Im 38 Weeks Pregnant And My Poo Is Black

latinjazz HISTORY

is absolutely no doubt that the African American Jazz is the expression par excellence just as appointing the Salsa - Son direct derivation of Montuno and different types of Cuban Rumba - as the most important musical result of the English-speaking Caribbean, also expressed then sometimes the latinjazz is a combination of both elements because they have the same root: the African continent and the slaves brought to the New World.

The first Africans arrived in America was in 1518. due to the repeated requests of the famous Fray Bartolome de las Casas (the so-called apostle of the Indians). The King of Spain heard their prayers on behalf of the native inhabitants of America and then approved the marketing of black Africans. This unfortunate trade was conducted by Genoese merchants, who bought them in Lisbon, on the basis of a fee of 4,000 slaves annually. That's when the first human cargo arrived in Cuba, landed in subhuman conditions being a few hundred men and women from Guinea and Gold Coast, now the Republic of Ghana.

hundred years later, in 1619 arrived at the port of Jamestown, a ship of Dutch origin - now the state of Virginia - the first human contingent to North America. The African population was divided into three blocks, one moved to what is now the United States, the second to Central America and the Caribbean, and the third mostly to what is now Brazil.

These people belonged to different tribes - mainly Yoruba, Mandingo, dingoes, wambesis - speaking different languages \u200b\u200band had different musical cultures, which were mixed together with the indigenous, and with the news of their "masters "giving rise to a spectacular musical side now enjoys in the world.

musical syncretism which led to latinjazz happened in New York. This cosmopolitan city is the larger cultural world of the world, there arose the modern jazz - although his birth was unquestionably in the city New Orleans, Louisana State - and current salsa, which is "married" by the great Cuban musician Mario Bauza, who had emigrated to America around 1920.

latinjazz The birth was almost an accident. In 1943, with Mario Bauza on a presentation with the Orchestra of Frank Grillo "Machito" finished playing a song, and while the band's musicians seeking the score of the next piece, the pianist Luis Varona and bassist Orestes Julio Andino began playing improvised music notes, in order that the public continue dancing on the track. The rest of the percussive base, including the legendary Ubaldo Nieto and Francisco Aguabella, they followed the compass. Subsequently, the metals did their thing.

The next day, during the trial, Bauzá Orestes and Julio asked to repeat the notes they had played the day before, and as the drum was broken, the rest of the musicians received verbal instructions on what to play . Upon completion of the piece, the orchestra had developed an array of jazz and Latin ingredients. This piece is considered one of the two anthems latinjazz, which bears the name Tanga, whose translation of the Yoruba language means marijuana.

Bauzá then suggests the incorporation of American musicians, including Eddie Bert, trombone, Doc Cheatham, trumpet, and even one of the greatest geniuses of jazz, Charlie Parker on alto sax. Also included gender-related arrangers and willing to participate in the musical marriage of jazz and Latin. Subsequently assumed the form factor of the Big Band to Glenn Miller, Duke Ellington, Count Basie, Jimmy Lunceford, except for two things:

battery exclusion, including replacement timbales, congas, bongos The bell and the maracas, providing all its Caribbean flavor

The "Shufle" is replaced by the Latin syncopation, which is governed by the key. The "Shufle" is the basic rhythm of Swing.

Another significant event in the history of latinjazz was the appearance in the New Yorker's legendary music scene Cuban conga drummer Luciano "Chano" Pozo. Chan is in New York invited by the singer Miguelito Valdez to 1,946. After working with several Latin bands very well known, Mario Bauza said that his friend was about to start a band and wanted a drummer who knew of Cuban rhythms. That friend was Dizzy Gillespie. Upon arriving to Mario and Chano Dizzy's house, Bauza said this: "I have a boy for you, but does not speak English." "No matter" said Gillespie : "let him who touches" And when he did he was hired immediately.

On 29 September 1947, after a few concerts in small venues, it was the debut of the new band of Dizzy Gillespie. The setting was the Carnegie Hall, the famous concert hall at the corner of Seventh Avenue and 57th Street West. Chano Pozo was the hero of the night with a spectacular show, in which combined percussion touches Debutant fast at times when the orchestra kept the Cuban rhythm. This piece was memorable Cubana Be, Cubana Bop.

On top of that, he played some Afro-Cuban songs in the Yoruba language, in honor of the Saints of the Lukumi religion, which rocked the audience. Gillespie later said: "I do not speak Castilian, and he does not speak English, but both speak African." Gillespie Chano and other composers latinjazz anthem, Manteca, which has been covered in a huge number of occasions.

