"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
onsdag 31. oktober 2007
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
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