, de jazz latín, que fue el disco más vendido en Colombia en el 2002: de Habana Express, y el disco se tituló De Prado a Manrique. Y bueno, ahora aquí en esta primera gira que hacemos con la orquesta, estuvimos en Lecce, en Italia, donde nos entregaron el premio de mejor agrupación de timba cubana del año 2006-2007. Eso nos cojió inesperado. Imagínate, también nos compromete a hacer próximos trabajos superiores a los que estabamos haciendo antes.
Soy-salsero: ¿Cuantos discos tienes en grupo?
Maikel Blanco: Yo tengo 3 discos revisados. Maikel Blanco, con Suprema Ley, o con Salsa Mayor. Como Maikel Blanco y Salsa Mayor, solamente uno : ya estamos en proceso del secundo. Esperemos que sea del mismo grado, y que nos traiga tantas cosas bonitas como traía el anterior.
Soy-salsero: ¿Y los dos primeros discos con Suprema Ley?
Maikel Blanco: El primer disco con Suprema Ley no salió a la venta, no pudo salir. Fue un disco que se grabó en el 98 : tenía prisa a comenzar a trabajar con Envidia Record, no salió a la venta, no se popularizó, no tuvo prácticamente ninguna divulgación. En el disco Ya llegaron los Cubanos, que salimos posteriormente, incluímos un número de aquellos que habían quedado, que es El Veterano. Es decir en el disco Ya llegaron los Cubanos, el último número del disco es una recopilación que se introdújo. Como sea Maikel Blanco y Salsa Mayor, el disco Recoge y vete, con características que ustedes ya han escuchado, ya conocen.
Soy-salsero: ¿Donde tocaste : festivales, países…?
Maikel Blanco: Bueno, comenzamos esta gira en Luxemburgo : salimos el 26 de La Habana, estuvimos 3 dias de descanso, y tocamos el 30. Luego estuvimos en Paris, que fue uno de los conciertos más bonitos que hemos dado. Mira, por aquí está la muchacha que organizó, Orly. Muy bonito todo, muy bien preparado, mucha comunicación del público con artistas, y de artistas con público… Fue uno de los conciertos más bonitos. Montpellier, no, fue un comentario, realmente en mi planificación nunca estuvo. Luego estuvimos en Lecce, que tuvimos el premio. Luego el festival de Roma, y ya está. Un festival muy bonito también, muy buena acogida del público. Luego estuvimos en Roma en otro lugar, un festival que se abrió recientemente, en las afueras de la ciudad. Estuvimos en Torino también, muy lindo el concierto también. No podemos quejarnos, realmente hemos recibido tremendo calor del público.
Soy-salsero: ¿Qué músicos te han influido más, a tí y al estilo de tu orquesta?
Maikel Blanco: Todos los músicos cubanos, de alguna manera me influyen. Benny Moré, es decir de la era del 20, que subió el son, creo que tengo influencia de todo eso un poquito. Principalmente de los tiempos más para acá, del maestro Juan Formell, de la Orquesta Revé… Tengo mucha influencia de la Orquesta Revé, aunque parezca que no. Principalmente un disco que yo oía mucho cuando era un niño : no era compacto, era disco de placa. No recuerdo ahora como se llamaba, habían muchísimos números. En aquella época tenía un tocadiscos, y la verdad, me venía de la escuela, me sentaba y lo escuchaba a diario. Y conjuntamente con eso, los Van Van, de aquella época también, que han sido una orquesta que ha marcado, que la oían todos los músicos cubanos. También tengo mucha influencia de la trova, y en la nueva trova creo que tengo mucha influencia de Pablo Milanés : me gusta mucho. Incluso tengo una versión, con un número de el en el disco en Recoge y vete (“Quitandome lo malo”, ndlr).
Soy-salsero: ¿Cual es tu opinión del camino que ha cogido la música cubana, como la timba, y que piensas del reaggeton?
Maikel Blanco: Tú sabes que la música se combina solo con tiempo, ahí se cumplen los parámetros de la música. Yo creo que es una música que hay que respetar, y que hay que escuchar como todas : tiene personas que le agradan, personas que no le agradan, como la timba hay quien la agrada y quien no. Yo particularmente respeto mucho todo lo que es música, y todo lo que es trabajo. De la música cubana te puedo dar mi opinión : siempre la he considerado muy buena, me gusta mucho, de hecho por eso la defiendo. Sí me preocupa algo en estos últimos tiempos, es que me parece que los nuevos músicos estamos tratando de imitar otras culturas y otras raíces, y estamos tratando un poco defender las nuestras. No sé, que podrá pasar, si será bueno o malo, yo sí seguiré haciendo trabajo, tratando de defender la música cubana.
Soy-salsero: ¿Las raíces afrocubanas han tenido influencia en tu música, como la rumba yoruba por ejemplo?
Maikel Blanco: Imagínate, yo soy percusionista. Yo estoy tocando piano o percudiendo como si estuviera trabajando una paila, un drum o una tumbadora. Si, yo creo que han tenido mucha influencia y siempre la van a tener.
Soy-salsero: ¿Te gusta Europa, Francia ? Estas contento de la acogida en general?
Maikel Blanco: Mira a mi, Europa me deja un poco descompuesto : ¡los climas cambian mucho! Por ejemplo de momento tenemos calor, y nos damos un viaje para Suecia, y cuando llegamos a Suecia hay frío. Entonces el clima descompensa un poco. Te voy a hacer un cuento : en Paris, teníamos que estar a las nueve y media de la noche para el segundo concierto que hacíamos. No estábamos adaptados al tiempo. Es decir, en Cuba oscurece a las seis de la tarde, y amanece a las siete de la mañana. Bueno pues, compuse un poco y me puse en la bañadera a descansar un rato. ¡Y cuando me dí cuenta eran las diez menos cuarto, iba tarde ! ¡Y yo veía el sol como si fueran las seis de la tarde en Cuba! Pero me parece Europa muy bonito, muy organizado, mucho calor del público en todos los lugares donde hemos presentado, muchas cosas que aprender, una cultura muy bien encaminada, saben lo que quieren y lo saben llevar a bien. De mi parte, las felicitaciones para los Europeos.
Soy-salsero: Muchas gracias, espero que lo vas a pasar súper bien aquí, y te deseo lo mejor para tu futuro.
Maikel Blanco: De todos los conciertos que hemos dado, te confieso que estoy un poquitín nervioso, porque es la primera vez con nos vamos a juntar con tanto público francés, aunque ya tuvimos en Paris. Esta plaza es mucho más grande, pero creo que vamos a salir a dar todo lo que se merecen, y a ver que pasa. Confío en que todo salga bien, igual que todos los conciertos anteriores. Gracias a ustedes, ciao.
Discography
Live, Desde La Casa De La Musica, Maikel Blanco y Su Salsa Mayor (2007 – Envidia)
Recoge y vete , Maikel Blanco (2006 – Envidia)
Ya llegaron los Cubanos, Maikel Blanco y Suprema Ley (2003 – Envidia)
Kjelde: Soy-salsero.com: Interview prepared and done by Sandrine Plaa, Ramon and Fabrice Foucaud
Maikel Blanco: Yo me llamo Maikel Blanco Cuevas. Nací en Cuba, en ciudad La Habana, específicamente en Centro Habana, el 21 de enero del año 1981.
Soy-salsero: ¿A que edad empezaste a estudiar música?
Maikel Blanco: Estudié muy poco música, porque cuando comencé a estudiar estaba desfasado. No me jugaba el grado en que estaba. La música empecé a estudiarla en tercer grado aproximadamente. Y a cuarto grado, fuí a hacer una prueba de ingreso : tenia nueve años. Quería entrar como percusionista. Entonces, había mucho escalafón : en Cuba se hacen muchos percusionistas, es un instrumento que la gente lo aprende a tocar muy rápido, en los barrios y eso. Tú pasas por cualquier lugar de Cuba y ves un niño tocando rumba. Por lo tanto, se dificulta un poco más entrar en la escuela. Pero como ese era el instrumento que yo quería, fui en cuarto grado para la prueba de ingreso. Pero solamente había una plantilla, y me cogieron en secundo. Todavía estoy buscando quién fue el primero ! Pero no me dió la posibilidad de entrar en ese año. Y luego, cuando volví, ya estaba en séptimo grado. Pero tuve que empezar a estudiar por la noche : allí estudié muy poco, porque vivía muy lejos de la escuela de música, y se me dificultaba. Era por la noche, y yo era muy chiquito, y además tenía un deseo inmenso de tocar en una agrupación. Yo no era muy estudioso, cosa que ahora me pesa un poco. Pero definitivamente percusión, estudié percusión, pero muy poco tiempo : un añito. No terminé ni el nivel elemental. Entonces, por cosas de la vida, cuando quíse empezar a hacer mis arreglos, a arreglar mi orquesta, yo le descifraba a los arreglistas lo que quería con la boca : se parecía, pero nunca llegaba exactamente a lo que yo quería. Un amigo mío me dijo un dia cuál era la voz de do, es decir do-mi-sol, y por ahí yo fui elucidando cuál era un re, cuál era un mi, cual era un fa, y empecé a escribir y a tocar un poquito el piano. ¡Los primeros arreglos sonaron bastante feo! Pero bueno, fue así que empezamos lo que estamos haciendo ahora.
Soy-salsero: ¿Entonces aprendiste en la calle, así, un poco solo ?
Maikel Blanco: No puedo decir exactamente que aprendí en la calle, así, porque Cuba es un país que le da mucha posibilidad a las personas de estudiar, y yo tuve la posibilidad de estudiar. Por cosas de la vida, no estudié como se debía. Entonces sí, una de la gran parte la aprendí en la calle, como amistades, e incluso yo haciendo muchas cosas. Pero de estudiar, no que lo debería haber estudiado.
Soy-salsero: ¿Y el piano entonces no lo estudiastes ?
Maikel Blanco: No, nunca estudié piano. Para estudiar cualquier instrumento, se da el piano complementario. Yo, cómo no : como estudié poco, ¡no llegué ni a dar piano complementario!
Soy-salsero: ¿Que instrumento prefieres tocar?
Maikel Blanco: A mí me gustan todos. Pero tengo una gran frustración con el bajo. Creo que, en cuanto tenga un tiempo libre, voy a ponerme a pasarle las manos al bajo, a ver si en un futuro puedo hacer algo con el. Me gustan todos los instrumentos, al menos todos los instrumentos de percusión, piano… Hgo arreglos, orquestaciones : me gustan todos, no tengo preferencia por ninguno. Lo que no me gustan mucho son los instrumentos de viento : es decir, me gusta escribir para ellos, pero no tocarlos, aparte no creo que nunca condicione para eso. Y bueno el canto, me gustaría también. Yo, en el disco Recoge y vete, hay un número donde participo. Al menos no creo tampoco que tenga la voz para : entonces sí, me comunico mucho con los cantantes, les guío sobre lo que quiero. Ellos ponen su grano de arena, yo pongo el mío, y entre ambos sale el trabajo.
Soy-salsero: ¿En que escuela hiciste la nocturna?
Maikel Blanco: La escuela nocturna la hice en Guillermo Tomás, es decir la escuela de Guanabacoa, que por el día tiene otro nombre. Por la noche, como es para adultos, tiene nombre Guillermo Tomás.
Soy-salsero: ¿Por que agrupaciones has pasado?
Maikel Blanco: Pasé por muy pocas agrupaciones, porque comencé a hacer mi primera agrupación a los 15 años. Trabajé en alguna agrupación, pero ninguna era reconocida es ese momento. Además fueron prácticamente orquestas de experimentación. Y te confieso que fue muy poco tiempo : una fue Gen-Cortés La Banda, que era un derivado de NG. Cuando hubo el boom de NG, de este proceso derivaron muchas orquestas en Cuba que querían seguir ese camino, y esta fue una de ellas, pero nunca llego a ser popular. Lo que si, ahí trabaje con muchos músicos, muy buenos, que aprendí mucho de ellos, mucha experiencia. También trabajé con la Ascensión, una agrupación que por un momento desprendió muy bien, luego subió a un estancamiento, en aquel momento desconocía porqué. Son agrupaciones donde participé, y compartí con músicos experiencia, aprendí. A los 15 años es cuando comienzo a hacer mi agrupación, que antes no se llamaba Salsa Mayor, se llamaba Suprema Ley. Tengo un disco con ese nombre, Ya llegaron los Cubanos, con la compañía Envidia Record. Con la misma compañía que luego seguí trabajando, y es con la misma que se hizo el disco Recoge y vete, con cual comenzó esta popularidad y que se dió a conocer en el mundo entero.
Soy-salsero: ¿En que año fundaste tu agrupación?
Maikel Blanco: A ver : en el año 96. De 96 a 98 también fue algo de experimentación. En el 99 cogimos un receso, no tenía los suficientes recursos ni la suficiente experiencia para llevar aquel proyecto. Ahí comencé a trabajar como productor con Envidia Record, estuve 2 años trabajando. Todavía trabajo, pero en aquel momento le dedicaba mucho más tiempo. Ahí fue donde comencé a conocer el mundo real de la música, el mercado real, y fué la gran oportunidad de trabajar con prácticamente todos los músicos de Cuba. Y obtúve una experiencia increíble sobre producción, sobre lo que quiere el bailador, conjuntamente con lo que es responsable para músicos y todo este tipo de cuestiones.
Soy-salsero: ¿Las canciones y los arreglos son tuyos?
Maikel Blanco: En la gran mayoría. Creo que tengo dos números de otro autor que no pertenecen al CD Recoge y vete. Uno está en Ya llegaron los Cubanos, y en otro disco que había hecho anteriormente. La gran mayoría son míos. Los arreglos, si, todos son míos. Y de las composiciones a 99%. No quiere decir que no quiera trabajar con otro autor, sino que todo este tiempo he estado en un proceso, en busca de algo, y no se ha acercado realmente alguien a proponerme algo de lo que yo estaba experimentando, que tenga que ver. Si, números muy buenos, con muchas perspectivas, pero por otro camino. De hecho creo que me han propuesto ya algunas cosas para el próximo disco, que las veo muy interesantes, y que ya tienen más que ver con el trabajo que estoy haciendo. Si lo que me traen se ajusta y se adapta al trabajo de la orquesta, sin problema trabajo con obra de otros autores.
Soy-salsero: ¿Has ganado premios discográficos ?
Maikel Blanco: Discográficos, no. Hice un disco, con Envidia también, de jazz latín, que fue el disco más vendido en Colombia en el 2002: de Habana Express, y el disco se tituló De Prado a Manrique. Y bueno, ahora aquí en esta primera gira que hacemos con la orquesta, estuvimos en Lecce, en Italia, donde nos entregaron el premio de mejor agrupación de timba cubana del año 2006-2007. Eso nos cojió inesperado. Imagínate, también nos compromete a hacer próximos trabajos superiores a los que estabamos haciendo antes.
Soy-salsero: ¿Cuantos discos tienes en grupo?
Maikel Blanco: Yo tengo 3 discos revisados. Maikel Blanco, con Suprema Ley, o con Salsa Mayor. Como Maikel Blanco y Salsa Mayor, solamente uno : ya estamos en proceso del secundo. Esperemos que sea del mismo grado, y que nos traiga tantas cosas bonitas como traía el anterior.
Soy-salsero: ¿Y los dos primeros discos con Suprema Ley?
