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Yaroldy Abreu Robles is one of the talents of the new generation present in Cuba

Yaroldy Abreu Robles was born on February 22, 1977 in Sagua de Tánamo, Holguín, Cuba.

Excellent percussionist and arranger. Among the many talents of the new generation of Cuban experts in Cuban rhythms of French-Haitian origin and knowledge of Afro-Cuban folklore, Yaroldy is an imaginative and expressive percussionist, with great technique and virtuosity, with an original style.

Yaroldy Abreu Robles es uno de los talentos de la nueva generación presentes en Cuba

A member of a new batch of Cuban percussionists, he stands out for his genius and mastery, to hear him play is an enjoyment for the senses.
He radiates vitality and joy, his hands seem to fly and at the same time caress the drums causing a magical and contagious effect on those who listen to him. He is currently one of the members of the Maestro Chucho Valdés Quintet.

He grew up in an environment rich in traditions and with his grandmother he learned about the activities of Tumba Francesa de Bejuco.

This is an association of solidarity that preserves and enhances the folklore of French-African-Caribbean origin through cultural recreational meetings, and especially the celebrations organized by the slaves of Haiti.
He is not a great connoisseur of the Yoruba culture, he is not a believer, but he feels attracted by the symbolism and the music of the magic Afro-Cuban religious cults.

He began studying guitar as his first instrument at the Casa de la Cultura. Then at the age of nine he began classical percussion at the Escuela Vocacional de Arte de Holguín and in 1996 he entered the ISA (Instituto Superior de Arte) in Havana, where he graduated in 2001. Sound in the whole range of percussion of academic character and those of the Afro-Cuban tradition.

Yaroldy Abreu Robles Pintura por la Artista Inés Garridos

The first band where he played was called Son de Sagua, in which he played guitar with a mixed repertoire. His debut was with percussion, bongo in several groups and then with a wider range of instruments.

He began working with the group Piapá, doing experimental percussion, and a classical percussion quintet.

Also with dance music groups such as Pupy and Los Que Son Son and others. In 1997 he became a professional with Maraca and Otra Visión internacional, in 2000 he joined Irakere and in 2001 he joined the quartet of Chucho Valdés, the great protagonist of Cuban music in the last forty years as composer, director and discoverer of talents.
Among the young Cuban percussionists who continue to renew the grammar and pronunciation of the Afrolatino tumbadora in jazz, one of the most influential names is the thirty-one Yaroldy Abreu, whose point of reference is the work of the great immortal masters such as Chano Pozo, Tata Güines, Mongo Santamaría, Jorge “El Niño” Alfonso and Miguel “Angá” Díaz.

Discography in which he has participated
Yaroldy Abreu Robles

Gilles Peterson Presents Havana Cultura – New Cuba Sound Año 2009

Gilles Peterson Presents Havana Cultura 2010

Gilles Peterson Presents Havana Cultura Remixed 2010

Chucho Valdés & The Afro-Cuban Messengers 2013

Miguelito Cuní recognized among the best soneros of Cuba

Miguelito Cuní. Pinareño recognized among the best soneros of Cuba, who shared the stage with Benny Moré, Arsenio Rodríguez, Félix Chapotín, Richard Egües, Enrique Jorrín, among others.

Miguel Arcángel Conill, better known as Miguelito Cuní (Pinar del Río, May 8, 1917 – Havana, March 3, 1984), was a Cuban music singer. He was one of the emblematic voices of Cuban son in the 1940s and 1960s.
He was born in Pinar del Río, the westernmost province of the island of Cuba, into a humble family.

Miguelito Cuní Pinareño reconocido entre los mejores soneros de Cuba

During his school days he dedicated himself to the exercise of minor trades to help support the family. In 1932, at the age of fifteen, he began as a vocalist in the group “Los Carameleros”.
Soon after, he was the vocalist of Septeto Lira, Septeto Caridad and other groups in his province.
In 1938, already in Havana, he joined Arsenio Rodríguez’s group, and also worked actively with the orchestras “Melodías del 40” and Arcaño y sus Maravillas, making recordings and performing live and on the radio.

