Search Results for: Cuban

Dance. The best of America United in a Single Project

Latin America / Cuba / La Habana

Since the 1950s, a very humorous genre called the casino dance was born in Cuba, a style based on dancing the Cuban music of the moment between couples. This lies in history since the fashion of Mambo and Cha Cha Cha in the most aristocratic clubs and in the fraternal halls of poor blacks of the beautiful island, they danced on Saturdays, Sundays or special parties on specific days, for the moment the rhythms sounded de la Aragon, Chapotin, Orquesta Casino, el Benni, among others, without leaving aside rhythms such as rock and roll, sounds of the time that fought for a space in the fans.

From the mixture and the dance relationship of those attending the clubs is born that change of couples in circular formation called the Rueda de Casino, a name that we will be developing in other editions of the magazine.

In America, especially in the south of this continent, Salsa Casino, as it is called in many places, has managed to lay firm foundations, much more than what is known in Europe or North America, in some countries becoming the reference number 1 of the Salsa dance modality. We have the best example in Venezuela, land of casinos par excellence, where we can add a great hundred dance schools nationwide, without leaving behind how strong it is in Colombia and Peru, among some countries that also use this discipline. as a strong influence on young and old.

It is incredible to see the great differences in styles and forms between the casinos in Europe and those in South America, but always the same concept, joining several couples to enjoy a good timba or a good son.

From the foregoing, the Cubashow Project arises, born with the primary objective of generating a training and development channel for the new generations that venture into the beautiful world of dance, mainly those linked to Cuban Salsa and its roots in popular music or traditional Cuban music, folklore and its Afro tendencies, all in relation to the strong wave of this discipline that is developing in the main capitals of many American countries.

BAILA QUE BAILA AMERICA a concept of union between southern countries to extend the dissemination of Salsa Casino in the continent brings together some of the best instructors from each country with the sole intention of conducting national and international training tours in all trends of the dances of Cuban culture, in this way we obtain from the best exponents classes, seminars, talks, forums, workshops and shows that can be viewed through the social networks of @BailaQueBailaAmerica the different schools, academies or instructors registered to the project.

Professional dance teams are structured based on their local projections, the work they do within each of their countries. An event of great proportions is expected for the month of June where we will be able to have the best instructors from all over South America together in a high caliber event, we just have to be attentive to social networks and future reports of this great magazine to join us. to this casual wave.

Habana Style. Dance Company “Where dancing is a pleasure”

North America / USA / Las Vegas

Habana Style

Founded by a professional dancer and choreographer, Yody Iznaga in 2001, to offer people who are passionate about latincaribbean and cuban music a place where they could learn such exotic dance styles and express themselves in dance body movements as its main objective. Habana Style Dance Company is one of the very few dance schools in LAS VEGAS which offer its public a complete portfolio with about 15 different latin-caribbean dance styles with an objective to enable the students to feel identified with what they are looking for in specific.

Yody Iznaga professional dancer and choreographer born in Cuba and educated through the authentic Cuban technique of modern dance created by the professor Eduardo Rivero Walker at a professional company Teatro de la Danza del Caribe (Theater of Caribbean Dance). Yody Iznaga knows to perfection about 15 different dance styles. He dances on TV channels and big and famous stages known in the world of salsa. Yody has choreographed and danced for artists like Marc Anthony, Victor Manuelle, La India, Maelo Ruiz, and others. https://habana.style

Habana Style - Social Photo 1 — Habana Style – Social Photo 1

Dance Classes at Habana Style Dance Company

Private lessons Private lessons represent the most accurate, effective and the fastest way to learn or master any dance style of your choice; since you can choose exactly what you would like to learn and the areas you need to improve. The dance studio is reserved only and exclusively for you and the instructor for the time of your scheduled session. This is also why you can fully enjoy and exploit the most out of the instructor’s time and attention which are completely yours during the private lesson.