Maikel Blanco: El primer disco con Suprema Ley no salió a la venta, no pudo salir. Fue un disco que se grabó en el 98 : tenía prisa a comenzar a trabajar con Envidia Record, no salió a la venta, no se popularizó, no tuvo prácticamente ninguna divulgación. En el disco Ya llegaron los Cubanos, que salimos posteriormente, incluímos un número de aquellos que habían quedado, que es El Veterano. Es decir en el disco Ya llegaron los Cubanos, el último número del disco es una recopilación que se introdújo. Como sea Maikel Blanco y Salsa Mayor, el disco Recoge y vete, con características que ustedes ya han escuchado, ya conocen.
Soy-salsero: ¿Donde tocaste : festivales, países…?
Maikel Blanco: Bueno, comenzamos esta gira en Luxemburgo : salimos el 26 de La Habana, estuvimos 3 dias de descanso, y tocamos el 30. Luego estuvimos en Paris, que fue uno de los conciertos más bonitos que hemos dado. Mira, por aquí está la muchacha que organizó, Orly. Muy bonito todo, muy bien preparado, mucha comunicación del público con artistas, y de artistas con público… Fue uno de los conciertos más bonitos. Montpellier, no, fue un comentario, realmente en mi planificación nunca estuvo. Luego estuvimos en Lecce, que tuvimos el premio. Luego el festival de Roma, y ya está. Un festival muy bonito también, muy buena acogida del público. Luego estuvimos en Roma en otro lugar, un festival que se abrió recientemente, en las afueras de la ciudad. Estuvimos en Torino también, muy lindo el concierto también. No podemos quejarnos, realmente hemos recibido tremendo calor del público.
Soy-salsero: ¿Qué músicos te han influido más, a tí y al estilo de tu orquesta?
Maikel Blanco: Todos los músicos cubanos, de alguna manera me influyen. Benny Moré, es decir de la era del 20, que subió el son, creo que tengo influencia de todo eso un poquito. Principalmente de los tiempos más para acá, del maestro Juan Formell, de la Orquesta Revé… Tengo mucha influencia de la Orquesta Revé, aunque parezca que no. Principalmente un disco que yo oía mucho cuando era un niño : no era compacto, era disco de placa. No recuerdo ahora como se llamaba, habían muchísimos números. En aquella época tenía un tocadiscos, y la verdad, me venía de la escuela, me sentaba y lo escuchaba a diario. Y conjuntamente con eso, los Van Van, de aquella época también, que han sido una orquesta que ha marcado, que la oían todos los músicos cubanos. También tengo mucha influencia de la trova, y en la nueva trova creo que tengo mucha influencia de Pablo Milanés : me gusta mucho. Incluso tengo una versión, con un número de el en el disco en Recoge y vete (“Quitandome lo malo”, ndlr).
Soy-salsero: ¿Cual es tu opinión del camino que ha cogido la música cubana, como la timba, y que piensas del reaggeton?
Maikel Blanco: Tú sabes que la música se combina solo con tiempo, ahí se cumplen los parámetros de la música. Yo creo que es una música que hay que respetar, y que hay que escuchar como todas : tiene personas que le agradan, personas que no le agradan, como la timba hay quien la agrada y quien no. Yo particularmente respeto mucho todo lo que es música, y todo lo que es trabajo. De la música cubana te puedo dar mi opinión : siempre la he considerado muy buena, me gusta mucho, de hecho por eso la defiendo. Sí me preocupa algo en estos últimos tiempos, es que me parece que los nuevos músicos estamos tratando de imitar otras culturas y otras raíces, y estamos tratando un poco defender las nuestras. No sé, que podrá pasar, si será bueno o malo, yo sí seguiré haciendo trabajo, tratando de defender la música cubana.
Soy-salsero: ¿Las raíces afrocubanas han tenido influencia en tu música, como la rumba yoruba por ejemplo?
Maikel Blanco: Imagínate, yo soy percusionista. Yo estoy tocando piano o percudiendo como si estuviera trabajando una paila, un drum o una tumbadora. Si, yo creo que han tenido mucha influencia y siempre la van a tener.
Soy-salsero: ¿Te gusta Europa, Francia ? Estas contento de la acogida en general?
Maikel Blanco: Mira a mi, Europa me deja un poco descompuesto : ¡los climas cambian mucho! Por ejemplo de momento tenemos calor, y nos damos un viaje para Suecia, y cuando llegamos a Suecia hay frío. Entonces el clima descompensa un poco. Te voy a hacer un cuento : en Paris, teníamos que estar a las nueve y media de la noche para el segundo concierto que hacíamos. No estábamos adaptados al tiempo. Es decir, en Cuba oscurece a las seis de la tarde, y amanece a las siete de la mañana. Bueno pues, compuse un poco y me puse en la bañadera a descansar un rato. ¡Y cuando me dí cuenta eran las diez menos cuarto, iba tarde ! ¡Y yo veía el sol como si fueran las seis de la tarde en Cuba! Pero me parece Europa muy bonito, muy organizado, mucho calor del público en todos los lugares donde hemos presentado, muchas cosas que aprender, una cultura muy bien encaminada, saben lo que quieren y lo saben llevar a bien. De mi parte, las felicitaciones para los Europeos.
Soy-salsero: Muchas gracias, espero que lo vas a pasar súper bien aquí, y te deseo lo mejor para tu futuro.
Maikel Blanco: De todos los conciertos que hemos dado, te confieso que estoy un poquitín nervioso, porque es la primera vez con nos vamos a juntar con tanto público francés, aunque ya tuvimos en Paris. Esta plaza es mucho más grande, pero creo que vamos a salir a dar todo lo que se merecen, y a ver que pasa. Confío en que todo salga bien, igual que todos los conciertos anteriores. Gracias a ustedes, ciao.
Discography
Live, Desde La Casa De La Musica, Maikel Blanco y Su Salsa Mayor (2007 – Envidia)
Recoge y vete , Maikel Blanco (2006 – Envidia)
Ya llegaron los Cubanos, Maikel Blanco y Suprema Ley (2003 – Envidia)
Kjelde: Soy-salsero.com: Interview prepared and done by Sandrine Plaa, Ramon and Fabrice Foucaud
tirsdag 27. november 2007
Klimax i jazzmodus
Her er Klimax under leiing av Giraldo Piloto i eitt klipp frå Montreal DrumFest 07 i Canada.
Klimax Spins Out
Hayde Milanes& Klimax med låta Tu No Eres
"Giraldo Piloto and his band Klimax are among those rare musicians who have the ability to spin opinions on their heads. That is what I concluded after Klimax’s recent two-night engagement at Lula Lounge. The evidence was clear in the hubbub of the Saturday night show I attended, in statements such as: “People are always talking about timba, I never really got why they thought it was such a big deal; now, I get it.” From another person, “I thought I didn’t like timba but I love this!” Or “I thought timba was more 'pop' but these guys are something else!” Words failed.
Giraldo Piloto
Piloto is a brilliant drummer, an extraordinary and original musician and the band bears his stamp — even this band, which was partly the current Klimax line-up and partly Cuban musicians now residing in Canada, many of whom played with Piloto and/or Klimax in the past. Having heard Klimax a few weeks previously in Cuba I was particularly excited about this show and wondering how this line-up would work out. Just like the Klimax I heard in Cuba, they played sink-your-teeth-in-it, cutting-edge Cuban music with incredible intensity; sophisticated in its complexity, exuberant in its mood, propelled by and enhanced with layers of polyrhythmic ecstasy.
The show started with a modern version of “Y Deja” a song written by Piloto’s father, Giraldo Piloto, Sr., and Alberto Vera who were a hugely popular and successful songwriting team in the 1950s and 60s. Then, it was time for a little cha cha cha with the Tito Puente classic “Oye como va”, Klimax-style. Singer Jesus Cantero Llanes sprang into “Te los marcaron” like a fighting bull out of the gate, loosing lyrics into torrents of rhythms and counter-rhythms with a near-suicidal pace and intensity. It was one false move and you’re dead but there were no false moves, no hiccups, no stumbles.
“La mujer piropo” was a great example of the all-inclusive timba genre. Pan-Caribbean, calypso via Jamaica via Miami with a home in Cuba, semi-rap punctuated by screaming with joy horns, it all went by in a flash. Topping it all off, the set ended with one of the most interesting pieces of the night, “Yo no quiero que mi novia sea religiosa”. Piloto himself started this one off, singing-chanting behind the drums in what sounded like an introduction to a Santeria ceremony that quickly exploded into hard-hitting, irresistible Cuban salsa/timba. One of the singers took over Julio’s place on congas, freeing him to dance the part of the orisha Eleggua, dressed as he was in Eleggua’s colours, red and black. From Eleggua, he moved to the dance of Chango. The whiteness of his hat was suddenly more important. Rumba switched us from the sacred to the profane as a girl in white climbed onto the stage to dance out a contest.
Of course, such a set could not be topped but it was, quite amazingly, matched by the second, leaving us awash in polyrhythmic sensation, solos from all and singing which was as rhythmic as it was melodic. Of course, there was a dance contest with three ladies from the audience but this one held a bit of a surprise, for once the winner was no young girl but a middle-aged woman — people’s choice. The songs were all Piloto’s in this set, from various years — ”La mujer de mi vida”, “Te confunde ser esa mujer”, “Nadie se parece a ti”, “Catarro chino” and “Cuando yo lo quiera”.
This was the first time Piloto brought Klimax to Canada, although Piloto himself had been here once before to perform at the Ottawa Jazz Festival. The two Toronto shows at Lula Lounge left everyone astonished and hoping they spin back this way in the not-too-distant future. By all reports, the Montreal portion of this tour was also very successful with performances at the Montreal Drum Festival and with the University of Montreal Big Band plus a workshop at KosaMusic. Piloto also led a workshop at Lula Lounge on the Saturday afternoon. Humble, amiable and phenomenally talented he is also an excellent teacher. To hear him play alone, up close, is an other-worldly experience."
Kjelde: Joyce Corbet, The live music report
søndag 25. november 2007
Timba Night tirsdag 4. desember
Dj Charanga og Dj Fuerza mikser kubansk salsa og timba på
Macumba frå kl 20.
Macumba frå kl 20.
David Hou
David Hou er ein kineser som utdanna seg til danser på på Kuba. Her er han i aksjon med ei jente frå dansegruppa Casino.com. Dei danser til låta Te Pone La Cabeza Mala av Los Van Van.
Casino.com
Her er ruedagruppa til Yanek Revilla Casino.com i aksjon til Qué bien me siento av Azucar Negra.
onsdag 21. november 2007
tirsdag 20. november 2007
Casino pardans
Yann K 'Chocolate og Vanessa "Vaini" Monlouis i aksjon på Apollo Jazz Cafe i Montpellier. Michel Maza synger låta Nube Pasajera frå plata Que Hablen, Los Habladores.
Explosion del Centro
Her er ruedagruppa Explosion del Centro i ei oppvising frå programmet Bailar Casino.
Gruppa som spiller er Pupy Y Los Que Son Son med låta De La Timba A Pogolotti frå albumet Mi Timba Cerra.
Gruppa som spiller er Pupy Y Los Que Son Son med låta De La Timba A Pogolotti frå albumet Mi Timba Cerra.
Pupy Y Los Que Son Son
Dei kjem ut med ny plate no snart. Her er dei med låta La Borrachera frå plata Mi Timba Cerra.
"César "Pupy" Pedroso (aka, "Pupi Pedroso") is one of the key figures not only in Timba, but in the last 30+ years of Cuban pop music. As well as being one Cuba's best and most prolific composers, he played a seminal role in revolutionizing the art of salsa piano playing.
He started with Orquesta Revé and then became a founding member of Los Van Van. In the summer of 2001, he left to form his own group, "Pupy y Los Que Son Son", which has already released two great CD's which have Cuba and Timba fans around the world buzzing.
One of Pupy's favorite collaborators was the late great lyricist Rodolfo Cárdenas, who wrote such LVV classics as "Que le den candela".
Kjelde: timba.com
Mi Timba Cerrá (with bonus video track)
Import CD (Egrem 0700), Released 2005;
"Yet another genius installment in the Pupy story; let him make six records of his band and tunes a year. There’s nothing like the sense of rhythm on his recordings, and his mixture of intelligence and dance floor power. The recording moves directly into a hard modal groove, the coro, violins and percussion all pumping behind the singers, who on the first tune quote “Blen, Blen, Blen.” And what tumbaos: listen to how Issac Delgado’s "La Bala de Billy" starts its journey. Comes with an embedded video of the band. This is the stuff, raw, sophisticated, and modern.
Highly Recommended. "
Kjelde: Peter Watrous, descarga.com.
"César "Pupy" Pedroso (aka, "Pupi Pedroso") is one of the key figures not only in Timba, but in the last 30+ years of Cuban pop music. As well as being one Cuba's best and most prolific composers, he played a seminal role in revolutionizing the art of salsa piano playing.
He started with Orquesta Revé and then became a founding member of Los Van Van. In the summer of 2001, he left to form his own group, "Pupy y Los Que Son Son", which has already released two great CD's which have Cuba and Timba fans around the world buzzing.
One of Pupy's favorite collaborators was the late great lyricist Rodolfo Cárdenas, who wrote such LVV classics as "Que le den candela".
Kjelde: timba.com
Mi Timba Cerrá (with bonus video track)
Import CD (Egrem 0700), Released 2005;
"Yet another genius installment in the Pupy story; let him make six records of his band and tunes a year. There’s nothing like the sense of rhythm on his recordings, and his mixture of intelligence and dance floor power. The recording moves directly into a hard modal groove, the coro, violins and percussion all pumping behind the singers, who on the first tune quote “Blen, Blen, Blen.” And what tumbaos: listen to how Issac Delgado’s "La Bala de Billy" starts its journey. Comes with an embedded video of the band. This is the stuff, raw, sophisticated, and modern.
Highly Recommended. "
Kjelde: Peter Watrous, descarga.com.
mandag 19. november 2007
fredag 16. november 2007
Kubansk son
Juan Carlos Pacheco og Kerry Ribchester danser son i ei oppvisning til låta Attencion av Ignacio Perro.
Geldys Moralez frå Compania Folklorica Cubana J.J& Danseglede& Salsanor vil undervise i kubansk son på afrokubansk helg i Bergen 1-3. februar 2008.
Geldys Moralez frå Compania Folklorica Cubana J.J& Danseglede& Salsanor vil undervise i kubansk son på afrokubansk helg i Bergen 1-3. februar 2008.
onsdag 14. november 2007
Manolito Y Su Trabuco
Her er dei med ei ny låt Control.
"Founded on February 25, 1993, and having already started to develop their style when various key members were part of Maravilla de Florida, Manolito y su Trabuco was one of the first timba bands, but it wasn't until the second wave, in 1995, that they released their first album, Directo al corazón. In 2006, about to release their 7th album, Hablando en serio, they've enjoyed a gradual and steady rise in popularity and are now generally considered to be among the top three or four true timba bands in Havana.
We strongly recommend that you see this band live if humanly possible. Like Issac Delgado, Manolito y su Trabuco is one of those bands that you have to see live to fully appreciate how great they are -- one of the tightest and most powerful ensembles on the planet. They tour Europe regularly and keep threatening to extend their touring to the US. So far they've only played a few times in NY and Miami. Of course, they're a regular fixture of the Havana club scene.