During the forties he developed an intense artistic life, he lived two years in Panama and in 1949 he settled in New York, as director of the orchestra of trumpeter Félix Chappottín.

He worked with Cuban music icons such as Beny Moré and in 1956 he traveled to Caracas to work with the “Bárbaro del Ritmo” with the group “La Tribu”. In 1960 he returned to New York, where he made several presentations, including the famous “Palladium”.

He returned to Cuba in 1966 where he founded his own group.
He participated in the film “Nosotros, la música” and other documentaries.

Some of the melodies that reached popularity in his voice were Con maña se rompe, No hay amor sin caridad, Viejo Socarrón, Nos estamos alejando, Canallón, Quimbombó, Yo sí como candela, Ay qué Canuto, Ya tú ves campeón, Cuento na’ ma, Mi son, mi son, mi son, mi son, Alto Songo, Canto al monte, Cuchillo para la piña cubana, Sacando palo del monte, Camina y prende el fogón, Rompe Saragüey, Convergencia, La protesta de Baraguá, Todos bailan con la guajira, Cárdenas, Guachinango, El carbonero, among others, most of them recorded with the group Chappottín y sus Estrellas, a group with which he achieved great projection and in which he sang until his death.

In his last recording he interpreted the bolero “Lágrima” from the long-playing record entitled “De nuevo Arcaño”. His last trip abroad was to Mexico in 1982.

Composer

Besides being a singer, he ventured into the world of musical composition, of his authorship are cited: Congo africano, Ay mamita!, Batanga africana, A bailar con la guajira.
Sones montunos from the late 1950’s, the boleros: Lloró Changó, Toque santo, Las ansias mías, A ti, Benny Moré.
And the guaracha “Esto no se ve”, among other titles.

He died in Havana on March 3, 1984, three months after his dear friend and companion of countless days, Félix Chapotín, who had passed away on December 21, 1983.

Tribute

Miguelito Cuní was admired by all those who knew him, highlighted by all his friends and close ones as a man of excellent human qualities, in homage to his trajectory the Commander of the Revolution, Juan Almeida composed the lyrics “Este son homenaje”, which was interpreted by the singer-songwriter Pablo Milanés.
In the artistic field, he deserved the recognition of his colleagues and thousands of admirers, and in the personal field, those who treated him remember him as a man of impeccable words and good speech, Miguelito Cuní was a true Creole gentleman.

Source: Ecured

Kizomba as a result of war and colonization

The fight for Angola’s independence was a long and difficult struggle that endured for several decades. The country was colonized by Portugal in the 16th century, and for centuries the Portuguese imposed their culture, language, and political system on the Angolan people. However, the Portuguese colonization also led to the exploitation of the country’s resources, the forced labor of its people, and the suppression of its cultural identity.

In the mid-20th century, there came a wave of anti-colonial movements across Africa and Angola was no exception. The Angolan people began to demand their right to self-determination and freedom from colonial rule. In 1961, the National Front for the Liberation of Angola (FNLA) conducted a guerrilla war against the Portuguese, followed by the People’s Movement for the Liberation of Angola (MPLA) and the National Union for the Total Independence of Angola (UNITA) in the following years. The struggle for independence was marked by heavy fighting, political instability, and international intervention, but in 1975, Angola finally got its independence, ending over four centuries of Portuguese colonial rule.

Angola, officially known as the Republic of Angola, is a country located in southwestern Africa. It is known for its rich culture, vibrant music, and stunning natural beauty. One of Angola’s most famous cultural exports is kizomba, a popular dance and music genre that originated in the country and has spread to other parts of the world.