Workshops Workshops are special dance classes taught by certified professionals with the main objective to develop and improve special dance abilities and to acquire original movements of a specific dance style. Members of Habana Style Dance Company learn through an authentic technique created by the dancer & choreographer Yody Iznaga. This authentic method focuses also on clean movements while it is easy to understand and acquire due to the high and professional level of teaching methodology typical for Habana Style.

Group Classes Group classes are designed for people who want to learn in an entertaining way how to dance and at the same time to meet people and to connect to people who have the same dance objective.

The classes are structured so that also people without a partner can participate in and enjoy the group classes. Students keep on rotating which allows them to improve their commands necessary for social dance. The group classes are designed to create a friendly environment and increase trust among participant; students are greatly encouraged to practice and demonstrate the knowledge acquired in the group classes on the dance floor at our social dance nights.

Habana Style - Social Photo 2 — Habana Style – Social Photo 2

Benefits of Dancing with Habana Style Dance Company

Habana Style Dance Company offers various benefits to its members while dancing Latin-Caribbean dances at the dance studio. Preparing and encouraging students to enjoy social dances anywhere in the world. On their way toward this goal, students have loads of fun, relieve stress, exercise, meet people with the same dance objective, and have constant participation in social events.

Members of Habana Style Dance School learn through an authentic technique created by the dancer & choreographer Yody Iznaga. This authentic method focuses also on clean movements while it is easy to understand and acquire due to the high and professional level of teaching methodology typical for Habana Style Dance Company.

Last but not least, Habana Style Dance School offers its members to join teams where they reach a very high level of dance including exotic movements within the social and professional dance through a long path of practices. What could be more beautiful and uniquely identifying than the exotic mixture of Salsa with Afro-Cuban rhythms and Cuban rumba within popular and social dances?

From Cuba El Septeto Son de Nipe come Abriendo Caminos (Opening Paths)

Son de Nipe. A musical septet born in the municipality of Antilla, it burst into the cultural world with an album of the In Situ label of the Colibri Record Production Company.

Antilla is the smallest municipality of the province of Holguin in Cuba and one of the smallest of Cuba, it was founded on January 21, 1925, it is famous from distant times for its beauty, legends and original aspect.

De Cuba El Septeto Son de Nipe vienen Abriendo Caminos

The group is formed by former musicians of the orchestra Brisas de Nipe of this municipality.

This project was born from the hands of Porfirio Núñez Cruz (Firo) who as Art Instructor at the Casa de Cultura Adelaida del Mármol of Antilla had experimented with other amateur groups, but not with the same results, because the members did not have the necessary musical training.

The album Abriendo Caminos includes 14 songs, 10 of which belong to Antillean authors.

“The value of Abriendo Caminos also lies in the fact that it helps Antillean composers and arrangers to open up to the recognition of their work and ways of doing things”.

From the singer and percussionist of the septet Son de Nipe, Alejandro Arencibia appears the guaracha Esa muchacha quiere bailar and the son, Honor al Guayabero; from Edalio Espinosa Alayo (Pupi), former member of the Brisas de Nipe orchestra, the son, Es caliente como el sol (It’s hot like the sun).

The songs A mi Antilla (bolero-son) and, Y no me niegues el beso (son) by José James Pinder, singer of the septet. By Oscar Fernández, former singer of the Brisas de Nipe Orchestra, the disc offers the themes Rebozo de amor (guaracha) and the son Que lástima.

From the director of the septet Son de Nipe Porfirio Núñez Cruz, Mi son tradicional.

And the guaracha Olvídate de esa nena by the Antillean composer Nemesio Palacio.

The remaining four musical numbers are; De que callada manera by Nicolás Guillén and Pablo Milanes, Culpable by Pepe Delgado, Rabo de nube by Silvio Rodríguez and Una alborada de amor by Ariel Dotres Zaldivar, these songs were arranged by Porfirio Núñez Cruz.

In the septet’s album Son de Nipe Abriendo Caminos “the guaracha, the bolero, the bolero-son and the genuine son are retaken with originality and revalued”.

The latter is due to the fact that the musical criteria followed by its director was the respect for traditional music, its deep knowledge, but imbuing it with very contemporary nuances, which results in a seal that distinguishes the septet Son de Nipe.