Manolito Simonet was the musical director and pianist for Maravilla de Florida before forming the Trabuco. The group features a unique instrumentation of violin, cello, flute, two trumpets and two trombones, plus synth, piano, congas, bass and an absolute powerhouse of a drummer, Roicel Riverón. The singing is exquisite with the incomparable Sixto "El Indio" Llorente, singer/writer Ricardo Amaray, and newcomer "Mayami". The first five albums also feature the wonderful Rosendo "El Gallo" Díaz, one of the most distinctive and creative timba singers. Alexander Fernández, now in Norway, sang on the first two albums, and Carlos Calunga of Klímax fame sang brilliantly on Se rompieron los termómetros..
For those who love traditional Cuban music and are nervous that Timba is a bit too modern for their tastes, Manolito (as well as Los Que Son Son, Orquesta Revé, and Adalberto Alvarez), provide the clearcut entryway to the glories of Cuban music in the 90's and 00's. They combine the authentic flavor of Son with the raw, African fury of Timba in a way that leaves everyone deeply satisfied.
The 7th CD, Hablando en serio, should be released by mid-2006 and has gotten early rave reviews."
Kjelde: timba.com
"Founded on February 25, 1993, and having already started to develop their style when various key members were part of Maravilla de Florida, Manolito y su Trabuco was one of the first timba bands, but it wasn't until the second wave, in 1995, that they released their first album, Directo al corazón. In 2006, about to release their 7th album, Hablando en serio, they've enjoyed a gradual and steady rise in popularity and are now generally considered to be among the top three or four true timba bands in Havana.
We strongly recommend that you see this band live if humanly possible. Like Issac Delgado, Manolito y su Trabuco is one of those bands that you have to see live to fully appreciate how great they are -- one of the tightest and most powerful ensembles on the planet. They tour Europe regularly and keep threatening to extend their touring to the US. So far they've only played a few times in NY and Miami. Of course, they're a regular fixture of the Havana club scene.
Manolito Simonet was the musical director and pianist for Maravilla de Florida before forming the Trabuco. The group features a unique instrumentation of violin, cello, flute, two trumpets and two trombones, plus synth, piano, congas, bass and an absolute powerhouse of a drummer, Roicel Riverón. The singing is exquisite with the incomparable Sixto "El Indio" Llorente, singer/writer Ricardo Amaray, and newcomer "Mayami". The first five albums also feature the wonderful Rosendo "El Gallo" Díaz, one of the most distinctive and creative timba singers. Alexander Fernández, now in Norway, sang on the first two albums, and Carlos Calunga of Klímax fame sang brilliantly on Se rompieron los termómetros..
For those who love traditional Cuban music and are nervous that Timba is a bit too modern for their tastes, Manolito (as well as Los Que Son Son, Orquesta Revé, and Adalberto Alvarez), provide the clearcut entryway to the glories of Cuban music in the 90's and 00's. They combine the authentic flavor of Son with the raw, African fury of Timba in a way that leaves everyone deeply satisfied.
The 7th CD, Hablando en serio, should be released by mid-2006 and has gotten early rave reviews."
Kjelde: timba.com
Azucar Negra 10 års jubileum
"Azúcar Negra was formed in 1997 when Leonel Limonta, Haila Momprié (no longer with the band), and other musicians split off from Bamboleo. Limonta had written almost all of the material for Bamboleo's brilliant second album, "Yo No Me Parezco a Nadie" and Haila was one of the lead singers. Azúcar Negra created a great new arrangement of the title song and Limonta continued to pour his songwriting talent into the project. In 2001, after a number of world tours, they finally released their first studio album, Andar andando. Their second CD, Sin mirar atrás, was released in early 2004. Their third CD Toque Natural was released in 2006.
All of Azúcar Negra's material is written by Limonta, who also wrote four huge hits for Charanga Habanera and two for Issac Delgado. Juan Carlos González said of Limonta -- "He's not a trained musician, but every song he brought in had some kind of special magic and became a huge hit". Various bandmembers have contributed arrangements, such as Adalberto Domínguez, who is also once of Timba's top bassists, a great pianist, and an absolute wonder to watch on stage.
In the years prior to the release of Andar andando, Azúcar Negra, like many Cuban bands, had a string of radio hits. The bands record relatively inexpensive demos and release them to Radio Taíno and other stations. In some cases, such as Paulito's "La Última Bala", the demo winds up being better than the recorded version because of personnel changes. In other cases, great songs are released as demos and then never officially released. Two of Timba's greatest tracks fall into this category: Paulito's "Laura" and Azúcar Negra's "Almas disfrazadas". Fortunately Azúcar Negra released four of its demos to mp3.com, including "Almas Disfrazadas". These can be heard at Azúcar Negra's mp3.com website. The other two songs are on "Andar andando".
Azúcar Negra is an extremely well-rehearsed band whose live show is full of interesting medleys and segues. They're definitely a thrill to see live. They only have the two albums, but they're so packed with great music that we count them among the upper echelon of Timba bands, especially considering the past accomplishments of Limonta.
For more photos and contact information visit: Azúcar Negra's Personal Website: http://azucarnegra.cjb.net"
Kjelde: timba.com
Her er dei med låta La Palabra frå den siste plata Toque Natural
Toque Natural
Import CD (Egrem 784), Released 2006;
"Out comes the new Azucar Negra, led by the great Cuban composer and bandleader, Leonel Limonta, featuring a killing new woman singer Aylin Dalleras. The band hasn’t released an album in a couple of years, and here’s the real deal, hard timba dance music formed by all night dance shows, with the recording a studio version, shortened a bit, of what happens live. Just check out the first tune, "Toque Natural," which spends nearly 5 minutes — and ends 10 minutes to early — working through a maze of structural changes, rhythms that move around, riffs, breakdowns, coros, with Dalleras’s voice blowing like a trumpet over it all. Then the next tune, "El Picaron," with another great singer Lester Ciarreta, stepping through the thick coros, ventures into rap towards the end, with a wicked rhythm section churning up a storm. And if anybody wondered about Limonta’s songwriting skill, check out the third track, "La Palabra," featuring Dalleras, which opens with a long discussion about a word that’s only identified, finally, in the coro, dragging a listener/dancer into the music. The fantastic piano breaks, help, too, and her almost desperate improvisations — listen to her sing “Mi vida…” — for some beauty. Anyway, here it is, modern Cuban music, in all its precise glory.
Highly Recommended."
Kjelde: Peter Watrous descarga.com
All of Azúcar Negra's material is written by Limonta, who also wrote four huge hits for Charanga Habanera and two for Issac Delgado. Juan Carlos González said of Limonta -- "He's not a trained musician, but every song he brought in had some kind of special magic and became a huge hit". Various bandmembers have contributed arrangements, such as Adalberto Domínguez, who is also once of Timba's top bassists, a great pianist, and an absolute wonder to watch on stage.
In the years prior to the release of Andar andando, Azúcar Negra, like many Cuban bands, had a string of radio hits. The bands record relatively inexpensive demos and release them to Radio Taíno and other stations. In some cases, such as Paulito's "La Última Bala", the demo winds up being better than the recorded version because of personnel changes. In other cases, great songs are released as demos and then never officially released. Two of Timba's greatest tracks fall into this category: Paulito's "Laura" and Azúcar Negra's "Almas disfrazadas". Fortunately Azúcar Negra released four of its demos to mp3.com, including "Almas Disfrazadas". These can be heard at Azúcar Negra's mp3.com website. The other two songs are on "Andar andando".
Azúcar Negra is an extremely well-rehearsed band whose live show is full of interesting medleys and segues. They're definitely a thrill to see live. They only have the two albums, but they're so packed with great music that we count them among the upper echelon of Timba bands, especially considering the past accomplishments of Limonta.
For more photos and contact information visit: Azúcar Negra's Personal Website: http://azucarnegra.cjb.net"
Kjelde: timba.com
Her er dei med låta La Palabra frå den siste plata Toque Natural
Toque Natural
Import CD (Egrem 784), Released 2006;
"Out comes the new Azucar Negra, led by the great Cuban composer and bandleader, Leonel Limonta, featuring a killing new woman singer Aylin Dalleras. The band hasn’t released an album in a couple of years, and here’s the real deal, hard timba dance music formed by all night dance shows, with the recording a studio version, shortened a bit, of what happens live. Just check out the first tune, "Toque Natural," which spends nearly 5 minutes — and ends 10 minutes to early — working through a maze of structural changes, rhythms that move around, riffs, breakdowns, coros, with Dalleras’s voice blowing like a trumpet over it all. Then the next tune, "El Picaron," with another great singer Lester Ciarreta, stepping through the thick coros, ventures into rap towards the end, with a wicked rhythm section churning up a storm. And if anybody wondered about Limonta’s songwriting skill, check out the third track, "La Palabra," featuring Dalleras, which opens with a long discussion about a word that’s only identified, finally, in the coro, dragging a listener/dancer into the music. The fantastic piano breaks, help, too, and her almost desperate improvisations — listen to her sing “Mi vida…” — for some beauty. Anyway, here it is, modern Cuban music, in all its precise glory.
Highly Recommended."
Kjelde: Peter Watrous descarga.com
KLIMAX 15 års jubileum
"The most sophisticated and strikingly original of the major Timba bands, by a considerable margin, is Giraldo Piloto's Klimax. Descended from a long line of famous Cuban musicians and composers, Piloto has been omnipresent throughout the first decade of Timba history as a drummer, a songwriter and an arranger. He was a founding member of the first Timba band, NG La Banda. When La Charanga Habanera exploded onto the scene, their first big hit, "Me Sube la Fiebre", was written by Piloto and they followed it up with several other Piloto songs, including "Mi Estrella". When Issac Delgado left NG to form his own group, Piloto became his musical director and wrote a number of songs for him, including possibly his most important hit, "No Me Mires a los Ojos", which Issac still plays at nearly every concert. In January of 1995, after 8 years at the epicenter of the Timba revolution, Piloto decided to form his own group and in April of that year, Klimax played its first concert at the famous La Cecilia club on Avenida Quinta.
Klimax has released 3 CD's on Spain's Eurotropical label and has toured extensively throughout Europe and South America."
Kjelde: timba.com
Her er dei med låta Get Busy frå dvden De La Mejor Música Cubana
De La Mejor Música Cubana - Klimax... The Best Cuban Music DVD
DVD (Mundo Libre 15162), Released 2006;
"Those of you who have enjoyed the killer DVD Knockout — the collaborative effort by Bamboleo and Manolito — are gonna simply love this explosive Cuban music event hosted by drummer Giraldo Piloto and his red hot band Klimax. If the sheer polyrhythmic musicianship of this one-of-a-kind timba-son-salsa performance isn’t a splash of ice cold water on your face, well the dozen or so perpetually gyrating ladies on stage — will, at the very least, test your equilibrium. I wasn’t aware that the human butt could speak such immense volumes.
That would be enough for most of us, but “De La Mejor Música Cubana” goes further, featuring such a roster of high caliber special guests that it would be hard to image a more jam-packed show. Here are some of the performing luminaries: Vania Borges (the former queen of Bamboleo) who completely transforms the place, Cesar “Pupy” Pedroso, Roberton (from Los Van Van), Leoni (of Charanga Habanera fame), Cubanitos 20-02, Amaury Pérez, the legendary Chucho Valdés, Mayra Caridad Valdés and many others.
This superlative performance took place at the Avellaneda del Teatro Nacional in Havana. It is peppered with occasional commentary by Mr. Piloto and other luminaries like Juan Formel and Pupy Pedroso.
It’s one hour and thirty six minutes that goes by *very* fast.
Very Highly Recommended."
Kjelde: BP descarga.com,
Klimax has released 3 CD's on Spain's Eurotropical label and has toured extensively throughout Europe and South America."
Kjelde: timba.com
Her er dei med låta Get Busy frå dvden De La Mejor Música Cubana
De La Mejor Música Cubana - Klimax... The Best Cuban Music DVD
DVD (Mundo Libre 15162), Released 2006;
"Those of you who have enjoyed the killer DVD Knockout — the collaborative effort by Bamboleo and Manolito — are gonna simply love this explosive Cuban music event hosted by drummer Giraldo Piloto and his red hot band Klimax. If the sheer polyrhythmic musicianship of this one-of-a-kind timba-son-salsa performance isn’t a splash of ice cold water on your face, well the dozen or so perpetually gyrating ladies on stage — will, at the very least, test your equilibrium. I wasn’t aware that the human butt could speak such immense volumes.
That would be enough for most of us, but “De La Mejor Música Cubana” goes further, featuring such a roster of high caliber special guests that it would be hard to image a more jam-packed show. Here are some of the performing luminaries: Vania Borges (the former queen of Bamboleo) who completely transforms the place, Cesar “Pupy” Pedroso, Roberton (from Los Van Van), Leoni (of Charanga Habanera fame), Cubanitos 20-02, Amaury Pérez, the legendary Chucho Valdés, Mayra Caridad Valdés and many others.
This superlative performance took place at the Avellaneda del Teatro Nacional in Havana. It is peppered with occasional commentary by Mr. Piloto and other luminaries like Juan Formel and Pupy Pedroso.
It’s one hour and thirty six minutes that goes by *very* fast.
Very Highly Recommended."
Kjelde: BP descarga.com,
søndag 11. november 2007
Konsertdatoer for Maikel Blanco y Su Salsa Mayor
November 13
Turin, Italy
November 14
Pavia, Italy
November, 15
Rome, Italy
Mambooo Kings
November 16
Latina, Italy
November, 17
Cupra Marittima (Ascoli Piceno), Italy
BB Disco Dinner
Tel. +39 0735 - 777872
November 18
Corsico (Milan), Italy
La Jiribilla
Tel. +39 3480003862 - +39 0236529211
November 19
Modena, Italy
Habana Café
+39 3408615922
+39 3480483692 -
+39 338 8513318
November 20
Montpellier, France
12 rue Anatole France
Antirouille
November, 21
Rome, Italy
Caruso Café
November 22
Pontedera (Pisa), Italy
Discoteca Negrita (ex Jenz)
November, 23
Rende (Cosenza), Italy
Discoteca Blue Moon
Tel. +39 0984.402399
November 24
Naples, Italy
Turin, Italy
November 14
Pavia, Italy
November, 15
Rome, Italy
Mambooo Kings
November 16
Latina, Italy
November, 17
Cupra Marittima (Ascoli Piceno), Italy
BB Disco Dinner
Tel. +39 0735 - 777872
November 18
Corsico (Milan), Italy
La Jiribilla
Tel. +39 3480003862 - +39 0236529211
November 19
Modena, Italy
Habana Café
+39 3408615922
+39 3480483692 -
+39 338 8513318
November 20
Montpellier, France
12 rue Anatole France
Antirouille
November, 21
Rome, Italy
Caruso Café
November 22
Pontedera (Pisa), Italy
Discoteca Negrita (ex Jenz)
November, 23
Rende (Cosenza), Italy
Discoteca Blue Moon
Tel. +39 0984.402399
November 24
Naples, Italy
Elio Reve Y Su Charangon på europaturne i januar 2008
Bandet legg ut på ein kort turne i Europa i januar 2008:
January 13
Rome, Italy
Mambooo Kings
January 26
Strasbourg, France
January 27
Paris, France
Denne gruppa har me har spillt mykje av på Timba Night. Dei kjem ut med ny cd Fresquecito.com snart, og i det høve syner me videoen til låta Fresquecito frå Homenaje 50 Anos.