Angola has a long and complex history, marked by centuries of colonization, slavery, and war. The country was colonized by Portugal in the 16th century and remained under Portuguese rule until 1975, when it got its independence. The legacy of colonialism and the struggle for independence have had a profound impact on Angola’s cultural identity, including its music and dance traditions.

Kizomba, which means “party” or “celebration” in Kimbundu, one of the Bantu languages spoken in Angola, emerged in the 1980s and 1990s as a fusion of Angolan semba music, Caribbean zouk, and other African rhythms. Semba is a traditional dance and music genre that originated in Angola and is characterized by its joyful tempo, complex rhythms, and energetic movements. Zouk is a popular dance and music genre that originated in the French Caribbean and is characterized by its slow and sensual tempo, soft melodies, and romantic lyrics.

Young woman dancing kizomba

Young woman dancing kizomba

Kizomba music, in contrast to semba, is characterized by its slow and sensual tempo, soft melodies, and rich harmonies. The lyrics of kizomba songs are often sang in Portuguese, the official language of Angola, and deal with themes of love, romance, and social issues. Kizomba dancing is characterized by its close embrace and smooth, flowing movements. It is often danced in pairs, with the leader guiding the follower in gentle steps and turns.

Kizomba became popular in Angola in the 1990s, especially in Luanda, the country’s capital. The dance quickly spread to other parts of the country and became an important part of Angola’s cultural heritage. Kizomba dance parties, known as “kizombadas,” were held in clubs, bars, and community centers, attracting people of all ages and backgrounds.

In recent years, kizomba has gained popularity in other parts of the world, particularly in Europe, where it has become a popular social dance. Kizomba festivals and workshops have been held in many countries around the world, attracting dancers and music lovers from different cultural backgrounds.

Kizomba is not only a dance and music genre but also a cultural expression that reflects the history and identity of Angola and its people. It is an important part of the country’s cultural heritage and a source of pride for Angolans around the world.

Maelo y su Klan want to bring tropical rhythms to the whole world

Maelo y su Klan is the latest project, and one of the dreams, of the producer with more than twenty years of experience, Johnny Ysmael Salaverria Dicurú. The popular “Maelo” as his dearest friends call him, continues his career by working and pouring his heart into this project. With them the first genre fusion between Son and Kizomba is known. In the following lines we will talk about Maelo and his most beloved project.

Who is Maelo?

Johnny Ysmael Salaverria Dicurú was born in San Juan parish, in Caracas, capital city of Venezuela, where he spent his childhood surrounded by the joy of the Caribbean “soneros and salseros”. He was a child when he first expressed his interest in one of the most popular tropical Caribbean rhythms, salsa. Part of his influences came from his uncle, Héctor Bruno Dicurú.

Ysmael D´La O, is his artistic name on stage and producing, but his closest friends call him “El Tiburón de la Salsa”. He left with $80, and a luggage full of dreams, to look out for adventures abroad. His destiny was Tenerife, where he quickly earned the love and respect of the natives, and was embraced as an adopted son.

Maelo as a producer has worked with renowned soloists and groups, from all over the world. To name a few: Nicky Jam, El Binomio de Oro, Tito Rojas, Oscar D’León, Porfi Baloa, Tony Vega, La Dimensión Latina, Ray Sepúlveda, Guayacán, El Grupo Niche. As a promoter and producer of events, one of his greatest achievements was El Gran Combo De Puerto Rico who celebrated their 50th anniversary, and visited Europe hand in hand with him.

We can call Maelo, the cultural ambassador of Caribbean rhythms, making more than 30 countries listen and enjoy them. He was the first Latin American to have 100 continuous virtual conversations during the pandemic, a time when creativity was the escape of many artists.

Among his awards and recognitions is being nominated as International Producer of the Year in 2020, Producer and Promoter of the Virtual Euro Festival in the 20/21 edition. But soon more will come, since Maelo’s talent is infinite.