“We use the son, but more updated because we make innovations, harmonizing it in a more modern way, without losing its roots”.

The selection of the songs that made up the album Abriendo Caminos was in charge of the septet’s management, since the Casa Discográfica Colibrí wanted originality and the authentic exhibition of the work that has been developed with traditional music in the eastern part of the country.

The graphic image of the disc, worked in sepia and black colors fundamentally manage to set the atmosphere that is offered to us with a vintage flavor and invites us to listen to these 14 songs full of tradition and contemporaneity.

“It will be a delight for the listener and the dancer, the good function of the tres in its solos and “entregas”, the beautiful and ingenious introductions, the exquisite mixture between text and music of the boleros, the harmonic patterns of the soneros that not for conventional reasons give up a significant finish, without neglecting, on occasions, the voices replacing wind instruments”.

The selection of the members was meticulous. Porfirio had in his favor the prestige he possessed and the convening power among his former colleagues of the Orquesta Brisas de Nipe, so much so that in the list of his group he planned to include Reyes Cástulo Urgellés Fáez, better known as Lulú as bassist and José James Pinder (Joseíto) as singer, both retired from the Orquesta Brisas de Nipe and linked to the Casa de Cultura in occasional activities.

The septet still needed to be completed with a key piece, the tres, for which the prestigious Mario Arencibia Rodríguez, one of the best tres players in Antilla, was summoned.

In the Arencibia family, musicians abound, that is why the group was completed with them: Alejandro, singer and Rafael on the tumbadora.

Alejandro and Mario had been part of an amateur group called Renovación Antillana for more than 20 years, which was very famous in its time and where a great number of aficionados were formed.

Alejandro sometimes played the tres in other groups, but in Son de Nipe he remained as a singer, he also had a work relationship that did not allow him to devote himself entirely to music; His nephew, trained at the Casa de Cultura and under the musical influence of the family, had taken over the tumbadoras, so Rafael Arencibia was the youngest of the group, he was barely 25 years old and at this young age he had already played in several amateur groups and got the Brisa de Nipe orchestra out of trouble, due to the unexpected absence of its percussionist.

Rafael Arencibia Rodríguez joined the project with enthusiasm despite the fact that the genre and style of the repertoire were not those used by the amateur groups of his contemporaries.

Iro had obtained the desired musicians, but he still had a big step to climb, his musicians were not professionals, they all had work commitments and he needed to prepare the project for the right day…(ecured).

Septeto Son De Nipe – Abriendo Caminos (2006)

Temas:

Esa Muchacha Quiere Bailar (Alejandro Arencibia)
Es Caliente Como El Sol (Edalio Espinosa Adayo)
A Mi Antilla (José James Pinder)
Rebozo De Amor (Oscar Fernández Paz)
De Qué Callada Manera (N. Gillén / Pablo Milanés)
Honor Al Guayabero (Alejandro Arencibia)
Culpable (Pepe Delgado)
Mi Son Tradicional (Porfirio Núñez Cruz)
Y No Me Niegues el Beso (José James Pinder)
Clodomiro (Oscar Fernández Paz)
Rabo De Nube (Silvio Rodríguez)
Qué Lástima (Oscar Fernández Paz)
Una Alborada De Amor (Ariel Dotres Zaldívar)
Olvídate De Esa Nena (Nemecio Palacio)

Septeto Son De Nipe - Abriendo Caminos (2006) — Septeto Son De Nipe – Abriendo Caminos (2006)

Research Sources:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Virgilio Martí was an excellent rumbero and composer of the classic “Cuba Linda” where he was vocalist and percussionist in Grupo Folklorico Experimental Newyorkino

Charlie Haden was an extraordinary double bassist and composer who was a key figure in the history of modern jazz.

Double bassist and composer extraordinaire, Charlie Haden (Shenandoah, Iowa, August 6, 1937 – Los Angeles, California, July 11, 2014).