Another important development was the emergence of Palladium, located in the heart of Manhathan, on 53 and Broadway Street, 200 meters from Radio City Music Hall, 300 Carnegie Hall, and ownership of Maxwell Hyman. The Palladium was doomed to bankruptcy when the manager was James Moore, who started the organization called "Latin Nights" in the room called "Blen Blen Club." These Latin dance began in late 1947 with the Machito Orchestra.

mid-1948, the Palladium was unable to accommodate the public who wished to enter. This caused the whole place is transformed into a Latin club, appearing two of the greatest exponents of Caribbean music any time: The two Titos: Rodriguez and Puente, who had begun his career in the orchestra of José Curbelo.

Ernesto Javier Puente was 28 then, and was born in East Harlem in New York, the son of immigrants Ponce, who arrived in the Big Apple when Tito was 4 months pregnant. Pedro Pablo Rodriguez, 28, also was born in Santurce, Puerto Rico. The first was vibraphonist and percussionist graduate of the prestigious Julliard School of Music of New York City, the second was a singer with an extraordinary sense of rhythm when singing guarachas and boleros, having to turn some knowledge of percussion. By leaving the band Curbelo, Tito Puente organizes its Picadilly Boys, and Tito Rodríguez their Mambo Devils, but on reaching the Palladium, both orchestras are naming their names.

In the 60's, removed Palladium, makes her grand entrance the Rock, and exceptions of Cal Tjader, Mongo Santamaria and Tito Puente himself, the latinjazz as the Jazz fell to a certain oblivion.

By the year 1978 is when we can say that latinjazz reappears, this time repowering Cuban supergroup Irakere by, who began to show the world that Cuba is the birthplace of rhythm in the Caribbean. This impressive orchestra, conducted by Jesus "Chucho" Valdez, son of memorable Casino pianist Bebo Valdez Beach remains a unique paradigm in the music Afro-Bena.

Born in 1972 of a division of the Orquesta Cubana de Musica Moderna, from the beginning, Irakere, was released by the strength, quality, brilliance and personality of all its members. In this band famous soloists have emerged as Paquito D'Rivera, Arturo Sandoval, Jose Luis Cortes "El Tosco", José Miguel Crego "El Greco" Carlos "Anga" Diaz, the spectacular "Reyes de la Timba" NG La Banda and ultimately Emsemble Havana.

Similarly, Tito Puente, in the year 1984 recorded the album "On Broadway" to be his first recording where he played only latinjazz, winning the Grammy for "Best Latin Album" that year.

In the course of many years, to latinjazz assumed his role as a major jazz events in the world, enriched by the arrival of renowned salsa to their gender. Recent recordings of Eddie Palmieri, Ray Barretto, Francisco "Papo" Lucca under the new label Tropijazz, have given a huge boost to the music.

In Venezuela, in Recent years have cultivated excellent genre for musicians like Alberto Naranjo, Andy Duran, Victor Cuica, Frank Hernandez, among others.

Similarly, the emergence of new great musicians have injected new vitality into latinjazz, as Cubans Juan Pablo Torres (trombone) and Jesus Alemany (trumpet), the Puerto Rican Giovanni Hidalgo (percussion ), David Sanchez (alto and tenor saxophones) and Humberto Ramirez (trumpet); Yorkers Charlie Sepulveda (trumpet), Hilton Ruiz (piano) and David Valentine (flute), Dominican Michel Camilo (piano), Panamanian Danilo Perez (piano) and the Venezuelan Eduardo "Ed" Calle (alto and tenor saxophones), Orlando Poleo (percussionist), Alfredo Naranjo (vibraphonist) and Rodolfo Reyes (tenor and baritone saxophones) with Orchestra "Salsa Jazz Band."

These and many other great performers have made the latinjazz is one of the most listened to genre in the world of jazz.

Source: www.analitica.com

Beats Sydney Gay Toilets

HISTORY OF SALSA

Introduction : In the '60s, a wave of Cuban rhythms fused with jazz. Izzy Sanabria, a graphic designer in studies of Fania, brings them together under a single name to avoid confusion and to sell the concept more easily. chose salsa, a term that the bands were encouraged to increase the power of acting. Salsa music has a certain structure: introduction, melodic phase, phase of rhythm or percussion montuno call, return to the melodic and final phase. The exclamations are used to announce phase changes, especially in the montuno , which is the more energetic rhythm section.

France, Spain and the American colonies : an ancient history of salsa is danced contrandanse at Versailles, which became the English court, and thence to the Caribbean, during colonization, and the name of "contra ." The contradanse arrived in Haiti and contradanza to Havana.

Another factor in the origin of salsa rhythms are what African slaves Africans maintained their religious rites, conservation made possible by the assimilation of their gods, the orishas , Catholic saints.

is also important in the formation of salsa rhythms, immigration from Haiti in Cuba. Introduced a first wave contradanza Creole Creole version of the contradanse with African influence in the implementation and interpretation. The second wave of immigrants arrived in the mid-nineteenth century from the Republic of Haiti, thus contributing to the birth of Cuban are.

