From Afro-Cuban Rhythms to Latin Jazz
This book explores the complexity of Cuban dance music and the webs that connect it, musically and historically, to other Caribbean music, to salsa, and to Latin Jazz. Establishing a scholarly foundation for the study of this music, Raul A. Fernandez introduces a set of terms, definitions, and empirical information that allow for a broader, more informed discussion. He presents fascinating musical biographies of prominent performers Cachao López, Mongo Santamaría, Armando Peraza, Patato Valdés, Francisco Aguabella, Cándido Camero, Chocolate Armenteros, and Celia Cruz. Based on interviews that the author conducted over a nine-year period, these profiles provide in-depth assessments of the musicians’ substantial contributions to both Afro-Cuban music and Latin Jazz. In addition, Fernandez examines the links between Cuban music and other Caribbean musics; analyzes the musical and poetic foundations of the Cuban son form; addresses the salsa phenomenon; and develops the aesthetic construct of sabor, central to Cuban music.
Copub: Center for Black Music Research
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African Afro-Cuban jazz album Alfredo Arcaño Armando Peraza Armenteros Arsenio Rodríguez artists audiences band bass bassist batá Bebo Valdés became Beny Moré bongos bongosero Cal Tjader Cándido Camero Caribbean Carlos carnival Celia Cruz century Chano Pozo chapter charanga Chocolate clave Colombia composer conga drum Conjunto Cuba’s Cuban dance Cuban music Cuban musicians Cuban popular music cultural dance music dancers danzón descargas drummer early ensemble famed ﬁelds ﬁgure ﬁlm ﬁrst ﬂute folkloric forms Francisco Aguabella genre Havana included inﬂuence instruments Israel Cachao José Latin American Latin jazz López Machito mambo Mario Bauzá melodies Mexico City Miguelito Valdés Mongo Santamaría montuno orchestra Orquesta Patato Valdés percussion percussionist Pérez Prado performance pianist played player Puerto Rico radio recorded rhythm rhythmic Rican ritmo rumba sabor salsa Santiago de Cuba Sexteto singer sonero songs Sonora Matancera sound Spanish styles tion Tito Puente tour traditions traveled tres trumpet tunes United Venezuela vocalist York
Page 18 - Pacini explained at the time, "these categories — romantic and dance music — are more significant in Latin America than in the Anglo-American context. Rock music, for example, is not clearly defined as dance music, nor is it contrasted with a separate category of romantic music. In Latin America, however, these two quite distinct categories form a complementary pair, each fulfilling a different requirement in a musical event, whether it be public or private.
European Review of Latin American and Caribbean Studies, Issues 78-81
Snippet view - 2005