Charlie Haden began his professional activity in 1959 with Ornette Coleman’s quartet, a key figure in the history of modern jazz, and very soon began to investigate in that direction that Coleman initiated known as free jazz.

In that context, Charlie Haden participated in the recording baptism of that movement with the album recorded on May 22, 1959 for the Atlantic label and entitled: “The Shape of Jazz to Come” with the invaluable collaboration of Don Cherry, another incomparable musician and leader together with Coleman of that revolutionary musical movement that still lasts today.

Charlie Haden (August 6, 1937- July 11, 2014)

Charlie Haden in 1960 participated with another double bass player, Scott LaFaro in an operatic manifesto entitled: “Free Jazz” of whom both were distinguished representatives in their instrument.

In 1964 he worked with Denny Zeitin’s trio and in 1966 he returned with Ornette Coleman while expanding his performance area with collaborations left and right.

In these areas he stood out for his participation in the work, studio and recording meetings of the “Jazz Composer’s Orchestra” and in 1969 he was finally able to realize a wish he had been pursuing for years: to record his first album under his own name with the Liberation Music Orchestra.

With original arrangements by Carla Bley, the music of the Liberation also stood out for the political character of the songs, being the first time that, in that context, a jazz group echoed the popular songs alluding to the Republican side of the Spanish Civil War.

After the album recorded by Impulse in 1976 entitled: “Song for Che” in homage to Ernesto Che Guevara, Charlie Haden formed with Don Cherry, the quartet “Old and New Dreams” with which he toured throughout Europe, Asia and North America. At the end of the eighties, Charlie Haden elaborates a new musical discourse within the framework of his new formation entitled “Quartet West”.

The founding album of this new discourse was an extraordinary album generically entitled “Quartet West”, a musical manifesto of great beauty and one of the essential albums of contemporary jazz. From 1990 onwards, Charlie Haden explores more intimate jazz universes, introducing the duo format into his discourse.

In this context, the musician explores himself in the composition and his relaxation together with the other protagonist discovers us a music of great inventiveness, clean in the execution and approached from a purely instrumental point of view.

This is how on Thursday, November 14, 2002, Charlie Haden appears in Seville at the Central Theater with the master of the guitar, Jim Hall to offer a portentous concert, full of sensitivity, art and talent.

Fortunately Apoloybaco was present that magical night in Seville and Charlie Haden is still making music of the highest level. ~ (apoloybaco)

Charlie Haden teams up again with the young Cuban pianist Gonzalo Rubalcaba in this melancholic and relaxing album. Ignacio Berroa on drums and percussion completes the main trio.

Special guests include tenor saxophonists Joe Lovano and David Sánchez, violinist Federico Britos Ruiz and guitarist Pat Metheny (one track only).

Charlie Haden photo 1978 Roger Ressmeyer

Rubalcaba contributes orchestrations on two tracks, both of which omit drums and percussion. Haden’s intention is to explore the bolero, a distinctive Latin dance rhythm that Ignacio Berroa accentuates with a soft, subtle snare drum roll, played with brushes, that begins on the “y” of the first beat of the measure and ends on the second.

This rhythm is perfect for a slow dance and, in fact, the whole album is very romantic, with bittersweet melodies and lilting cadences.

The only problem is that Berroa’s bolero figure is present on almost every track, perhaps what you would expect from a bolero album, but there is no getting around the fact that the music sounds pretty much the same on every track.

(To be fair, Berroa is not the only one guilty of uniformity.) Most of the songs, except for two Haden originals and one by Rubalcaba, are Cuban and Mexican standards, and they are beauties. Haden’s reluctance to mess with them is understandable.

But the arrangements, always straightforward, fade too easily into the background.

Nocturne may be the best music for a candlelit dinner party, but Haden and his guests are capable of much more. David R. Adler.