African rhythms, music from Cuba : vocal tradition and the rhythms of drums are a central part in social and religious practices of Africans. An important aspect is the shared musicality. One of the musicians play a specific and unique rhythm (the key ) and the rest play together as a polyrhythm. The polyrhythms are an essential component of salsa music. The most common keys are are of rumba and samba, all key African descendants. cry Chorus- is another legacy from religious ceremonies, where the songs were led by a social or religious leader.

The method of composition in Cuba in the second half of the nineteenth century varied according to geographical location. In the East , music was based on a rhythmic progression of simple chords that accompanied letters makeshift obeyed the key . All these are features that are present in the sauce. Western music was more European. Instruments reminded those found in French orchestras. This conservation of structure orchestral instruments and musicians specializing later facilitate the entry of Cuban jazz music.

When Cuba became an independent colony, what was a geographical difference, became a social stratification in the capital of European music for the white upper class and the music of East for underclass blacks. Cuba

Mestiza: The Caribbean cinquillo came to dance and Havana Cuban through Creole quadrille. The dances of these musical forms were no longer activities group to become a dance partner. The individualization of the dance set the stage for the introduction of African movement in the derivatives of the contradanse . The mixing occurred in the dancing was more acceptable to communities of color by the conservative ruling elite.

American influence during the Batista dictatorship brought performances by American artists, paving the way for the influence Jazz in the sauce. The mambo became recognized as a genre in itself in the '40s. The chachachá , another descendant of the new rhythm section, unlike the mambo was still played by brass bands (flute and violin) and maintained an average time. The big change was the introduction of the conga . Both styles quickly spread to the rest of the world.

Revolutionary Cuba after : Fidel Castro came to power in 1959. The U.S. embargo against Cuba could not prevent it from escaping new rhythms, the most notable being Songo and Mozambique . But reduced the Cuban presence on the world stage. These circumstances have three new centers in the sauce: New York, Miami and Colombia.

In New York, immigrants from Puerto Rico leaving Puerto Rican folk music such as pump or full-except perhaps Willie Colon - in favor of the Afro-Cuban music. Miami was the destination chosen by many Cuban exiles. The sauce is relatively politicized in Miami. Carnival and the promotion of salsa in Miami from largely right-wing political activism. There, the sauce is a symbol of desire: a Cuba without Castro. In Colombia, the great weight of the country as a sauce you can see the vast contribution of talent and rhythmic innovations. Cuba prepared what has become another major contribution to the history of Salsa, Timba the .



Source: www.salsa-in-cuba.com

Desert Eagle Gold Plated Cost

CHRONOLOGY OF SON

• 1888: born May 21 in Havana one of the most universal Cuban musicians, the author of over 300 works: Ignacio Piñeiro.

• 1894 born on 8 May who will eventually become one of the most important composers of Cuban music and creator of the legendary Trio Matamoros : Miguel Matamoros.

• 1907 November 18 came into the world in Siboney, a province in eastern Cuba, the best-known sonero late twentieth century: Francisco Repilado, better known as Compay Segundo .
• 1908: is said that this is the year they are officially comes to Havana in the hands of the National Army soldiers who, in a move the government of that time were displaced from the eastern the island to the western areas.

• 1913: born on 31 August in the province of Matanzas, Cuba, one of the most important soneros: Ignacio Arsenio Travieso Scull Arsenio Rodríguez. composer and tres player was one of the most important in the development and modernization of the son and is undoubtedly the player who sets the midpoint between the Cuban and New York salsa.
• 1916: organized the first professional group of sounds: East Quartet. That same year Alfredo Bologna bongosero test performed 6 recordings. Each contained a single item.

• 1917 On March 8, 1917 born in Pinar del Rio one of the greatest voices of Cuba soneras: Miguelito Cuni. That same year, is heard for the first time in a theater are Cuban. was with my notes are and occurred in the now defunct Alhambra Theatre of Havana.

• 1919 Wings 7 am Aug. 24 at the Pueblo Nuevo barrio of Santa Isabel de las Lajas in the province of Cienfuegos, was born who was the darling of Cuba: Bartolomé Maximiliano Moré, Benny Moré. It is formed as an offshoot of East Quartet, a group soneros emblematic of Cuba, Sexteto Habanero.
• 1922: Miguel Matamoros up one of the best-known tunes and versioned in the world: Son de La Loma.

• 1923: Sexteto Habanero The bass introduces modifying the traditional format sets are.

• 1924: formed in January in the city of Matanzas, Cuba, initially with a sextet format, the Sonora Matancera.