Se Sigue Comentando- 2005:
"Here’s something that’ll make you say “ummm…..” Reve Jr.’s version of the band mixes the traditional sound of tres and trombones and charanga with the intensity and cadences in the coro of timba. There are timba breakdowns, and deep grooves; all the influences the new band carries around with it come together.
Highly Recommended."
Kjelde: Peter Watrous, Descarga.
Elio Revé Jr. (Elito)
"Elio Revé Jr. took over as director of the orchestra upon the death of his father. He is a graduate of the music schools but also owes much of his musical education to his father. He began at the age of 20 as pianist for the charangón and also worked as arranger for many of the band's hit songs.
Under the direction of Elio Revé Jr., the band has grown increasingly popular in the new millenium, and Elio Revé Jr. has led the band on succesful tours of Europe, the United States and Mexico and has appeared at the prestigious Santa Lucia Jazz Festival.
Elio Revé Jr. is also a founder of the Changüí Festival which is held annually in December in Guantánamo. He has recorded three CDs and one DVD, which I highly recommend, with the charangón and is soon to release another CD with 5 live songs and 5 new songs and an accompanying DVD.
Elio Revé Jr. has maintained the tradition handed down to him from his father and continues to renew the repertoire of the charagón with songs that reach the people and the dancers. The charangón will celebrate 50 years in 2006."
Kjelde: Wikipedia
January 13
Rome, Italy
Mambooo Kings
January 26
Strasbourg, France
January 27
Paris, France
Denne gruppa har me har spillt mykje av på Timba Night. Dei kjem ut med ny cd Fresquecito.com snart, og i det høve syner me videoen til låta Fresquecito frå Homenaje 50 Anos.
Se Sigue Comentando- 2005:
"Here’s something that’ll make you say “ummm…..” Reve Jr.’s version of the band mixes the traditional sound of tres and trombones and charanga with the intensity and cadences in the coro of timba. There are timba breakdowns, and deep grooves; all the influences the new band carries around with it come together.
Highly Recommended."
Kjelde: Peter Watrous, Descarga.
Elio Revé Jr. (Elito)
"Elio Revé Jr. took over as director of the orchestra upon the death of his father. He is a graduate of the music schools but also owes much of his musical education to his father. He began at the age of 20 as pianist for the charangón and also worked as arranger for many of the band's hit songs.
Under the direction of Elio Revé Jr., the band has grown increasingly popular in the new millenium, and Elio Revé Jr. has led the band on succesful tours of Europe, the United States and Mexico and has appeared at the prestigious Santa Lucia Jazz Festival.
Elio Revé Jr. is also a founder of the Changüí Festival which is held annually in December in Guantánamo. He has recorded three CDs and one DVD, which I highly recommend, with the charangón and is soon to release another CD with 5 live songs and 5 new songs and an accompanying DVD.
Elio Revé Jr. has maintained the tradition handed down to him from his father and continues to renew the repertoire of the charagón with songs that reach the people and the dancers. The charangón will celebrate 50 years in 2006."
Kjelde: Wikipedia
fredag 9. november 2007
Charanga Habanera Suspension Concert
I 1997 hadde Charanga Habanera gitt ut Hey You Loca,&Me Sube La Fiebre&Pa Que Se Entere La Habana& Tremendo Delirio, og fått svært god mottaking av desse platene blant kritikarar.
August 1997 holdt dei ein forrykande konsert som skulle skrive seg inn i i kubansk musikkhistorie. Kubanske myndigheiter gav gruppa seks månader karantene etter denne konserten. Grunngjevinga var upassande innhald, noko som gjorde gruppa endå meir berømt.
Her er dei i eitt opptak frå denne konserten med mellom anna Pedro Pablo på bass, Tirso Duarte på piano og Michel Maza og Danny Lozada på vokal. Låta er Charangueate frå plata Tremendo Delirio.
August 1997 holdt dei ein forrykande konsert som skulle skrive seg inn i i kubansk musikkhistorie. Kubanske myndigheiter gav gruppa seks månader karantene etter denne konserten. Grunngjevinga var upassande innhald, noko som gjorde gruppa endå meir berømt.
Her er dei i eitt opptak frå denne konserten med mellom anna Pedro Pablo på bass, Tirso Duarte på piano og Michel Maza og Danny Lozada på vokal. Låta er Charangueate frå plata Tremendo Delirio.
torsdag 8. november 2007
New World Latin Festival i København 9- 11. november
Fredag d. 9 nov. ( Brasil )
KL 20:30 Samba undervisning ved Aquarella
KL 21:00 Senzala
KL 22:00 Vanja Santos
Afterparty til kl. 04 ved DJ Master Fatman
Entre 120 kr. ex gebyr
Lørdag d. 10 nov. ( Cuba )
KL 20:30 Salsa undervisning og show ved Cubakultur.dk
KL 21:00 Las Mulatas
KL 21:30 Jorge Cordero y Su Team Latino
KL 23:30 Maikel Blanco y Su Salsa Mayor
Afterparty til kl. 04 ved DJ Tumbao
Entre 170 kr. ex gebyr
Søndag d. 11 nov. ( Cuba/ Brasil ) Børn og voksen dag
KL 15 Salsa undervisning ved Cubakultur.dk
KL 15:30 Okantomi Afro cubansk musik og dans
KL 16: 30 Samba undervisning for børn ved Abanda
KL 17 Abanda ( musik og danse show)
KL 18 DJ Klandestino
Entre voksne 60 kr. børn 40 kr. ex gebyr
Et festival pas koster 300 kr. og gælder til alle 3 dage.
Alle andre aktiviteter under festival: workshops, foredrag og udstilling vil ligger på hjemmesiden www.latinfestival.dk
Billetter kan købes i døren og på www.billetnet.dk
KL 20:30 Samba undervisning ved Aquarella
KL 21:00 Senzala
KL 22:00 Vanja Santos
Afterparty til kl. 04 ved DJ Master Fatman
Entre 120 kr. ex gebyr
Lørdag d. 10 nov. ( Cuba )
KL 20:30 Salsa undervisning og show ved Cubakultur.dk
KL 21:00 Las Mulatas
KL 21:30 Jorge Cordero y Su Team Latino
KL 23:30 Maikel Blanco y Su Salsa Mayor
Afterparty til kl. 04 ved DJ Tumbao
Entre 170 kr. ex gebyr
Søndag d. 11 nov. ( Cuba/ Brasil ) Børn og voksen dag
KL 15 Salsa undervisning ved Cubakultur.dk
KL 15:30 Okantomi Afro cubansk musik og dans
KL 16: 30 Samba undervisning for børn ved Abanda
KL 17 Abanda ( musik og danse show)
KL 18 DJ Klandestino
Entre voksne 60 kr. børn 40 kr. ex gebyr
Et festival pas koster 300 kr. og gælder til alle 3 dage.
Alle andre aktiviteter under festival: workshops, foredrag og udstilling vil ligger på hjemmesiden www.latinfestival.dk
Billetter kan købes i døren og på www.billetnet.dk
tirsdag 6. november 2007
Maikel Blanco Y Su Salsa Mayor i Stockholm fredag 9. november
Fiesta Total Del Barrio 2 Dansgolv
I Stora Dansgolv -
Live Band : Maikel Blanco y su Salsa Mayor från Cuba.
Dj Alex & Dj Maquina från Club El Benny Salsa, Son& Kubansk Timba
II Dansgolv
Dj Dario Reggateon, Latin mix
Fredag 9 november
Leg: 20 år
Öppet: 21.00 - 03.00
Entré: 195kr.
Förköp: 180kr.
Billetter: www.ticknet.se
Berns, Berzelli Park 9, Norrmalm.
Her er Maikel Blanco Y Su Salsa Mayor med låta Esto Esta frå albumet Regoge Y Vete.
Recoge Y Vete - Maikel Blanco Y Su Salsamayor
"The young timbalero from Cuba’s put together a extremely fine project that should please all of us into the Pupy/Van Van sound, with a bunch of timba thrown in. And there’s some new rhythm going on — check out the title track. Like any recording with the great bassist Arnaldo Jimenez laying down the bottom, the music here cruises on some astonishing syncopation; his electric bass is a marvel of rhythmic float. Like Pupy, Blanco’s pushing the limits of tempo, and on "Que Tengo," the band races through nearly five minutes of dancer-friendly rhythmic change and breaks. It’s all deep street, the sound of the Cuban creative explosion at its best, dance music at its hardest.
Highly Recommended."
Kjelde: Peter Watrous descarga.com
I Stora Dansgolv -
Live Band : Maikel Blanco y su Salsa Mayor från Cuba.
Dj Alex & Dj Maquina från Club El Benny Salsa, Son& Kubansk Timba
II Dansgolv
Dj Dario Reggateon, Latin mix
Fredag 9 november
Leg: 20 år
Öppet: 21.00 - 03.00
Entré: 195kr.
Förköp: 180kr.
Billetter: www.ticknet.se
Berns, Berzelli Park 9, Norrmalm.
Her er Maikel Blanco Y Su Salsa Mayor med låta Esto Esta frå albumet Regoge Y Vete.
Recoge Y Vete - Maikel Blanco Y Su Salsamayor
"The young timbalero from Cuba’s put together a extremely fine project that should please all of us into the Pupy/Van Van sound, with a bunch of timba thrown in. And there’s some new rhythm going on — check out the title track. Like any recording with the great bassist Arnaldo Jimenez laying down the bottom, the music here cruises on some astonishing syncopation; his electric bass is a marvel of rhythmic float. Like Pupy, Blanco’s pushing the limits of tempo, and on "Que Tengo," the band races through nearly five minutes of dancer-friendly rhythmic change and breaks. It’s all deep street, the sound of the Cuban creative explosion at its best, dance music at its hardest.
Highly Recommended."
Kjelde: Peter Watrous descarga.com
INTERACTIVO AND TELMARY DIAZ
NOVEMBER 8TH 2007, FLORIDITA LONDON
INTERACTIVO AND TELMARY DIAZ / DJ SETS BY STRAIGHT NO CHASER MAGAZINE’S VINCE VELLA AND DIRECT FROM HAVANA, DJ YOSKEL AND MANY MORE SURPRISES...
BOOKING DETAILS
FLORIDITA
100 Wardour St
London W1F 0TN
www.floridita.co.uk
Book online via Ticketweb
NOVEMBER 8th 2007
Doors open 7pm, first band 8.30pm
£18 advance / £20 on the door
Includes complimentary
Havana Club Cocktail
ABOUT THE EVENT
Interactivo, a collective of some of Cuba’s hottest contemporary musicians, including Roberto Carasses, William Vivanco and Francis del Rio play live with Havana’s rap queen ... Telmary Diaz, one of Charlie Gillet’s five to watch for 2008, and one of the most keenly anticipated showcases at this years Womex. Interactivo and Telmary are both building global reputations as the new sound of Cuba. Mixing it all from jazz and pop to hip hop, with the traditional beats of the island.
The world famous Floridita bar will serve a delicious complimentary mojito with each ticket purchase. After the sell out success of last year’s show book your tickets early!
“Cuban music doesn’t come much more cutting edge than this or more exciting”
Jan Fairley, Songlines
“Interactivo are a super charged latin jazz big band full of life affirming exhuberence”
M Hudson, Daily Telegraph
"International hip-hop tends to rely on hackneyed American mannerisms, propped up by a borrowed anger that rarely rings true.
But Havana's rap queen Telmary Diaz has created a funny, sexy Afro-Cuban hip-hop masterpiece that has no truck with imported attitude. Eschewing programmed beats in favour of big, brassy instrumental arrangements, the album creates a teetering edifice of deconstructed Cuban rhythm - from religious chants to loose-jointed Afro-funk - packed with good hooks and exquisite vocal cameos.
Hailing from the same Havana underground scene and featuring many of the same performers - including Telmary herself - Interactivo are a supercharged Latin-jazz big band with rapping vocals.
While there are moments of excitement, there is a musical nerdiness, too, exemplified by a magnificently pointless Afro-Cuban reading of Mike Oldfield's Tubular Bells."
Kjelde: Mark Hudson; The Telegraph
Telmay Diaz: A Diario
"A Diario, the powerhouse debut release by Cuban singer-songwriter Telmary, is part of the new wave of Cuban pop music that defies categorization. Produced by Roberto Carcasses — who seems to be the eye of the storm of this Cuban musical revolution — and Yusa, A Diario often utilizes hip hop as a springboard to launch a barrage of fist-in-the-air vocal poetry and densely layered sounds that borrow from technology, nature and pop music. This is hip hop rock on such a totally fresh new level that it demands a new name — no hop, post hop, whatever. There are moments when timba tries to take control, as on "Que Equivoca'o." But Telmary is too strong to relinquish control. Her voice never raises, but maintains such authority that you just have to get out of her way.
This is one of the more interesting releases to come out of Cuba in years. Check out "Mr. God," sung in english, as the singer appeals "...But it's not fair, we are not a zero; we are walking in the same trip; Mister God, Mister Mad, Mister Rambo; Go go easy, not so fast... come to my, come to my flow." Damn, this is good stuff. There's too much to talk about here; listen to what she does with "Marilu," Van Van's early rock and roll hit. A Diaro features guests Descemer, Athanai, Kumar, Yusa and others. Whatever you think about Telmary, one thing is for sure. She's a contender — an artist whose time is now.
Very Highly Recommended."
Kjelde: BP Descarga.com
Her ho med låta Que Equivoca'o frå plata A Diario.
INTERACTIVO AND TELMARY DIAZ / DJ SETS BY STRAIGHT NO CHASER MAGAZINE’S VINCE VELLA AND DIRECT FROM HAVANA, DJ YOSKEL AND MANY MORE SURPRISES...
BOOKING DETAILS
FLORIDITA
100 Wardour St
London W1F 0TN
www.floridita.co.uk
Book online via Ticketweb
NOVEMBER 8th 2007
Doors open 7pm, first band 8.30pm
£18 advance / £20 on the door
Includes complimentary
Havana Club Cocktail
ABOUT THE EVENT
Interactivo, a collective of some of Cuba’s hottest contemporary musicians, including Roberto Carasses, William Vivanco and Francis del Rio play live with Havana’s rap queen ... Telmary Diaz, one of Charlie Gillet’s five to watch for 2008, and one of the most keenly anticipated showcases at this years Womex. Interactivo and Telmary are both building global reputations as the new sound of Cuba. Mixing it all from jazz and pop to hip hop, with the traditional beats of the island.
The world famous Floridita bar will serve a delicious complimentary mojito with each ticket purchase. After the sell out success of last year’s show book your tickets early!
“Cuban music doesn’t come much more cutting edge than this or more exciting”
Jan Fairley, Songlines
“Interactivo are a super charged latin jazz big band full of life affirming exhuberence”
M Hudson, Daily Telegraph
"International hip-hop tends to rely on hackneyed American mannerisms, propped up by a borrowed anger that rarely rings true.
But Havana's rap queen Telmary Diaz has created a funny, sexy Afro-Cuban hip-hop masterpiece that has no truck with imported attitude. Eschewing programmed beats in favour of big, brassy instrumental arrangements, the album creates a teetering edifice of deconstructed Cuban rhythm - from religious chants to loose-jointed Afro-funk - packed with good hooks and exquisite vocal cameos.