Defining Maelo and his Klan

The band stands out in danceable rhythms such as: Son, Charanga, Guaguancó, Salsa, Tropical, Latin Jazz and a lot of fusion with an original sound, which is inspired by African rhythms. Of course, with the influences of great masters of the old tropical school. In this way, a combination is created that generates a modern sound, worthy of the new generation. But what most characterizes this Klan is the creation of the fusion of the genres between Son and Kizomba.

The works of Maelo y su Klan have the collaboration of the renowned arranger and director of Billo’s Caracas Boys, the Venezuelan Julio Cesar Estrada. Also by Paquito Barón, ex-member of the Orquesta Bronco of Venezuela, in the musical production.

The Klan has all the merits and the support of the Anglo-Saxon and Asian public. One of his productions entitled ¡Cultura viva! Fusion is positioned as the new sound in Afro-Caribbean music. Maelo not only puts his talent for the band, but also puts all his knowledge of the tropical rhythms of Latin America, as well as its movements through Europe and Asia. Let’s hope that the journey of Maelo y su Klan will be a very long one, full of great successes, so that they can continue to please the public that loves these tropical rhythms.

Almost two years of Leon Gast’s departure to another plane

Who was Laon Gast?

On March 8, 2021, we received the deplorable news of Leon Gast‘s death, who was a very notable American film director, producer, cinematographer and editor who was the director of the film based on the Fania All Stars, ”Our Latin Thing’‘. The unfortunate demise occurred when the director was 85 years old and the news was reported by friend and colleague Barbara Kopple.

Given the important contributions made by Mr. Cast offered to Latin music during his lifetime, we did not want to waste this opportunity to pay homage to his work through this material. Next, we will talk a little about his life and everything achieved both porfessionally and personally.

Leon Gast was the creator of ''Our Latin Thing'' — Leon Gast was the creator of ”Our Latin Thing”

A little bit of his beginnings

Leon Jacques Gast was born on March 30, 1936 in New Jersey, studied at Henry Snyder High School and graduated with a degree in Dramatic Arts at Columbia University. During tha time of his life, he worked alongside writer and broadcaster Lowell Thomas in the television series ”High Adventure”, which meant one of his first triumphs at a professional level, but it definitely would not be the only one.

Another reason why Gast began to be so well known was thanks to his talent for photography, which would begin to be recognized in a number of famous magazines and print media such as Vogue and Esquire. In that regard, the producer began to create covers for the famous Fania All-Stars, which led him to create ”Nuestra cosa latina”. This documentary has been one of the greatest film projects that the filmmaker has carried out and many consider it a very important contribution to the consolidation of salsa as the cultural movement that it would later become.

Many people consider that Gast contributed a lot to the salsa genre as a movement

Our Latin Thing

”Our Latin Thing” is a documentary film that consisted in portraying how the Latin music scene in New York City was like in the 1970s. The material basically focuses on the concert made by the Fania All Stars at the Cheetah nightclub in August 1971. For many, this event marked the birth of the salsa genre as a movement.

The concert attracted two thousand people and resulted in the albums ”Live At The Cheetah Volume 1” and ”Live At The Cheetah Volume 2”, which were very well received by fans of that time. The event was the consecration of the Fania All Stars as one of the most famous musical groups in Latin music history.

In addition to that, Cast accompanied the famous orchestra and many other Latin music artists to Africa in order to record each and every one of their performances during the Zaire 74 Festival.

The film has been taken by many institutions as a reference to continue promoting salsa and music in general from its release to today.

Artwork for ''Our Latin Thing'' — Artwork for ”Our Latin Thing”

Other hits and details about Leon Gast’s life

Another of the biggest successes of this famous filmmaker was ”When We Were Kings”, which was a film released in 1996 and focused on important events for the United States such as Waltergate, the resignation of President Nixon, activism against racism, sports, mythical boxing matches and much more.

Another important project conducted by him was ”Manny”, which was focused on world famous boxing champion Manny Pacquiao’s life and his most important moments.