• 1925

1. May 8 join Miguel Matamoros, Siro Rodriguez and Rafael Cueto forming the legendary Trio Matamoros.
2. In Havana, the Sexteto Habanero made his first recordings, among which was the subject The hill of Bethlehem.
3. is made in Havana are the first national competition, winning at that time the Sexteto Habanero are with Cuban Tres cute.
4. begins with the Sexteto Habanero the musical career of another great singer: Abelardo Barroso.
5. is organized are the first set that incorporated the piano: the Sexteto Gloria Cubana. Tete Ovando was the pianist.

• 1926:

1. in Venezuela is presented Sexteto Bologna.
2. Maria Teresa Vera founded the Sexteto Occidente.
3. maestro Carlos in Paris publishes Corbolla Cuban sones Four work in four parts, the first piece of classical music are themed.

• 1927

1. In December, after a trip to New York, Maria Teresa Vera leaves the Sexteto Occidente being responsible for the bass player Ignacio Piñeiro, who called him ever since Sexteto Nacional.
2. Orestes López introduced the trumpet all
3. Sexteto Habanero Also features trumpet changing the makeup of all sonero classical sextet to septet.
4. March 24 in Rooff of Garden Plaza Hotel Moses Simons released his son-cry The manisero. topic that eventually would become a classic Cuban song.

• 1928: Antonio Machin played The manisero, song that would identify you to the latest days of his career.

• 1929:

The
1. are formally enters Europe through the American Exhibition in Seville, Spain when Ignacio Piñeiro involved with making soneros group diploma and silver medal with Suavecito issue.
2. The Septet Habanero travels to Tampa to participate in the filming of Hell port with Lupe Velez.
3. Rita Montaner The manisero popularized in Parisian theaters.
4. The flutist and conductor patterns Aniceto Díaz adjust musical piece then Breaking your routine, taking first danzón and elements are incorporated into the development of the subject making it loose for the dancer. Born on the danzonete.

• 1930:
  1. were published are the Reasons of Nicolás Guillén, classic in poetry and music literature from the Caribbean.
  2. is organizing the first National Federation Soneros Cuba.
  
  
• 1931
  1. April 4 is organized Anacaona fully integrated set of women, mostly sisters (The 8 sisters Castro).
  2. Miguel Matamoros up the bolero-son Lágrimas negras.
  
  
• 1932: George Gershwin are shooting a subject of Check Ignacio Piñeiro sauce for the development of its popular Cuban Overture.

• 1937:

1. was founded a dance bands with big band format most important of all the Caribbean La Orquesta Casino de la Playa. With the same orchestra Miguelito Valdés, Mister Babalu recorded two songs that would give greater fame: Bruca jungle Arsenio Rodriguez and Babalu Margarita Lecuona.
2. Francisco Repilado Compay Segundo was the first to record a 78 RPM in Cuba.

• 1939: Venezuela is presented in the Sextet Cuban singer.

• 1940:

1. is founded Conjunto Casino singer and director Roberto Espí. This set also featured the voice of Roberto Faz ranks.
2. public debut with Chano Pozo Azul group in the study giant CHR station, Cadena Azul. From there surprised the island running 5 congas at the same time.
3. Leonardo Pedroza organized in Caracas, Venezuela, Caracas Sonora.

• 1942: Arsenio Rodríguez founded one of the most important groups soneras Island Arsenio Rodriguez y su Conjunto All-Star. This group featured musicians like Miguelito Cuni, Marcelino Guerra, Felix Chapottín, Chocolate Armenteros, Lino Frías, Rubén González and Lili Martínez Griñán.
• 1945: comes to Mexico Matamoros Sexteto (an expanded version of the trio) composed by then by Benny Moré, Agustín Gutierrez, Compay Segundo, Siro Rodríguez, Rafael Cueto and Miguel Matamoros.
• 1951: Arsenio Rodríguez separated from his group and shipped to New York with the hope of finding a cure for congenital blindness so it affected him and his brothers. In that city joined Impeachment for musicians who were already there and formed a new outfit. That same year Chapottín Felix, one of the best trumpeters in the history of Cuban music, musicians reorganizes Arsenio all that remained on the island and founded the group Chapottín and its star.
• 1954: Kike Lucca organized in the city of Ponce, Puerto Rico, La Sonora Ponceña . Grouping that years later would he directs his son the pianist Papo Lucca.
• 1963: dies February 19 in Havana Benny the Barbarian of Rhythm. Without question, the greatest singer who was born in Cuba.

• 1969

1. March 12 death of the Maestro Ignacio Pineiro.
2. December 30, dies Cieguito Wonderful, Arsenio Rodríguez.

• 1971 died April 15 Miguel Matamoros.

Source: www.anapapaya.com