| DIRECTORY OF NIGHTCLUBS | ||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Search Results for: Latin Music
Ignacio Piñero Septeto Nacional has played an important role in Cuba’s music for more than seven decades
Founded by Havana-born bassist and vocalist Ignacio Piñero in 1927, the Septeto Nacional De Ignacio Piñero has played an important role in Cuba’s music for more than seven decades.
Pioneers of son, a rhythmic blend of African and Cuban music that evolved into salsa, mambo and Latin jazz, the group was the first son band to incorporate the trumpet as the main instrument.
Ignacio Piñero’s Septeto Nacional gained worldwide recognition with its performance at the 1928 Universal Exposition in Seville, and was reportedly the first group to mention “Salsa” in a song “Echale Salsita” recorded in 1933. The song composed by Piñero, was adapted by George Gershwin for the opening theme of his “Cuban Overture”.
Since Piñero’s death in 1968, after 41 years at the helm of the band, the Septeto Nacional De Ignacio Piñero has been led by a series of leaders.
Guitarist and composer Rafael Ortiz, who took over after Piñero’s death, bequeathed the position to vocalist Carlos Embale in 1982.
After leaving the group due to illness in 1998 Embale’s leadership was inherited by guitarist Richard Aymee Castro. True to their original musical roots, Ignacio Piñero’s Septeto Nacional continues to offer a danceable blend of montano, merengue, bolero, rumba and cha cha cha. Craig Harris.
Ignacio Piñero was one of the Pioneers of Son Cubano
In 1906 he already knew and had assimilated the different toques of the African cabildos that existed in the neighborhood of Pueblo Nuevo, which he later incorporated into some of his creations.
He began his artistic career with the group claves and guaguancó El Timbre de Oro, later he directed Los Roncos de Pueblo Nuevo, in which he developed as a decimist and director, at the same time he took his first steps as a composer.
From this stage are: Cuando tú, tu desengaño veas, Dónde estabas anoche, El Edén de Los Roncos, Mañana te espero, niña. Later he joined the group Renacimiento de Pueblo Nuevo.
To the folkloric values that Piñeiro cultivated in these groups, he contributed a wider melodic-harmonic development and a greater depth and poetic flight.
In 1926 he was one of the founders, together with María Teresa Vera, of the Sexteto Occidente, with which he made his first tour to the United States in order to record an album with this group.
In 1927 he founded the Sexteto Nacional, formed by Ignacio Piñeiro, director and double bass; Alberto Villalón, guitar; Francisco González Solares, tres; Abelardo Barroso, lead vocals; Juan de la Cruz, tenor; Bienvenido León, baritone and maracas, and José Manuel Carrera Incharte (El Chino), bongo; that same year trumpeter Lázaro Herrera joined the group. With this septet he traveled to New York, where he recorded his first works.
In 1929 he participated with the Septeto Nacional in the Fair-Exposition of Seville, Spain; in that country they were hired as exclusive artists by the company SEDECA, and toured other cities of that country: Vigo, La Coruña, Santander, Madrid and Valladolid; in addition, they performed in the theaters Torero, Jovellanos, the Cine-Teatro Grado, and the cabaret Maicú, all in Madrid. In 1930 he was one of the founders of the National Association of Cuban Soneros.
They performed at the Sans-Souci cabaret (1930); in 1931 they performed at the Lavín and CMCG radio stations; in 1932, at the Dos Hermanos Hotel, he premiered Buey viejo; that same year the American composer George Gershwin came to Havana, at the CMCJ radio station he listened to Piñeiro’s son Échale salsita, from which he later used the theme played on the trumpet in his Cuban Overture.
In 1933 he performed at the Fair-Exhibition A Century of Progress, held in Chicago, United States.
In 1934 Piñeiro retired from the septet, which from 1935 was directed by trumpeter Lázaro Herrera. In 1954, Piñeiro reappeared as leader of the septet, with which he appeared on the television program Música de Ayer y de Hoy.
As a composer, Ignacio Piñeiro broke, although he took elements from the form of the oriental son, in which its creators used the quatrain and the tenth; an example of this break is his son Buey viejo, from 1932:
Carretero no maltrates a ese pobre buey tan viejo, que ya doblbla la cabeza por el peso de los tarros, y por senda de guijarros va tirando la carreta, y nunca llega a la meta, término de su dolor.
Piñeiro was one of those synthesis cases that managed to capture, develop and express the full richness of the son.
The structural modifications, the cadence, the rhythm and the use of refined melodies and lyrics, achieved by this creator and interpreted by the Septeto Nacional, make it possible to say that the work of this singular artist, although he did not mark the boundaries of son (which corresponded to the Sexteto Habanero), he did turn it into a son that today we can call classic, which became a model for its further development.
