The orchestra last performed at Proctors in The orchestra, which numbers 63 musicians, landed in Florida early this month and headed up the East Coast to play 20 concerts in various states. The tour ends March Many of the venues are return visits; others are completely new. The charanga ensembles thrived for decades, especially in the mids.
Son is the predominant musical force in Cuba and the symbol of the island. Structurally, there are two parts: an opening verse followed by a montuno section in which the improvising singer is answered by a chorus. Sones are centered upon a clave rhythm. Its success is attributed to the advent of Cuban radio in and the broadcasting of live bands. In the late s, a trumpet was added and the son began to swing.
One of the most significant ensembles, Septeto Nacional, began in By the s, Cuban son had become part of the main-stream popular music in North and South America as well as the Caribbean. Music and the Revolution. Whether I like it or not, there are big roots inside of me. Beat's percussion arrangement features a mixture of Son Montuno and guaguanco, two Cuban rhythm styles, and a disco drumbeat not unlike those heard in the '70s.
Songo, a style of beat played on conga drums, is what provides the vivacious Latin sounds in Conga, while a straight-ahead funk beat on the trap set drives the song home. Bands such as Los Irakeres and Los Ban Ban, which played in Cuba after the revolution, were some of the first bands to add the American trap-drum set to traditional congas, bongos and timbals. Their advances inspired Garcia's rhythm, but Cuba's political struggle is not something the emigre wants to approach in his music.
I don't think that I should choose sides, I should just write music. Garcia speaks for the band, as well, when he says: "We believe that music is not political.
A large number of former black slaves, recently liberated after the abolition of slavery in went to live in the slums "solares" of low class neighborhoods in Havana, and numerous laborers also arrived from all over the country and some rural areas, looking to improve their living conditions. Many of them brought their Afro-Cuban rumba traditions, and others brought their rumbitas and montunos. It was in Havana where the encounter of the rumba rural and the rumba urbana that had been developing separately during the second half of the 19th century took place.
After trovador Sindo Garay settled in Havana in , many other trovadores followed him hoping to obtain a recording contract with one of the American Companies such as RCA Victor and Columbia Records. They brought their repertoires of canciones Cuban songs and boleros that also included rumbas, guarachas and rural rumbitas. He said: 'the sones that were composed at that time were nothing more than two or three words that were repeated all night long.
In the Havana neighborhoods, the son groups played in any possible format they could gather and most of them were semi-professional. One of those groups, The Apaches, was invited in to a party held by President Mario Menocal at the exclusive Vedado Tennis Club, and that same year some members of the group were reorganized in a quartet named Cuarteto Oriental.
In , the Cuarteto Oriental recorded the first son documented on the catalog of Columbia Records which was entered as "Pare motorista-son santiaguero". In , the Cuarteto Oriental became a sextet and was renamed as Sexteto Habanero. This group established the "classical" configuration of the son sextet composed of guitar, tres, bongos, claves, maracas and double bass.
Abelardo Barroso, one of the most famous soneros, joined the group in Popularization began in earnest with the arrival of radio broadcasting in , which came at the same time as Havana 's reputation as an attraction for Americans evading Prohibition laws. The city became a haven for the Mafia , gambling and prostitution in Cuba , and also became a second home for trendy and influential bands from New York City.
The son experienced a period of transformation from to , when it evolved from a marginal genre of music to perhaps the most popular type of music in Cuba.
A turning point that made this transformation possible occurred when then-president Machado publicly asked La Sonora Matancera to perform at his birthday party. In addition, the acceptance of son as a popular music genre in other countries contributed to more acceptance of son in mainstream Cuba.
The instrumentation was expanded to include cornets or trumpets, forming the sextets and the septets of the s. Later these conjuntos added piano, other percussion instruments, more trumpets, and even dance orchestra instruments in the style of jazz big bands. Its development constitutes an example of the process that the trovadores usually followed until they became soneros.
They synthesized the style of the sextets and septets, adapting it to their ensemble. The different rhythmic layers of the son style were distributed between their three voices, guitars and maracas.
Cueto plucked the strings of his guitar instead of strumming them as it was usual, providing the patterns of the guajeo in the treble range, and the syncopated rhythms of the tumbao on the bass strings. The counterpoint was completed by the first guitar, played by Matamoros. In , they travelled to New York with a recording contract by RCA Victor, and their first album caused such a great impact in the public that they soon became very famous at a national as well as an international level.
They were hardly the typical Latin hit-parade singles, however. At the session Cachao played a spontaneous tumbao rhythmic pattern that would be his signature from then on. This jam session, serving as Volume 4 of the series, would take on mythic proportions over the years. With his inventive playing and gregarious persona, Fajardo brought mid-century swing to the flute and violin-dominating sound of the typical charanga band format.Dec 16, · The rhythm section of th e N ew Trier H igh School Jazz Ensem ble (W innetka, Illin ois) and Jim Warrick, Coordi nator of Jazz Studi es. 2 Glossary of Latin Music Terms BO LE RO (b o h -L E H -ro h) Is a L a tin b a lla d a n d it is n o t to b e co n fu se d w ith th e M a u rice R a ve l co m p o sitio n o f th e sa m e n a m e.