Hailing from the same Havana underground scene and featuring many of the same performers - including Telmary herself - Interactivo are a supercharged Latin-jazz big band with rapping vocals.
While there are moments of excitement, there is a musical nerdiness, too, exemplified by a magnificently pointless Afro-Cuban reading of Mike Oldfield's Tubular Bells."
Kjelde: Mark Hudson; The Telegraph
Telmay Diaz: A Diario
"A Diario, the powerhouse debut release by Cuban singer-songwriter Telmary, is part of the new wave of Cuban pop music that defies categorization. Produced by Roberto Carcasses — who seems to be the eye of the storm of this Cuban musical revolution — and Yusa, A Diario often utilizes hip hop as a springboard to launch a barrage of fist-in-the-air vocal poetry and densely layered sounds that borrow from technology, nature and pop music. This is hip hop rock on such a totally fresh new level that it demands a new name — no hop, post hop, whatever. There are moments when timba tries to take control, as on "Que Equivoca'o." But Telmary is too strong to relinquish control. Her voice never raises, but maintains such authority that you just have to get out of her way.
This is one of the more interesting releases to come out of Cuba in years. Check out "Mr. God," sung in english, as the singer appeals "...But it's not fair, we are not a zero; we are walking in the same trip; Mister God, Mister Mad, Mister Rambo; Go go easy, not so fast... come to my, come to my flow." Damn, this is good stuff. There's too much to talk about here; listen to what she does with "Marilu," Van Van's early rock and roll hit. A Diaro features guests Descemer, Athanai, Kumar, Yusa and others. Whatever you think about Telmary, one thing is for sure. She's a contender — an artist whose time is now.
Very Highly Recommended."
Kjelde: BP Descarga.com
Her ho med låta Que Equivoca'o frå plata A Diario.
søndag 4. november 2007
Los Van Van
Los Van Van kjem med ei ny plate no og skal spille i Drammen fredag 29. februar. Mens me venter på dette kan me nyte videoen av tittellåta frå siste plata Chapeando.
lørdag 3. november 2007
Spilleliste frå Timba Night 6. november
Adalberto Alvarez: Mi Linda Habanera& Para Bailar Casino
Angel Bonne: Yo Se Que Eres Tu
Azucar Negra: Sin Mirar Atras
Bamboleo. Fiebre
Cesar Pedroso: El Puro& Al Final& El Gato No Arana& Si La Ves
Charanga Forever: Dicen Que Amor
Charanga Habanera: Un Hombre Como Tu& Soy Cubano Soy Popular& Cristobalina
El Zorro: Somos Hermanos
Elio Reve Jr: Fresquecito
Fito Reinoso: Tu Voz
Gilito Y Su Clave: Al Cesar Lo Que Es Del Cesar
Grupo Danson: Mi Musica
Havana City: Se Acabo La Magia
Issac Delgado: De 2 A Tres
Klimax: Una Corazonada& Cuando Yo Lo Quiera
Los Van Van: Ya Empezo La Fiesta& Chapeando
Maikel Blanco: Chico Choco& Esto Esta& Recoge Y Vete
Manolin: Te Tarea Pa La Casa
Manolito Y Su Trabuco: La Boda De Belen& Llego La Musica Cubana
Maravilla De Florida: A Recogerse
Michel Maza: Tu Piensas
Paulito FG: Por Amor& Fue En Error& Confio En Ti
Pedro Pablo& La Rebambaramba : Sera Posible
Sama Y El Expreso Oriental: Guarachando& Tengo Una Situacion
Tiempo Libre: Ven A Bailar
Tirso Duarte: Timba Cubana& Lala
Angel Bonne: Yo Se Que Eres Tu
Azucar Negra: Sin Mirar Atras
Bamboleo. Fiebre
Cesar Pedroso: El Puro& Al Final& El Gato No Arana& Si La Ves
Charanga Forever: Dicen Que Amor
Charanga Habanera: Un Hombre Como Tu& Soy Cubano Soy Popular& Cristobalina
El Zorro: Somos Hermanos
Elio Reve Jr: Fresquecito
Fito Reinoso: Tu Voz
Gilito Y Su Clave: Al Cesar Lo Que Es Del Cesar
Grupo Danson: Mi Musica
Havana City: Se Acabo La Magia
Issac Delgado: De 2 A Tres
Klimax: Una Corazonada& Cuando Yo Lo Quiera
Los Van Van: Ya Empezo La Fiesta& Chapeando
Maikel Blanco: Chico Choco& Esto Esta& Recoge Y Vete
Manolin: Te Tarea Pa La Casa
Manolito Y Su Trabuco: La Boda De Belen& Llego La Musica Cubana
Maravilla De Florida: A Recogerse
Michel Maza: Tu Piensas
Paulito FG: Por Amor& Fue En Error& Confio En Ti
Pedro Pablo& La Rebambaramba : Sera Posible
Sama Y El Expreso Oriental: Guarachando& Tengo Una Situacion
Tiempo Libre: Ven A Bailar
Tirso Duarte: Timba Cubana& Lala
onsdag 31. oktober 2007
Universal Rhythm Childhood friends are spreading timba across the land via Tiempo Libre
"Tiempo libre roughly translates to "free time" in English. It's a luxury that Jorge Gomez, pianist and director of the Cuban timba band Tiempo Libre, usually doesn't have. Even so, he made sure to arrive fifteen minutes before a scheduled interview with New Times at the Segafredo café on Lincoln Road and called this reporter twice to make sure it was still on.
Tiempo Libre includes Eduardo Quintana (left), Fernando Pina, Tebelio "Tony" Fonte, Pavel Diaz, Joaquin "El Kid" Diaz, Leandro Gonzalez, and Jorge Gomez
But Gomez probably wasn't being punctual simply out of eagerness to get good press. Tiempo Libre constantly tours, and the band was in town for only a few weeks before heading back out on the road. This summer the group will play at the Ravinia Festival in Chicago; the New Orleans Jazz and Heritage Festival; Festival International de Louisiane in Rochester, New York; and the Society of Performing Arts in Houston. In August the band makes its European debut at the Tuscan Sun Festival in Cortona, Italy. In fact Tiempo Libre plays abroad more often than at home.
That work ethic is paying off. In January the bandmates signed a multirecord deal with Shanachie Entertainment and are scheduled to release their second album, Arroz con Mango, May 24. (The first, Timbiando, was released independently last year.) Tiempo Libre's growing reputation as one of the top timba bands in the U.S. is a primary reason why its seven members -- all-star players who have separately played with artists as renowned as Albita, Cachao, Issac Delgado, NG La Banda, and Arturo Sandoval -- have eschewed their former lives as sidemen. "It's a question of faith," said Gomez of the band members' decisions to break out on their own as Tiempo Libre.
Their faith was well-grounded. Six of the band's members -- Gomez, vocalist Joaquin Diaz, percussionist Leandro Gonzalez, bassist Tebelio "Tony" Fonte, trumpeter Julio Diaz, and drummer Fernando Pina -- are childhood friends with world-class music degrees from Cuba's best conservatories. They knew that when the traditional son hype sparked by the Buena Vista Social Club died down, the world would be ready for something even more dynamic.
"Many years ago in Cuba, the son was played everywhere, but the people who played it weren't musicians. They learned at the beach and in the mountains because they were simple melodies. Our generation studied music under a very heavy regimen of harmony, rhythm, singing, and dance, so when you got done, you didn't conform to something so easy," said Gomez. The result was timba, a hyperactive combination of Latin jazz and salsa that pits bass rhythms against a complicated countertempo.
While Gomez says he shies away from politics, he often expresses his appreciation for what he's learned from both the communist and capitalist worlds. In Cuba he learned to be disciplined. He entered the National School of the Arts as a young child and would often study nearly twelve hours a day. After he graduated at age 21, he served three years of mandatory military duty in Cuba's Revolutionary Armed Forces. That compliance with the regime made it easier for him to defect, because he certainly didn't look like a counterrevolutionary. Besides, who wanted to go to a poverty-stricken country like Guatemala?
But that's exactly where he began to make a name for himself. "I remember the first time I gave a piano class and got paid for it. I pulled the cash from my pocket and bought myself a big juicy steak sandwich from a street vendor. I couldn't believe that I could get paid to work doing something I loved," he recalled of his experiences in Guatemala City.
In the Nineties, while Gomez was traveling throughout Central America playing with his timba group Habanos and with world-class salsa stars such as Willy Colon, his childhood colleagues and future Tiempo Libre bandmates were making similar discoveries teaching music and touring with headlining salsa and jazz artists in Germany, Canada, and the U.S.
By 2001 their yearning to be closer to their cultural roots had drawn them all to Miami, where the six friends reunited and began to experiment with the rebellious sounds they had used to entertain themselves between classes back in Havana. With solid education and careers under their belts, they decided to take their timba party on the road by founding Tiempo Libre, picking up Venezuelan flautist Eduardo Quintana along the way.
"At first people wanted to throw our music in the garbage because they didn't know what it was," Gomez said, noting that the success of energetic Latin jazz groups such as Chucho Valdez's Irakere in the Nineties helped open ears and minds. "Now everyone wants to hear timba because they're bored with salsa. We are taking advantage of the fury, playing in Malaysia, Thailand, Indonesia, Hong Kong -- places we never imagined that we'd be playing."
Still, Asia's incredible reception to timba doesn't come as much of a surprise to Gomez. One of the best salsa bands in the world, Orquesta de la Luz, is comprised of a group of Japanese musicians who studied with him in Havana. Cuba has that effect on people. "They were only there for like five months and they came out jamming. Cubans have a way of transmitting energy through music," Gomez remembered.
But just in case the good old boys in the American heartland need a little psychological preparation for the spicy sounds hitting their eardrums and sending electric jolts through their bodies, Tiempo Libre sometimes offers music "clinics" for university students.
"When we play, we usually start with the instrumental so that people don't get too much of an energetic shock. Then we teach people to feel what we feel when we're playing for them," said Gomez. What those students should feel, he explained, is a massive stress release, which is how these musicians felt as jamming helped them mentally escape the economic and political hardships on the island.
That means veering away from protest songs and melancholy choruses. There wasn't room for that in Cuba and there isn't room for that in the band either.
"Everyone writes songs about how much they miss Havana, but nobody writes songs of welcome to the city which has taken us in," said Gomez. So he wrote the celebratory "Ven pa Miami" ("Come to Miami"). And, in line with good traditional Cuban humor, there are plenty of subliminal messages about swinging one's skirt to the beat. "You know, like on 'La Cosa' ["The Thing"] ... you know, show me the thing, show me the little smile, ay mami, I'm dying to see that little smile," he said with a sideways grin.
As for the musicians they left behind to follow their dreams, he said, "They were mad at first, but they understood ... the world is big and there's lots of room for other styles of music, so I keep applauding them, knowing someone's also applauding for me.
"People who have faith and who want to enlighten the United States will struggle against all odds to teach this country of the existence of the timba, just like Celia Cruz and Selena did with their genres. You never saw Celia Cruz making a living singing rancheros."
Kjelde: Miami New Times: By Julienne Gage
Published: May 19, 2005
Tiempo Libre - Manos Pa'rriba
Tiempo Libre includes Eduardo Quintana (left), Fernando Pina, Tebelio "Tony" Fonte, Pavel Diaz, Joaquin "El Kid" Diaz, Leandro Gonzalez, and Jorge Gomez
But Gomez probably wasn't being punctual simply out of eagerness to get good press. Tiempo Libre constantly tours, and the band was in town for only a few weeks before heading back out on the road. This summer the group will play at the Ravinia Festival in Chicago; the New Orleans Jazz and Heritage Festival; Festival International de Louisiane in Rochester, New York; and the Society of Performing Arts in Houston. In August the band makes its European debut at the Tuscan Sun Festival in Cortona, Italy. In fact Tiempo Libre plays abroad more often than at home.
That work ethic is paying off. In January the bandmates signed a multirecord deal with Shanachie Entertainment and are scheduled to release their second album, Arroz con Mango, May 24. (The first, Timbiando, was released independently last year.) Tiempo Libre's growing reputation as one of the top timba bands in the U.S. is a primary reason why its seven members -- all-star players who have separately played with artists as renowned as Albita, Cachao, Issac Delgado, NG La Banda, and Arturo Sandoval -- have eschewed their former lives as sidemen. "It's a question of faith," said Gomez of the band members' decisions to break out on their own as Tiempo Libre.
Their faith was well-grounded. Six of the band's members -- Gomez, vocalist Joaquin Diaz, percussionist Leandro Gonzalez, bassist Tebelio "Tony" Fonte, trumpeter Julio Diaz, and drummer Fernando Pina -- are childhood friends with world-class music degrees from Cuba's best conservatories. They knew that when the traditional son hype sparked by the Buena Vista Social Club died down, the world would be ready for something even more dynamic.
"Many years ago in Cuba, the son was played everywhere, but the people who played it weren't musicians. They learned at the beach and in the mountains because they were simple melodies. Our generation studied music under a very heavy regimen of harmony, rhythm, singing, and dance, so when you got done, you didn't conform to something so easy," said Gomez. The result was timba, a hyperactive combination of Latin jazz and salsa that pits bass rhythms against a complicated countertempo.
While Gomez says he shies away from politics, he often expresses his appreciation for what he's learned from both the communist and capitalist worlds. In Cuba he learned to be disciplined. He entered the National School of the Arts as a young child and would often study nearly twelve hours a day. After he graduated at age 21, he served three years of mandatory military duty in Cuba's Revolutionary Armed Forces. That compliance with the regime made it easier for him to defect, because he certainly didn't look like a counterrevolutionary. Besides, who wanted to go to a poverty-stricken country like Guatemala?
But that's exactly where he began to make a name for himself. "I remember the first time I gave a piano class and got paid for it. I pulled the cash from my pocket and bought myself a big juicy steak sandwich from a street vendor. I couldn't believe that I could get paid to work doing something I loved," he recalled of his experiences in Guatemala City.
In the Nineties, while Gomez was traveling throughout Central America playing with his timba group Habanos and with world-class salsa stars such as Willy Colon, his childhood colleagues and future Tiempo Libre bandmates were making similar discoveries teaching music and touring with headlining salsa and jazz artists in Germany, Canada, and the U.S.
By 2001 their yearning to be closer to their cultural roots had drawn them all to Miami, where the six friends reunited and began to experiment with the rebellious sounds they had used to entertain themselves between classes back in Havana. With solid education and careers under their belts, they decided to take their timba party on the road by founding Tiempo Libre, picking up Venezuelan flautist Eduardo Quintana along the way.
"At first people wanted to throw our music in the garbage because they didn't know what it was," Gomez said, noting that the success of energetic Latin jazz groups such as Chucho Valdez's Irakere in the Nineties helped open ears and minds. "Now everyone wants to hear timba because they're bored with salsa. We are taking advantage of the fury, playing in Malaysia, Thailand, Indonesia, Hong Kong -- places we never imagined that we'd be playing."
Still, Asia's incredible reception to timba doesn't come as much of a surprise to Gomez. One of the best salsa bands in the world, Orquesta de la Luz, is comprised of a group of Japanese musicians who studied with him in Havana. Cuba has that effect on people. "They were only there for like five months and they came out jamming. Cubans have a way of transmitting energy through music," Gomez remembered.
But just in case the good old boys in the American heartland need a little psychological preparation for the spicy sounds hitting their eardrums and sending electric jolts through their bodies, Tiempo Libre sometimes offers music "clinics" for university students.