When Ignacio Piñeiro founded the Septeto Nacional, his purpose was to be a high exponent of the Cuban son and its various variants, he himself made use of those variants, composing guajira-son, canción-son, afro-son, so he worked with the elements offered by the oriental son, to which he gave a broader treatment, both musically and literary.
According to Miriam Villa: “If we analyze the organization of the literary text, we observe in his work the formal use of metrically heterogeneous links subjected to rhythm, characterized by the presence of accented and unaccented elements within the system of units that are repeated at intervals between them.
Piñeiro must not have been concerned about the meter in the text as a pattern, since through the rhythm of the composition he achieves the contrast relations, making the change of meter express a change in the thematic movement, either from intermittences or accentuations or sometimes both, which give it different semantic nuances and alternations of tensions and distensions.
And elsewhere Villa states: “Another aspect that in relation to the literary text is reflected in Piñeiro’s creative work is that of the thematic contents; these are shown from a diversification with greater scope in relation to his contemporaries.
His work can be divided into multiple themes among which are love, homeland, philosophical reflection, politics, the bucolic, the infantile, expressed in a variety of forms: satirical, apologetic, humorous and with greater depth than in the sonorous production that preceded him and even with which he shared.
With the Septeto Nacional, Piñeiro appears in the musical short El frutero, and in the film Nosotros la música, by director Rogelio París.
Ignacio Piñeiro Septeto Nacional
El Son de Altura (1998)
Tracks:
- Mayeya – No Juegues Con Los Santos (Son) (I. Piñeiro)
- Bardo (Bolero-son) (I. Piñeiro)
- Lejana Campiña (Guajira-son) (I. Piñeiro)
- Canta La Vueltabajera (Guajira-son) (I. Piñeiro)
- Guanajo Relleno (Guaracha-son) (I. Piñeiro)
- Esas No Son Cubanas (Son) (I. Piñeiro)
- Suavecito (Son) (I. Piñeiro)
- Alma Guajira (Guajira-son) (I. Piñeiro)
- Castigador (Son) (I. Piñeiro)
- Échale Salsita (Son-pregón) (I. Piñeiro)
- EI Viandero (Son-pregón) (Ernesto Muñoz)
- Son De La Loma (Son) (Miguel MGllamoros)
- Trompeta Querida (Boleró-son) (Lózoro Herrera)
- La Mujer De Antonio (Son) (Miguel Matamoros)
- La Cachimba De San Juan (Son) (l. Plñeiro)
- EI Alfiler (Son) (l. Plñeiro)
- Noche De Conga (Son) (l. Plñeiro)
- EI Paralitico (Son) (Miguel Matamoros)
By:
Also Read: From Cuba El Septeto Son de Nipe vienen Abriendo Caminos
Ismael ‘Pat’ Quintana, born in Ponce Puerto Rico, began his musical career in 1961 alongside Eddie Palmieri and La Perfecta
Ismael ‘Pat’ Quintana, born in Ponce, Puerto Rico, began his musical career in 1961 alongside Eddie Palmieri and La Perfecta
Commemorating one more anniversary of the departure of the Maestro: Ismael Quintana (Ponce, June 3, 1937-Colorado, April 16, 2016) was a Puerto Rican singer and composer of salsa, bolero and other genres of Caribbean music.
He began his musical career in 1961 alongside Eddie Palmieri and La Perfecta, and later continued as a solo singer.
In 1970, he signed with Fania Records and joined the Fania All Stars, in addition to recording more solo albums.
By 2012, his health condition prevented him from continuing to perform and he stopped giving concerts.
In April 2016, he died of a heart attack at his residence in Colorado in the United States at 78 years of age and paid the first tributes.
Quintana was the singer who gave the name salsa to Afro-Caribbean music, after having heard it in Venezuela.
Ismael ‘Pat’ Quintana, born in Ponce, a town rich in culture on the beautiful island of Puerto Rico, moved to New York when he was very young. It was in the South Bronx that he fell in love with Latin music.
During these early years, he played percussion with a variety of bands throughout New York City.
He persevered and eventually joined Angel Natel’s orchestra as a teenage bongosero.
During one memorable night in 1959, the band was asked to play a particular number for one of the club’s dancers.
Natel’s singer was not familiar with the song, but Ismael was. He stepped up to the microphone, performed the song and in the process electrified the crowd with his talented voice. That night launched a magnificent career, a career that would eventually position Quintana as one of the most prominent vocalists in Latin music.