Charlie Haden – Nocturne (2001)
Temas:
01. En La Orilla Del Mundo (At The Edge Of The World) (Martin Rojas)
02. Noche De Ronda (Night Of Wandering) (Maria Teresa Lara)
03. Nocturnal (Sabre Marroquin/José Mojica)
04. Moonlight (Claro De Luna) (Charlie Haden)
05. Yo Sin Ti (Me Without You) (Arturo Castro)
06. No Te Empeñes Mas (Don’t Try Anymore) (Marta Valdès)
07. Transparence (Gonzalo Rubalcaba)
08. El Ciego (The Blind) (Armando Manzanero)
09. Nightfall (Charlie Haden)
10. Tres Palabras (Three Words) (Osvaldo Farrès)
11. Contigo En La Distancia·En Nosotros (With You In The Distance·In Us) (Cèsar Portillo De La Luz/Tania Castellanos)

Músicos:
Charlie Haden (Bajo)
Gonzalo Rubalcaba (Piano, Orquestación)
Ignacio Berroa (Percusión, Batería)
Joe Lovano (Saxo tenor en temas #1, #4, #7, #11)
David Sánchez (Saxo tenor en temas #6, #10)
Pat Metheny (Guitarra acústica en tema #2)
Federico Ruiz (Violín en temas #1, #5, #8)

Grabado del 27 al 31 de agosto de 2000 en Criteria / The Hit Factory Studios, Miami, FL.

Charlie Haden - Nocturne (2001) — Charlie Haden – Nocturne (2001)

Research Sources:

L’Òstia Latin Jazz

Dj, Augusto Felibertt

Also Read: Andy Gonzalez started as a musician at the age of 13 in the Latin Jazz Quintet in New York

Maite Hontele in CONCERT!

Europe / France / Utrecht

A great musician is someone who can enlighten the stage only with his/her presence, this is the case when Maite Hontele is on stage. Full-house, the stage full of colors and all the audience is ready to dance and enjoy the best rhythm: SALSA!

International Salsa Magazine had the honor to be part of the last concert of Maite Hontele, the incredible dutch trumpeter, in Caracas, Venezuela.

The silence is interrupted with the beautiful sound of a characteristic trumpet playing a melody, the stage gets full of musicians and Maite comes out with the biggest smile that characterize her.

She starts with a speech where she explains how thankful she is for being there, talks a little bit about Colombia, and then the party starts! Two hours full of hits of herself, Oscar d’ Leon, and many other artists, with the performance of her Colombian band by her side.

But let’s get deeper in who is her. Maite Hontelé is a trumpeter who was born in Utrecht, Holland, and was raised with music. Her parents owned a huge collection of salsa and son Cubano, and every day she would listen to Latin music, quite unusual for a Dutch girl. After playing a few years with the local brass band, she decided to become a musician, and studied latin and jazz trumpet at the Conservatory of Rotterdam.

Her first big tour was life-changing. She went to Colombia, the country where she now lives. In 2004, Maite Hontelé toured with the world-famous Buena Vista Social Club. In 2009 Maite launched her first album, Llegó la Mona, a salsa-tribute to Colombian music. This album was made with the purpose to tour more in Colombia. Among the gigs she played was the Medellin Jazz Festival.

That year has been very important for her. Not only did Maite record her first album, she also found the place where she wanted to continue to live and make music. That’s when she decided to move to Medellin, Colombia.

In 2010, she released her second production, Mujer Sonora. The album is focused on oldschool styles such as son and charanga, but also contains some spicy salsa-tracks. This album was presented at the 2010 North Sea Jazz Festival, and on various international tours. In 2011 and 2012 Maite toured many countries with her band, and was a guest with Ruben Blades, Yuri Buenaventura, Issac Delgado, Diego Galé (DVD-recording), Juan Carlos Coronel, Oscar D’León, and many others.

Her 3rd album, Déjame Asi, was released in April 2013. She is currently touring Europe and Latin America.

“My Outlaw Loredo is the most elegant gig-bag in the universe. A perfect match for me!” Maite Hontelé

Maite Hontele in concer - Photo — Maite Hontele in concert – Photo

The show ends with the best energy. Maite Hontele is not only an amazing trumpeter, but also a great singer and composer. We are glad to be part of his musical journey.