"When we play, we usually start with the instrumental so that people don't get too much of an energetic shock. Then we teach people to feel what we feel when we're playing for them," said Gomez. What those students should feel, he explained, is a massive stress release, which is how these musicians felt as jamming helped them mentally escape the economic and political hardships on the island.
That means veering away from protest songs and melancholy choruses. There wasn't room for that in Cuba and there isn't room for that in the band either.
"Everyone writes songs about how much they miss Havana, but nobody writes songs of welcome to the city which has taken us in," said Gomez. So he wrote the celebratory "Ven pa Miami" ("Come to Miami"). And, in line with good traditional Cuban humor, there are plenty of subliminal messages about swinging one's skirt to the beat. "You know, like on 'La Cosa' ["The Thing"] ... you know, show me the thing, show me the little smile, ay mami, I'm dying to see that little smile," he said with a sideways grin.
As for the musicians they left behind to follow their dreams, he said, "They were mad at first, but they understood ... the world is big and there's lots of room for other styles of music, so I keep applauding them, knowing someone's also applauding for me.
"People who have faith and who want to enlighten the United States will struggle against all odds to teach this country of the existence of the timba, just like Celia Cruz and Selena did with their genres. You never saw Celia Cruz making a living singing rancheros."
Kjelde: Miami New Times: By Julienne Gage
Published: May 19, 2005
Tiempo Libre - Manos Pa'rriba
tirsdag 30. oktober 2007
Klimax
Her er Giraldo Piloto med bandet sitt Klimax og låta Es un peligro frå plata Nadie Se Parece A Ti.
Klimax: Nadie Se Parece A Ti
"There's funny stuff all over this record; it's dripping street. Check out the last few seconds of "La Rompeamor de La Habana," a tune about a girl that breaks up marriages. And the first tune, "La Chica Perfecta," is worth the price of admission, a flat out timba rocker that moves into a long groove section, then into breaks. Recorded in the Canary islands, the music sounds modern, with a bass that grinds more than even the regular timba style. As usual, Piloto breaks up the rhythms, moving into shuffles that sound pan-Caribbean through timba and onto to cumbias. One tune opens with a synth-accordion that sends a friendly commercial wave to Colombia; it doesn't take long for the breaks to take over, turning the cumbia into a timba-fueled roar. This is the shiznitz, top grade Cuban dance music with an eye to the outside world.
Highly Recommended."
Kjelde: Peter Watrous, Descarga.com.
Klimax: Nadie Se Parece A Ti
"There's funny stuff all over this record; it's dripping street. Check out the last few seconds of "La Rompeamor de La Habana," a tune about a girl that breaks up marriages. And the first tune, "La Chica Perfecta," is worth the price of admission, a flat out timba rocker that moves into a long groove section, then into breaks. Recorded in the Canary islands, the music sounds modern, with a bass that grinds more than even the regular timba style. As usual, Piloto breaks up the rhythms, moving into shuffles that sound pan-Caribbean through timba and onto to cumbias. One tune opens with a synth-accordion that sends a friendly commercial wave to Colombia; it doesn't take long for the breaks to take over, turning the cumbia into a timba-fueled roar. This is the shiznitz, top grade Cuban dance music with an eye to the outside world.
Highly Recommended."
Kjelde: Peter Watrous, Descarga.com.
mandag 29. oktober 2007
Rumba from Cuba... the rich flavor of YAMBU
Ballet Rakatan, a medley of rumbas from Cuba in the yambu style.
Rumba Yambú
"Yambú is the oldest and slowest known style of rumba, sometimes called the Old People's Rumba. It uses the slowest beat of the three Rumba styles and incorporates movements feigning frailty. It can be danced alone (especially by women) or by men and women together. Although male dancers may flirt with female dancers during the dance, they do not use the vacunao of Rumba Guaguancó."
Kjelde: Wikipedia
Rumba Yambú
"Yambú is the oldest and slowest known style of rumba, sometimes called the Old People's Rumba. It uses the slowest beat of the three Rumba styles and incorporates movements feigning frailty. It can be danced alone (especially by women) or by men and women together. Although male dancers may flirt with female dancers during the dance, they do not use the vacunao of Rumba Guaguancó."
Kjelde: Wikipedia
Bebo Valdes
Artist: Bebo Valdés
Album: Bebo de Cuba
Release Date: September 20, 2005
Label: Calle 54
Rating: 5 out of 5 Stars
"Far greater than the best Cuban cigar, Bebo Valdés is without a doubt in my mind, the finest export to ever leave Cuba. The now 86-year-old pianist and composer was a house bandleader in the 1930s and 1940s at the famous Tropicana Nightclub in Havana. He inspired bassist Israel "Cachao" Lopez, who would go on to develop a new musical style called Mambo. Bebo was/is probably the most critical element in the development of Afro-Cuban music and is credited for the Batanga rhythm. He left Cuba as the political climate became dire in 1960 and ended up in Sweden with no money or prospects, but his talent helped him make a living playing piano in hotel bars. In the year 2000 the Madrid-based director Fernando Trueba brought Bebo back from obscurity in the fantastic documentary film Calle 54, which includes Latin music greats like Tito Puente and Chico O'Farrill. It also featured the reunion of Bebo and his famous musician son Chucho Valdés who did not leave Cuba as Bebo did during Castro's revolution.
Trueba introduced Bebo to Diego El Cigala, a talented Spanish Flamenco singer. The two collaborated on the 2003 disc "Lagrimas Negras", which ended up being a smashing critical and commercial success. It won two Latin Grammy's and five Spanish Grammy's.
"Bebo de Cuba" is scheduled for a U.S. release of September 20th, although you can buy the import now. The album has been nominated for a Latin Grammy in the "Best Latin Jazz Album" category. Honestly, if this record doesn't win it would be a travesty. This is simply the best contemporary Cuban recording not only of the last year, but in my opinion, of all time. "Bebo de Cuba" contains two discs. The first, "Suite Cubana" includes a full big band and is a personal reflection on Bebo's homeland and life, while the second "El Solar de Bebo" is a free-form jam that includes a smaller number of incredible musicians who are free to solo over the perfect foundation that Bebo built. Both discs are a crystal clear triumph. Bebo's 85+ year-old fingers are as nimble as those 6 decades younger and his compositions are complex and beautiful masterpieces. The music was composed over the course of 5 years (between 1992 and 1997). And of course, you can certainly dance to many of them.
"Bebo de Cuba" is the kind of album you will never tire of. One I would be confident in calling "timeless". I don't just throw around 5 star reviews. In fact, this is the first 5 star review I have given in 2005. The 2 discs of music are enough to make this set worth 3 times its price, but much more is included. Every detail is absolutely first class. The packaging is a beautiful double foldout complete with a 52-page booklet and 23 minute DVD, which gives you behind-the-scenes insight into the recording sessions."
Kjelde: Robert Burke- BC Music
Her er Bebo Valdes og Israel Cachao Lopez med låta Lagrimas Negras.
Album: Bebo de Cuba
Release Date: September 20, 2005
Label: Calle 54
Rating: 5 out of 5 Stars
"Far greater than the best Cuban cigar, Bebo Valdés is without a doubt in my mind, the finest export to ever leave Cuba. The now 86-year-old pianist and composer was a house bandleader in the 1930s and 1940s at the famous Tropicana Nightclub in Havana. He inspired bassist Israel "Cachao" Lopez, who would go on to develop a new musical style called Mambo. Bebo was/is probably the most critical element in the development of Afro-Cuban music and is credited for the Batanga rhythm. He left Cuba as the political climate became dire in 1960 and ended up in Sweden with no money or prospects, but his talent helped him make a living playing piano in hotel bars. In the year 2000 the Madrid-based director Fernando Trueba brought Bebo back from obscurity in the fantastic documentary film Calle 54, which includes Latin music greats like Tito Puente and Chico O'Farrill. It also featured the reunion of Bebo and his famous musician son Chucho Valdés who did not leave Cuba as Bebo did during Castro's revolution.
Trueba introduced Bebo to Diego El Cigala, a talented Spanish Flamenco singer. The two collaborated on the 2003 disc "Lagrimas Negras", which ended up being a smashing critical and commercial success. It won two Latin Grammy's and five Spanish Grammy's.
"Bebo de Cuba" is scheduled for a U.S. release of September 20th, although you can buy the import now. The album has been nominated for a Latin Grammy in the "Best Latin Jazz Album" category. Honestly, if this record doesn't win it would be a travesty. This is simply the best contemporary Cuban recording not only of the last year, but in my opinion, of all time. "Bebo de Cuba" contains two discs. The first, "Suite Cubana" includes a full big band and is a personal reflection on Bebo's homeland and life, while the second "El Solar de Bebo" is a free-form jam that includes a smaller number of incredible musicians who are free to solo over the perfect foundation that Bebo built. Both discs are a crystal clear triumph. Bebo's 85+ year-old fingers are as nimble as those 6 decades younger and his compositions are complex and beautiful masterpieces. The music was composed over the course of 5 years (between 1992 and 1997). And of course, you can certainly dance to many of them.
"Bebo de Cuba" is the kind of album you will never tire of. One I would be confident in calling "timeless". I don't just throw around 5 star reviews. In fact, this is the first 5 star review I have given in 2005. The 2 discs of music are enough to make this set worth 3 times its price, but much more is included. Every detail is absolutely first class. The packaging is a beautiful double foldout complete with a 52-page booklet and 23 minute DVD, which gives you behind-the-scenes insight into the recording sessions."
Kjelde: Robert Burke- BC Music
Her er Bebo Valdes og Israel Cachao Lopez med låta Lagrimas Negras.
fredag 26. oktober 2007
Juan Ortiz med partner
Juan Ortiz frå Cubamemucho danser saman med partner til låta Que Tengo av Maikel Blanco.
Los Van Van på Union scene i Drammen fredag 29.2.2008
Fredag 29.februar kjem Los Van Van til Noreg for å ha konsert på Union scene i Drammen.
Dj Mojito mikser salsa og timba før og etter konserten.
Her er dei med låta Sandungera frå ein konsert i Miami før boikotten av kubanske grupper vart iverksett.
"The band led by bassist Juan Formell, and is considered to be one of Cuba's major timba acts, while Juan Formell has arguably become the most important figure in contemporary Cuban music.
In 1967, Formell became musical director of Elio Reve's charanga orchestra. He reformatted the group into Changui '68, and then founded his own group, Los Van Van, on December 4, 1969.
Using a charanga line-up as its base, Van Van added trombones and vocals, and was the first Cuban group to use synthesizers and drum machines. Their sound was a fusion of changui and son montuno with various types of music, including Afro-Cuban rhythms, rock, funk, disco, and hip hop. Juan Formell contributed countless innovations to the Cuban bass and clave, which paved the way for a radical reconceptualisation of rhythmic arrangements in Cuban music. The Van Van sound came to be known as songo (based on the songo rhythm), which laid the base for the later development of timba.
Los Van Van has consistently managed to adapt its style to the times, and remains, after 35 years, Cuba's most popular dance band. Along with pianist Cesar "Pupy" Pedroso, Juan Formell has written some of the most intriguing verses in popular dance music, including stories that run over several albums and, contrary to trends in timba, all types of social commentary. Both artists are undisputed masters of double-entendre in a musical culture where multiple meanings in lyrics are pervasive.
The band has a Grammy Award- Llego Van Van- to their credit.
Los Van Van has been a school for outstanding singers and musicians. Past members with successful careers as solo artists include Pedro Calvo, Angel Bonne, Changuito, Cesar "Pupy" Pedroso and others. As of 2006, Los Van Van probably have the best lineup of singers for a Cuba band composed of; Mayito Rivera, Roberto Hernandez "Roberton", Yeni Valdes and Lele Rosales."
Kjelde: Wikipedia
Dj Mojito mikser salsa og timba før og etter konserten.
Her er dei med låta Sandungera frå ein konsert i Miami før boikotten av kubanske grupper vart iverksett.
"The band led by bassist Juan Formell, and is considered to be one of Cuba's major timba acts, while Juan Formell has arguably become the most important figure in contemporary Cuban music.
In 1967, Formell became musical director of Elio Reve's charanga orchestra. He reformatted the group into Changui '68, and then founded his own group, Los Van Van, on December 4, 1969.
Using a charanga line-up as its base, Van Van added trombones and vocals, and was the first Cuban group to use synthesizers and drum machines. Their sound was a fusion of changui and son montuno with various types of music, including Afro-Cuban rhythms, rock, funk, disco, and hip hop. Juan Formell contributed countless innovations to the Cuban bass and clave, which paved the way for a radical reconceptualisation of rhythmic arrangements in Cuban music. The Van Van sound came to be known as songo (based on the songo rhythm), which laid the base for the later development of timba.
Los Van Van has consistently managed to adapt its style to the times, and remains, after 35 years, Cuba's most popular dance band. Along with pianist Cesar "Pupy" Pedroso, Juan Formell has written some of the most intriguing verses in popular dance music, including stories that run over several albums and, contrary to trends in timba, all types of social commentary. Both artists are undisputed masters of double-entendre in a musical culture where multiple meanings in lyrics are pervasive.
The band has a Grammy Award- Llego Van Van- to their credit.
Los Van Van has been a school for outstanding singers and musicians. Past members with successful careers as solo artists include Pedro Calvo, Angel Bonne, Changuito, Cesar "Pupy" Pedroso and others. As of 2006, Los Van Van probably have the best lineup of singers for a Cuba band composed of; Mayito Rivera, Roberto Hernandez "Roberton", Yeni Valdes and Lele Rosales."
Kjelde: Wikipedia
Mayito Rivera
Mayito Rivera er ein av kubas beste vokalister og har gjeve ut to soloplater.
Her er eitt klipp frå ein konsert i Tokyo, Japan. Låta er Negrito Bailador.
mandag 22. oktober 2007
Cubamemucho i Munchen 7-9. mars 2008
Kva med å gå på konsert med Charanga Habanera den eine dagen og Los Van Van to dager etterpå?
Danse til kubansk timba og salsa miksa av tre svært gode Djer tre kvelder på rad?
Gå på kurs med fremragande kubanske danserar?
Alt dette kan du gjere i Munchen, Tyskland i mars 2008. Sjå under lenker Cubamemucho.
"Timberos get ready for the mega-event of the year! The Cubamemucho Cuban Timba Congress in Munich, Germany from March 7th- 9th!
The event which celebrates cuban music, dance, and culture like no other! Cubamemucho will offer workshops from some of the world's top Cuban style dancers such as Yanek Revilla (Cuban Salsa Champion), Alberto Valdes, Juan Jose Ortiz, Israel Gutierrez, and Chiqui Dixon (to name a few).
Not only will you have workshops avalible from top dance instructors, but get ready to dance your butts off with non stop timba featuring some of the world's top Timba DJ's such as Jack "El Calvo" from Paris, France, Ivan "El Samurai" from Rome, Italy and myself DJ Melao from Miami, FL.
If you did'nt think that was enough how about some Van Van Friday night, and some Charanga Habanera Sunday night? Get ready to celebrate with two of Cuba's hottest bands at the Cubamemucho Timba Congress! Cubamemucho will also be hosting their final for the Wold Championships of Rueda de Casino."
Kjelde: Dj Melao/Timba.com
Danse til kubansk timba og salsa miksa av tre svært gode Djer tre kvelder på rad?
