Los tambores y cantos de Chano se pueden escuchar en las grabaciones de Gillespie. Los visitantes se reunieron en una descarga informal con jazzistas s del grupo Irakere, en el cabaret Caribe del hotel Habana Libre.
Por la noche se presentaron Tito Puente - Homenaje A Beny (Vinyl el teatro Mella en El Vedado. La visita fue positiva para el jazz cubano.
Eddie palmieri? Arsenio, asere. Esto merece una nota de palabras. Te invito a que escribas esa nota de 3. Gracias por la oferta Juan LP. Lo tradicional no se encuentra encima del hit parade en Cuba, pero tampoco se ha olvidado. Para nada. No sabias que una version del conjunto de Chappotin hace giras internacionales? El son no se fue de Cuba a pesar de los experimentos musicales Pero antes del hablar de las canciones, repasemos un poco el contexto.
Un negro que se fue al cielo. Y San Pedro como es tan bueno. No hay que ser demasiado LP para entender que, en este caso, el verbo limpiar implicaba ser asesinado por no seguir las reglas establecidas por los blancos. By September he was back in Cuba, but not for very long. His parents made the final move to New York in late From that point on, his life would revolve around popular American culture, and it was in that most difficult of places, New York, that he would develop as an artist.
His first instrument was the conga drum, which he picked up while still in High School, emulating the sounds which he heard on records by Mongo Santamaria, Tito Puente and Joe Cuba. He was like a diamond in the rough, and listening to these masters helped him to polish that diamond. At the tail end of the Sixties he began to perform with as many groups as he possibly could, in order to gain the experience he needed. During the early part of the Seventies Chico played with various small groups, mostly in small clubs and bars, totally unsatisfied, as deep down inside he longed to play with larger ensembles, such as those led by Machito, Puente and Rodriguez.
These three were the last of the big bands whose popularity was waning at the time. Midway through the decade, as a new era in Cuban music was being ushered in he once again contemplated singing, and it was through a quirk of fate that he finally made the switch. It happened in the following manner. While opening up for vocalist Tito Rodriguez's band at a ballroom in Newark, Chico's vocalist failed to show up and he wound up singing lead and playing the conga drum, a task which he found overwhelming.
Noticing his potential, Tito approached him at the end of the set and suggested that he pursue a career as a vocalist. Although he felt honoured that such a renowned artist would take notice of him, he continued to play the congas, which he loved. Although they remained in the back of his mind, Tito's advice went unheeded for Tito Puente - Homenaje A Beny (Vinyl couple of more years, until around As fate would have it, there occurred a second boom with the "charanga" style bands, and another quirk of fate led Chico to a club called La Mancha, which was located on 14th Street, near Union Square.
As he passed La Mancha, he noticed a lot of "Latin" looking people going upstairs, so he asked someone what this place was.
They told him it was a Latin music dance club. Seeking work for his Latin jazz sextet, he decided to go upstairs and check out the ambience.
Boldly, he approached the bandleader and asked to sit in on congas. The leader said no, but asked Chico if he could sing, to which he replied "Yes". On the bandstand that night was the legendary bassist Israel Lopez Cachaowho later on spoke to Chico and matter-of-factly echoed Tito Rodriguez's words, even suggesting to him that he had the chops to be a lead singer.
This time he heeded the elder's advice, and decided right then and there that this was what he wanted to do. With this band he was initially a "corista", but he quickly picked up the art of playing the guiro, an instrument that he had never paid much attention to, but which was essential to the charanga sound. He learned to play it from one of the masters of that instrument, Osvaldo "Chihuahua" Martinez.
He is also an excellent maraca player, a task that is very much underestimated these days. For years he listened to the artful playing of Felipe Neli Cabrera, from the Sexteto Habanero, considered the man who put the instrument on the musical map. During this period he also composed many original numbers, which have been recorded by artists from Mexico to Sweden. He also LP for a brief time with publisher and artist Izzy Sanabria, designing the popular magazine Latin New York.
With this recording, he presented a colorful album of Afro-Cuban music, revolving around the theme of the drum, with skilful and sophisticated arrangements, exciting and romantic moods, which transported the listener to a faraway and forbidden land, just ninety miles from Key West. It is probably his most typically Cuban album. His latest endeavour is the formidable Orquesta Palomonte, an all-star big band that features five saxes, four trumpets, two trombones, three singers and a full Afro-Cuban percussion section.
His presentations are not limited exclusively to big band dance music, and feature many colorful and diverse types of aggregations, such as a rumba group, a son sextet and a Latin jazz quintet. He has released seven albums, both as a solo artist and with various bands, including the Bronx-based group Nosotros and the Afro-Caribe Band, which he broke up in On that night, Chico delighted dancers and listeners alike with his powerful voice and his formidable 18 piece orchestra, breathing new life into the classic arrangements of those arrangers whom I have mentioned previously.
He has performed recently with Charanga Soleil and is featured with Junior Rivera's Cuarteto Son at the favorite Greenwich Village restaurant "Cuba", as both vocalist and percussionist. He is also the official conga player and Latin vocalist for the Ken Gross Orchestra. Puente switched to RCA Victor Records and between and he released a string of albums on the label, including the notable Cuban Carnival and the bestselling Dance Mania.
He remained with him untilwhen he departed to pursue a solo career and released a series of albums on Fania Records. At the beginning of the 60s, the pachanga style took over. El Rey Bravo was essentially a descarga set: an untypical Puente album, it stands as one of his strongest recordings.
He garnered another Grammy Award for the album. However, his work with his Latin Ensemble woefully sank into tired recycling of his earlier material. Although the album was purported to be his th, the actual total of his recordings by exceeded that figure. Album) from Muze. Detailed Site Map of Links.
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