Gå på kurs med fremragande kubanske danserar?
Alt dette kan du gjere i Munchen, Tyskland i mars 2008. Sjå under lenker Cubamemucho.
"Timberos get ready for the mega-event of the year! The Cubamemucho Cuban Timba Congress in Munich, Germany from March 7th- 9th!
The event which celebrates cuban music, dance, and culture like no other! Cubamemucho will offer workshops from some of the world's top Cuban style dancers such as Yanek Revilla (Cuban Salsa Champion), Alberto Valdes, Juan Jose Ortiz, Israel Gutierrez, and Chiqui Dixon (to name a few).
Not only will you have workshops avalible from top dance instructors, but get ready to dance your butts off with non stop timba featuring some of the world's top Timba DJ's such as Jack "El Calvo" from Paris, France, Ivan "El Samurai" from Rome, Italy and myself DJ Melao from Miami, FL.
If you did'nt think that was enough how about some Van Van Friday night, and some Charanga Habanera Sunday night? Get ready to celebrate with two of Cuba's hottest bands at the Cubamemucho Timba Congress! Cubamemucho will also be hosting their final for the Wold Championships of Rueda de Casino."
Kjelde: Dj Melao/Timba.com
Issac Delgado på San Francisco Jazz Festival
"So ... what about those two concert sets, you ask. Well ... wow ... this was much more aggressive and exciting than the Monterey Jazz a month ago. When Issac Jr. tore into the piano tumbao to La temática I started to get the old timba adrenaline rush and when Issac followed it -- the encore -- with El malecón I closed my eyes and felt like I was back at El Morro in 1999 again. The show was also a lot more creative, with Issac improvising horn mambos. coros and pregones with effortless grace. The first set started out like Monterey, with the medley and Dile a Catalina, but quickly switched gears to extended, timbafied versions of songs from the full range of Issac's career, including a healthy assortment from the last two albums ... but with lots of aggessive new timba coros that the audience hungrily devoured.
Bimbo's hold 675 people and both (separate admission) shows were filled to capacity. The 2000s have been a brutally hostile economic environment for live music but Issac and his world-class promoter Elena Peña have made it look easy with a coast to coast string of mega-successful concerts.
The band had many changes ... all for the better in my opinion. SF was thrilled to finally hear the legendary Wickly Nogueras in person and he was rock solid on bongó, but an even more significant change was the addition of hardcore timba bassist Edward Magdariaga (Manolín, CTA, etc.). Papacho was brilliant as always, both as a conguero and as the leader of the rhythm section - during the pedales you could see him conveying the next bloque - as if by ESP - to the other drummers ... amazing! So, by this point, Issac's experimental multi-national rhythm section is again all Cuban except for Venezuelan timbalero Roberto Vilera. Vilera now has a MIDI kick drum pedal which sounds great. Each time I hear him, he's more and more in the timba groove and his solo brought the house down. I have only one, horribly unfair, criticism ... he's not Reinier Guerra. Add Reinier to this band and we'd have a reprise of the 1906 San Francisco fire on our hands."
Kjelde: Tom Erlich/ Timba.com
Bimbo's hold 675 people and both (separate admission) shows were filled to capacity. The 2000s have been a brutally hostile economic environment for live music but Issac and his world-class promoter Elena Peña have made it look easy with a coast to coast string of mega-successful concerts.
The band had many changes ... all for the better in my opinion. SF was thrilled to finally hear the legendary Wickly Nogueras in person and he was rock solid on bongó, but an even more significant change was the addition of hardcore timba bassist Edward Magdariaga (Manolín, CTA, etc.). Papacho was brilliant as always, both as a conguero and as the leader of the rhythm section - during the pedales you could see him conveying the next bloque - as if by ESP - to the other drummers ... amazing! So, by this point, Issac's experimental multi-national rhythm section is again all Cuban except for Venezuelan timbalero Roberto Vilera. Vilera now has a MIDI kick drum pedal which sounds great. Each time I hear him, he's more and more in the timba groove and his solo brought the house down. I have only one, horribly unfair, criticism ... he's not Reinier Guerra. Add Reinier to this band and we'd have a reprise of the 1906 San Francisco fire on our hands."
Kjelde: Tom Erlich/ Timba.com
torsdag 18. oktober 2007
Kubansk par danser son
Geldys Morales frå La Compania Folklorica Cubana J.J har byrja som instruktør for salsanor og danseglede. Ho underviser mellom anna i son både i Stavanger og i Oslo. Her er to instruktørar frå Cubamemucho i ein demonstrasjon av son.
Sierra Maestra spiller låta Dundunbanza.
tirsdag 16. oktober 2007
Afrokubanske bevegelser for kvinner
Ei av dei kvinnelege instruktørane på Cubamemucho festivalen i Munchen impoviserer afrokubansk dans.
Lazaro og Paola Lopez& Osbanis Tejedo og Farah Portela
Her er to videoklipp av instruktørar som var på Hot Salsa Weekend.
Lazaro og Paola Lopez danser på Buffalo Bar i London til Corazon Corazon av Issac Delgado og Ven Ven av Los Van Van.
Osbanis Tejedo og Farah Portela danser saman til Deja la Mala Noche av Adalberto Alvarez.
Lazaro og Paola Lopez danser på Buffalo Bar i London til Corazon Corazon av Issac Delgado og Ven Ven av Los Van Van.
Osbanis Tejedo og Farah Portela danser saman til Deja la Mala Noche av Adalberto Alvarez.
mandag 15. oktober 2007
Cesar Pedroso i Paris
Cesar Pedroso sitt band Pupy Y Los Que Son Son er på europaturne og holder konsert på Back Up i Paris tirsdag 16.10.
Her er dei med låta De la Timba a Pogolotti.
Her er dei med låta De la Timba a Pogolotti.
Kubansk salsa og timba i USA
USA har i fleire år hatt gode instruktørar som har undervist i kubansk salsa.
Fleire profesjonelle danserar frå kubanske dansekompanier har også vald å busette seg i USA og driv undervisning i afrokubansk dans, kubansk son og salsa.
Det ein har mangla er konserter med gode kubanske salsa og timbagrupper som kan gje dansarane eit høve til å praktisere dansen til levande musikk.
Dei siste åra har ei rekke gode og dyktige musikarar frå Kuba hoppa av i USA og starta band der. Dei fremste og mest kjende av desse er Issac Delgado og Manolin. I kjølvannet av desse har ein mellom anna Tiempo Libre, El Pikete, Cuban Timba Allstars og Danny Lozada. Desse banda spelar no på vestkysten og austkysten både på festivaler og klubber i LA, San Francisco, Miami og New York. Nyleg valde arrangørane av Latin Grammy festen i Miami å satse på kubanske musikarar og arrangementet vart ein suksess med fleire tusen menneske til stades på konsertane.
Her er El Pikete i aksjon.
Fleire profesjonelle danserar frå kubanske dansekompanier har også vald å busette seg i USA og driv undervisning i afrokubansk dans, kubansk son og salsa.
Det ein har mangla er konserter med gode kubanske salsa og timbagrupper som kan gje dansarane eit høve til å praktisere dansen til levande musikk.
Dei siste åra har ei rekke gode og dyktige musikarar frå Kuba hoppa av i USA og starta band der. Dei fremste og mest kjende av desse er Issac Delgado og Manolin. I kjølvannet av desse har ein mellom anna Tiempo Libre, El Pikete, Cuban Timba Allstars og Danny Lozada. Desse banda spelar no på vestkysten og austkysten både på festivaler og klubber i LA, San Francisco, Miami og New York. Nyleg valde arrangørane av Latin Grammy festen i Miami å satse på kubanske musikarar og arrangementet vart ein suksess med fleire tusen menneske til stades på konsertane.
Her er El Pikete i aksjon.
Tomasito Cruz
Her er eitt klipp med Tomasito Cruz der han demonstrerer perkusjonen sitt rytmemønster i kubansk timba. Han har gitt ut The Tomas Cruz Conga Method 1-3 som bok og DVD. Desse kan kjøpast på Amazon.
To kubanske jazzvirtuoser
Bebo og Chucho Valdes er to av mine absolutte favorittar innan kubansk jazz. Låta dei spiller er La Comparsa av Ernesto Lecuona.
"Bebo Valdés (born October 19, 1918) is a Cuban jazz musician.
Born in Quivicán, Cuba, he started his career as a pianist in the night clubs of Havana during the 1950s, and since then has achieved significant popularity as composer and arranger. He is the former director of the famous Tropicana Club in Havana.
Valdés played a major role in the development of the mambo during the pre-Revolution years. The mambo, rooted in the "ritmo nuevo" combining syncopated son motifs and improvised flute variations. By adapting the mambo and innovative jazz arrangements of the mid-1940s, composers such as Valdés managed to free the mambo's syncopated mode from the danzón structure.
He was married to Pilar Valdéz, and is the father of the pianist Chucho Valdés.
Valdés left Cuba for Mexico in the early 1960s and briefly lived in the United States before moving to Sweden, where he resided until 2007. Nowadays he lives in Malaga (Spain)."
"Chucho Valdés (b. October 9, 1941), born Jesús Dionisio Valdés, is a Cuban pianist, bandleader, composer and arranger. He was born in Quivicán, Cuba. In 1972 he founded the group Irakere, one of Cuba's best-known Latin jazz bands. Together with pianist Gonzalo Rubalcaba, Valdés is revered as one of Cuba's greatest jazz pianists.
His father Bebo Valdés, also a pianist, is the former director of Havana's famous "Tropicana" night club. Bebo Valdés, now in his 80's, is still performing, and won a Latin Grammy award in 2003 together with Israel "Cachao" López and Patato Valdés, and in 2005 together with flamenco singer Diego El Cigala.
Chucho has won three Grammy awards - one in 1978 for the album Live at Newport by Irakere, a second in 1998 for his contribution to the CD Havana by his band Crisol (formed in 1997), with two songs Mr. Bruce and Mambo para Roy written by Chucho, and the third in 2003 for his album Live at the Village Vanguard."
Kjelde: Wikipedia
torsdag 11. oktober 2007
Irakere i Japan 1993
Irakere (Yoruba for "vegetation") is a Cuban band founded by pianist Chucho Valdés in 1973 that won the Grammy Award for Best Latin Recording in 1980 with its album Irakere. Its members included flutist José Luis Cortés who later founded NG La Banda, percussionist Anga Díaz, who later went to France; percussionist Fran Padilla, who later moved to Spain; saxophonist Paquito D'Rivera, who left Irakere and Cuba in 1980 during a tour in Spain before moving to the United States; and Trumpeter Arturo Sandoval, who went to the US in 1990.
The group used a wide array of percussion instruments like batá, abacuá and arará drums, chequerés, erikundis, maracas, claves, cencerros, bongó, tumbadoras, and güiro.
Discography
1979 Chekere Son
1980 El Coco
1985 Tierra En Trance
1987 The Legendary Irakere in London
1989 Homenaje a Beny Moré
1991 Great Moments
1991 Felicidad - live at Ronnie Scott's Club
1992 Misa Negra
1995 Bailando Así
1999 Indestructible
2001 Pare Cochero
Rare LPs recorded in direct on Caracas alongside Alberto Naranjo & El Trabuco Venezolano: http://en.wikipedia.org/wiki/Alberto_Naranjo#Discography
Spilleliste fra Hot Salsa Weekend
I samband med Hot Salsa Weekend arrangementet til Danseglede i Oslo miksa Dj Charanga frå Timba Night og Dj Mojito frå Salsacubana kubansk salsa og timba på Cosmopolite scene fredag 12. oktober.
Her er eitt utdrag frå spillelista vår den kvelden.
Adalberto Alvarez: Una Mulata en la Habana
Angel Bonne: Imagino
Calle Real: Somos Calle Real
Cesar Pedroso: La Italiana
Charanga Habanera: Un Hombre Como Tu
Elio Reve Jr: Se sigue Comentando
Felix Baloy: Son Para Un Amigo
Issac Delgado: La Mujer Que Mas Te Duele
Maikel Blanco: Anos
Mamborama: Mi Bailarina
Manolito Y Su Trabuco: Para Que Baile Cuba
Maravilla De Florida: A Recogerse
Mayito Rivera: El Rumbero Enamorado
Paulito FG: Fue Un Error
Pedro Pablo: Virtud O Defecto
Sama Y El Expreso De Oriente: Tengo Una Situacion
Her er eitt utdrag frå spillelista vår den kvelden.
Adalberto Alvarez: Una Mulata en la Habana
Angel Bonne: Imagino
Calle Real: Somos Calle Real
Cesar Pedroso: La Italiana
Charanga Habanera: Un Hombre Como Tu
Elio Reve Jr: Se sigue Comentando
Felix Baloy: Son Para Un Amigo
Issac Delgado: La Mujer Que Mas Te Duele
Maikel Blanco: Anos
Mamborama: Mi Bailarina
Manolito Y Su Trabuco: Para Que Baile Cuba
Maravilla De Florida: A Recogerse
Mayito Rivera: El Rumbero Enamorado
Paulito FG: Fue Un Error
Pedro Pablo: Virtud O Defecto
Sama Y El Expreso De Oriente: Tengo Una Situacion
tirsdag 9. oktober 2007
Hot Salsa Weekend 11-14 oktober, Oslo.
Danseskulen Danseglede under leiing av Håkon Tverrli gjer ein flott jobb for å fremje kubansk musikk og dans i Oslo.
I oktober arrangerer Danseglede kubansk helg med Alain& Geldys Morales, Osbanis Tejedo, Iris De Brito og mange andre flinke instruktørar innan kubansk dans.
Fredag 12. oktober vert det konsert på Cosmopolite frå kl 2130-2330 med Sonora Cimarron.
Dj Mojito frå Salsacubana og Dj Charanga frå Timba Night vil mikse kubansk salsa og timba frå kl 2330-0230.
Sjå lenken Danseglede for meir informasjon.
Me har lagt ut videoar av instuktørane Osbanis Tejedo samt Geldys og Alain Morales.
Her er Osbanis i aksjon med ei flink jente på ein klubb i London.
Låta er Esto Te Pone La Casa Mala av Los Van Van frå albumet Te Pone La Cabeza Mala.
Det andre klippet er frå Geldys og Alain Morales sitt show på salsacampen i Århus 2007.
Låta dei danser til er El Canon frå Charanga Habanera sitt siste album El Rey de los Charangueros.
I oktober arrangerer Danseglede kubansk helg med Alain& Geldys Morales, Osbanis Tejedo, Iris De Brito og mange andre flinke instruktørar innan kubansk dans.
Fredag 12. oktober vert det konsert på Cosmopolite frå kl 2130-2330 med Sonora Cimarron.
Dj Mojito frå Salsacubana og Dj Charanga frå Timba Night vil mikse kubansk salsa og timba frå kl 2330-0230.
Sjå lenken Danseglede for meir informasjon.
Me har lagt ut videoar av instuktørane Osbanis Tejedo samt Geldys og Alain Morales.
Her er Osbanis i aksjon med ei flink jente på ein klubb i London.
Låta er Esto Te Pone La Casa Mala av Los Van Van frå albumet Te Pone La Cabeza Mala.
Det andre klippet er frå Geldys og Alain Morales sitt show på salsacampen i Århus 2007.
Låta dei danser til er El Canon frå Charanga Habanera sitt siste album El Rey de los Charangueros.
mandag 8. oktober 2007
The golden age of Cuban music is fading, with its stars dying or aging
"When Celia Cruz passed away in 2003, thousands turned out to mourn her in Miami and New York. Last month another great, trombonist Generoso Jiménez, died only a few days before he was to perform in a concert marking the 80th career anniversary of bassist and composer Israel ''Cachao'' López. Four days after his friend's funeral, Cachao took the stage leaning on a cane.
From the late 19th century and well into the middle of the 20th, Cuban popular genres, most of them dance music, swept the world: habanera, danzón, son, conga, rumba, mambo, cha-cha. And there's salsa, which is mostly old Cuban genres reworked for modern tastes. Only American music has had a broader and deeper reach globally.
''Even Cuban musicians can't tell you what the secret of the island's music is,'' says Olga María Touzet, a Miami resident who is heir to Cuban music royalty. Her father, René Touzet, who died in Miami in 2003, was one of Cuba's most important composers, and some of his best works were made hits by Olga María's mother, 84-year-old Olga Guillot, arguably Cuba's greatest living singer, who resides in Mexico.
''One of Cuba's appeals has been a cultural wealth disproportionate to its size. Salient, though not exclusive, to that wealth is music,'' says Nat Chediak, author of Diccionario del Jazz Latino.
Given their advanced years, it's not surprising that five of the original participants in the 1997 Buena Vista Social Club CD have passed away. The deaths of even more important musicians, like Chico O'Farrill, Mongo Santamaría and, of course, Celia Cruz, underscore the twilight nature of the era.
Many luminaries of Cuban music, who put their island's sounds on the international map long before Ry Cooder's CD renewed interest in Cuban traditional music, are still around. And some are still performing.
LIVING LEGENDS
These aging artists -- like Cachao -- seem to channel all their remaining energy into their music. But an elegiac tone invades their concerts, as Cuban music aficionados, particularly in Miami where for many it's a national legacy, sense just how frail these living legends are: Pianist Bebo Valdés and percussionist Cándido Camero, like Cachao, move slowly and are hunched by their advanced years.
A CREATIVE LEGACY
The aging of the Golden Era musicians hasn't quieted the vibrancy of Cuban music. Outside the room where Generoso Jiménez lay in state at his wake last month, a crowd of Cuban music veterans stood around talking shop and reminiscing. There was saxophonist Tata Palau; singer/bandleader Roberto Torres; record label exec Juan Estevez, who was executive producer of Generoso's solo album. Music folk in their 60s and early 70s, vigorous and active, heirs to Generoso. And to Cachao, who entered the funeral supported by young family members. One felt the passing of generations in the air.
''Theirs is the music that endures, just like the music of Tchaikovsky and Beethoven,'' said 44-year-old singer and bandleader Issac Delgado, who left Cuba last year and now lives in Miami. ``[Generoso, Cachao and their generation] have become classics, too.''
''There are creators and there are followers,'' said Bebo Valdés. ``This is not something everyone can understand. To create as Cachao did, that is very difficult.''
Delgado, who represents the generation that, in Cuba, created the progressive salsa-like timba sound, recognizes that ''the lyricism and romanticism of Cuban music was getting lost due to the heavy use of technology'' among his peers. ``But in the past six or seven years, there has been a return to acoustic music, to the trova, the guaracha, the son, the bolero.''
According to Delgado, the success of Mexican popster Luis Miguel's CD trilogy of Cuban and Mexican boleros made Cuban artists of Delgado's age realize there was an international appetite for traditional music.
``[The timba generation] were writing music exclusively for musicians, not for the public. But as we came in contact with other nationalities, we realized that if other people like authentic Cuban music, why should we distort it?
''These people who are leaving us,'' says Delgado, ``they are teaching us how to follow in their footsteps.''
ENRIQUE FERNANDEZ; Miami Herald.Posted on Mon, Oct. 08, 2007
From the late 19th century and well into the middle of the 20th, Cuban popular genres, most of them dance music, swept the world: habanera, danzón, son, conga, rumba, mambo, cha-cha. And there's salsa, which is mostly old Cuban genres reworked for modern tastes. Only American music has had a broader and deeper reach globally.
''Even Cuban musicians can't tell you what the secret of the island's music is,'' says Olga María Touzet, a Miami resident who is heir to Cuban music royalty. Her father, René Touzet, who died in Miami in 2003, was one of Cuba's most important composers, and some of his best works were made hits by Olga María's mother, 84-year-old Olga Guillot, arguably Cuba's greatest living singer, who resides in Mexico.
''One of Cuba's appeals has been a cultural wealth disproportionate to its size. Salient, though not exclusive, to that wealth is music,'' says Nat Chediak, author of Diccionario del Jazz Latino.
Given their advanced years, it's not surprising that five of the original participants in the 1997 Buena Vista Social Club CD have passed away. The deaths of even more important musicians, like Chico O'Farrill, Mongo Santamaría and, of course, Celia Cruz, underscore the twilight nature of the era.
Many luminaries of Cuban music, who put their island's sounds on the international map long before Ry Cooder's CD renewed interest in Cuban traditional music, are still around. And some are still performing.
LIVING LEGENDS
These aging artists -- like Cachao -- seem to channel all their remaining energy into their music. But an elegiac tone invades their concerts, as Cuban music aficionados, particularly in Miami where for many it's a national legacy, sense just how frail these living legends are: Pianist Bebo Valdés and percussionist Cándido Camero, like Cachao, move slowly and are hunched by their advanced years.
A CREATIVE LEGACY
The aging of the Golden Era musicians hasn't quieted the vibrancy of Cuban music. Outside the room where Generoso Jiménez lay in state at his wake last month, a crowd of Cuban music veterans stood around talking shop and reminiscing. There was saxophonist Tata Palau; singer/bandleader Roberto Torres; record label exec Juan Estevez, who was executive producer of Generoso's solo album. Music folk in their 60s and early 70s, vigorous and active, heirs to Generoso. And to Cachao, who entered the funeral supported by young family members. One felt the passing of generations in the air.
''Theirs is the music that endures, just like the music of Tchaikovsky and Beethoven,'' said 44-year-old singer and bandleader Issac Delgado, who left Cuba last year and now lives in Miami. ``[Generoso, Cachao and their generation] have become classics, too.''
''There are creators and there are followers,'' said Bebo Valdés. ``This is not something everyone can understand. To create as Cachao did, that is very difficult.''
Delgado, who represents the generation that, in Cuba, created the progressive salsa-like timba sound, recognizes that ''the lyricism and romanticism of Cuban music was getting lost due to the heavy use of technology'' among his peers. ``But in the past six or seven years, there has been a return to acoustic music, to the trova, the guaracha, the son, the bolero.''
According to Delgado, the success of Mexican popster Luis Miguel's CD trilogy of Cuban and Mexican boleros made Cuban artists of Delgado's age realize there was an international appetite for traditional music.
``[The timba generation] were writing music exclusively for musicians, not for the public. But as we came in contact with other nationalities, we realized that if other people like authentic Cuban music, why should we distort it?
''These people who are leaving us,'' says Delgado, ``they are teaching us how to follow in their footsteps.''
ENRIQUE FERNANDEZ; Miami Herald.Posted on Mon, Oct. 08, 2007
Latin Grammy 2007 gatefest i Miami
"The Latin Grammy street party in Miami was by far the best timba related event that I have ever attended in Miami. The event was a blast from the past! If you were there you would probably feel the nostalgia of the golden era in El Malecon or La Tropical all over again. The celebration featured Carlos Manuel, Manolin, Issac Delgado, and the surprise guest appearance of Valentin (former Adalberto Alvarez singer) who recently departed to Miami. All three bands sounded great! It almost seemed as if the arrival of Issac has left Manolin and Carlos Manuel with the task of having something to prove; and I have to say they both stepped up to the plate, and hit one out of the park! Manolin called the event "one of the happiest day's of his life". It's been a while since I have seen Manolin or Carlos Manuel sound as tight as rejuvenated as they did. Judging by the enormous support all three artists got at the event (I am talking thousands of Cubans sticking it out in through rain) I am getting a feeling that things are beginning to change in Miami. Who would have ever thought that the Latin Grammy's would choose Manolin, Carlos Manuel, and Issac to throw a street party in Miami? I sure didn’t. I spoke to some of the promoters of the event and they were expressing an overwhelming amount of optimism by saying things like "these artists are a time bomb ready to explode" "They are a mine of Gold". If there was ever a time in Miami when I can say that it is no longer a graveyard, it is now! I feel Issac's presence in Miami is breaking all sorts of barriers, and that his success will continue to help his Cuban brothers thrive in a market that has closed the doors to so many great artists. I hope that this event will be the the start of a musical revolution in Miami."
Dj Melao; Timba.com
søndag 7. oktober 2007
Casino.com i aksjon
Dette er eit døme på kva ein kan gjere innan rueda. Det er berre å nyte det. Låta dei danser til er Agua av Los Van Van.
Casino.com med ein sonkoreografi
Her er dansegruppa Casino.com under leiing av Yanek Revilla med ein sonkoreografi.
Låta heiter Fruta Bomba av Jovenes Clasicos Del Son.
onsdag 3. oktober 2007
Issac at the Monterey Jazz Festival
Her er eit klipp frå ein konsert i Miami.
Låta er Medley(Nescecito Una Amiga, Que te Pasa Loco, La Formula) frå den siste plata En Primera Plana.
"The dozens of brilliant timberos who have relocated to Miami in recent years have encountered two problems: achieving the level of popularity they enjoyed in Havana, and continuing to produce new music of the intensity and originality of their Cuban repertoires.
The latest arrival, Issac Delgado, has blown passed obstacle #1 without breaking a sweat. With the help of his savvy manager Elena Peña, he's landed a big record contract, and he's been playing major concerts and festivals to capacity crowds, such as his headliner appearance at the sold-out 50th anniversary of the legendary Monterey Jazz Festival and his upcoming two shows at the SF Jazz Festival on October 20th.
Issac, very much at home on the bandstand where Jimi Hendrix and Otis Redding had made history 40 years earlier, had the large crowd in the palm of his hand in spite of the first rain California has seen in months.
The 60-minute set was broadcast on public radio, allowing us to provide a few choice audio clips. The 5-song set opened with the medley from En primera plana. Alain Pérez' skillful arrangement begins with Issac's first cross-over hit, Necesito una amiga, first recorded with NG La Banda in 1989. NG's leader, José Luis "El Tosco" Cortés, wrote the second song, Que te pasa loco, for Issac's first major solo album, Con ganas, and NG's drummer, Giraldo Piloto, now the leader of Klímax, penned No me mires a los ojos, a brilliant vehicle for live performance that was reinvented by each of Issac's legendary bands of the 90s.
Up to this point, I'd heard a clean professional rendition of these earlier songs, with nothing new added, but the closing section of the medley, Issac's Grammy nominated composition La fórmula, featured an absolutely gorgeous vocal improvisation in which Issac greeted the crowd and did his best to ward off the rainfall. For me, the two best live timba bands of the 90s were Issac and Paulito -- because they, above all others, had the ability to play each song very differently every night. I've heard dozens of version of No me mires -- all different and all wonderful. This new band doesn't have the type of adventurous bass and piano improvisation that Alain and Melón provided in my favorite live recordings, but Issac himself once again showed that when it comes to vocal improvisation, he's without equal. Improvising words and melody has been a feature of Latin music since the beginning and has had many great proponents. Some say Cándido Fabré is the greatest, but my vote goes to Issac, not only for the lyrical content but for the fact that he varies the melody more, and varies it more soulfully, than the other greast soneros. To illustrate my point, I submit one of Issac's glorious improvisations on Luz viajera from the legendary Y2K concert from Casa de la Música. I've heard over 50 live versions of this song - each one different - and the following passage is completely unique to the Y2K version. In other words, what you're about to hear was, like the Monterey clip, created on the spot by Issac - words, melody and rhythm:
Oddly, the retrospective medley was the only song Issac played from the new album.The second song was Melón's 1997 arrangement of Arsenio Dile a Catalina, from Exclusivo para Cuba. This one featured improvisation of the pianistic variety, first from Issac Delgado, Jr., who bears a striking resemblance to his papá, and then Milton Salcedo.
Next came Pregón de chocolate, written by Issac for Charanga Habanera, and modernized in 2000 for the La fórmula album, this time featuring percussion solos from Roberto Vilera, Cokey García, and, in fine form, Issac's conguero of almost 10 years, Dennys "Papacho" Savón, whose marchas have also, to my ear, evolved even beyond the level he reached in the late 90s."
Issac & Gonzalo Rubalcaba
"After El Macao, a bluesy Alain Pérez composition from Prohibido, the focus returned to improvisation La sandunguita, featuring another great impromptu Issac pregón to introduce the evening's third piano solo -- this time from músico invitado Gonzalo Rubalcaba, who had played earlier with an all star jazz band including Dave Holland, Eric Harland and Chris Potter."
September 21, 2007 by Kevin Moore
søndag 30. september 2007
Spilleliste frå Timba Night tirsdag 2. oktober
Adalberto Alvarez: Maquina Para Bailar& Para Bailar Casino
Angel Bonne: Erez La Paz
Cesar Pedroso: La italiana& La Machudera
Charanga Forever: La Menor
Charanga Habanera: Un Hombre Como Tu
Conexion Salsera: Juana la italiana
El Nene: Mi Son Retozon
Elio Reve: Fresquecito
Fito Reinoso: Tu Voz
Grupo Danson: Solo Para Ti
Havana City: No Te Detengas
Issac Delgado: De 2 A 3& Corazon Corazon
Klimax: Cuando Y Lo Quiera
Los Van Van: Chapeando
Maikel Blanco: La Masa& Anos& Recoge Y Vete& Esto Esta
Manolito Y Su Trabuco: Guiro, Calabaza Y Miel
Maravilla De Florida: Ser& A Recogerse
Michel Maza: Nube Pasajera
Pachito Alonso: Ya Llegamos& Una Chiquita Bum Bum
Paulito FG: El Punto& Jura
Pedro Calvo: Dormir Contigo
Pedro Pablo: Virtud O Defecto& Sera Posible
Sama Y el Expreso De Oriente: Tengo Una Situacion
Tirso Duarte: Me Quiere La Habana& Mi Vecina
Angel Bonne: Erez La Paz
Cesar Pedroso: La italiana& La Machudera
Charanga Forever: La Menor
Charanga Habanera: Un Hombre Como Tu
Conexion Salsera: Juana la italiana
El Nene: Mi Son Retozon
Elio Reve: Fresquecito
Fito Reinoso: Tu Voz
Grupo Danson: Solo Para Ti
Havana City: No Te Detengas
Issac Delgado: De 2 A 3& Corazon Corazon
Klimax: Cuando Y Lo Quiera
Los Van Van: Chapeando
Maikel Blanco: La Masa& Anos& Recoge Y Vete& Esto Esta
Manolito Y Su Trabuco: Guiro, Calabaza Y Miel
Maravilla De Florida: Ser& A Recogerse
Michel Maza: Nube Pasajera
Pachito Alonso: Ya Llegamos& Una Chiquita Bum Bum
Paulito FG: El Punto& Jura
Pedro Calvo: Dormir Contigo
Pedro Pablo: Virtud O Defecto& Sera Posible
Sama Y el Expreso De Oriente: Tengo Una Situacion
Tirso Duarte: Me Quiere La Habana& Mi Vecina
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