In 1961, visionary keyboardist Eddie Palmieri decided to leave the sanctuary of Tito Rodriguez’s eminent orchestra to pursue the dream of forming his own band.
Eddie was present when Quintana auditioned for Orlando Marin’s popular orchestra.
The pianist would eventually track him down and offer him the opportunity to become the lead singer of his new orchestra, La Perfecta.
This proved to be a vital move in Eddie’s quest to become one of the top Latin music bandleaders. Their alliance would last 12 years.
Together, Quintana and Palmieri pushed the boundaries of progressive salsa, creating dissonant improvisations that fused the raw tradition of Afro-Caribbean music (exemplified by the singer’s hardcore sonics) with a relentless desire to experiment (illustrated by Palmieri’s choice of electronic keyboards, use of structures borrowed from other musical formats, as well as meandering solos that had their own idiosyncratic logic).
The 1965 album Azúcar Pa’Tí is probably the aesthetic pinnacle of their collaboration. It featured classic salsa anthems such as “Oyelo Que Te Conviene”, included here for your listening pleasure.
Another unforgettable moment was Eddie’s decision to record a double LP set in the Sing Sing penitentiary.
Quintana’s voice sounds appropriately impassioned on that socially significant 1972 concert recording.
By 1973, Quintana had decided to embark on a solo career. He signed a contract with UA Latino Records and recorded two albums of excellent quality.
The second of these two releases gave him the opportunity to sing tangos and ballads, backed by a spectacular orchestra led by South American arrangers Héctor Garrido and Jorge Calandrelli.
Surprisingly, the singer has stated in interviews that he prefers to dance ballads and boleros rather than sing more fast-paced material.
Quintana’s first work for Vaya Records was recorded in 1974, It included the hit “La Blusita Colorá”, which is featured in this collection.
The singer also collaborated with keyboardist and bandleader of La Sonora Ponceña Papo Lucca, as well as Ricardo Marrero.
In 1975, Quintana was invited to join the legendary Fania All-Stars as one of their lead vocalists.
He appeared in the movie Salsa and participated in many of the combo’s historic performances, delivering a blistering version of the self-written “Mi Debilidad” at Yankee Stadium.
When not traveling the world with the All-Stars, Quintana could be found in the recording studio, working on material that appeared on his albums for Vaya Records.
Ismael Quintana’s name appears on many classic albums from the salsa explosion of the 1970s, both as a background singer and as a percussionist.
His phenomenal vocal abilities have obscured the fact that he is one of the most exciting maracas players in the genre.
He is also an innovative composer, having written many of the songs that make up Eddie Palmieri’s seminal albums of that era.
Quintana is also known as one of the nicest guys in the Latin music business.
A true professional who is never late for his concerts and a devoted family man who doesn’t smoke or drink.
Ponce in Puerto Rico has given birth to several legendary Latin singers, from Héctor Lavoé and Cheo Feliciano to Ednita Nazario and Pete ‘El Conde’ Rodríguez. Ismael Quintana is yet another luminary from that region.
This Latin Heritage compilation is a well-deserved tribute to one of salsa’s best. Fania All Stars.
By:
Also Read: The Royalty of our Latin Music Pete “El Conde” Rodríguez first singer signed by Fania Records label
This is Indiana composer, arranger, music teacher, and trumpet player David Hardiman
Our interviewee today is very special because of the talent and the enormous academic background he has, so we are very pleased to have been able to talk with him. We are talking about the arranger, composer, trumpeter, pianist and music teacher David Hardiman, whom we welcome to International Salsa Magazine.
A little bit of David’s story
The artist from Indianapolis, Indiana, began his tale telling us a little bit about how he started getting interested in music, which was when he was in fourth grade. That is when he started learning to play the trumpet and piano, taking advantage of the fact that he had one at home.
Unlike other children and young people who find other interests and hobbies besides music, David never stopped and kept playing the trumpet until high school, during which time he played in the marching band, the orchestra, the jazz band and the concert band of the institution.
Years later, he attended Indiana University where he also played in the marching band and concert band. He received his bachelor of music education through which he obtained a lot of classical training that he would later apply to his artistic career, but he did not stop there, as he also began to participate in ensembles with which he played R&B and jazz.
When he returned to his hometown Indianapolis, he was hired by a band with which he started playing blues, tap and jazz at parties, weddings and other events of this type.
In addition to that, he also taught instrumental music for over 11 years at the elementary level. He also taught flute at the fourth grade level and prepared children of those ages to be introduced to instruments until their formation in high school, something very similar to his case when he got started in this world.
The young musician already wanted to expand his horizons and thought about leaving the nest and moving from his home state to try his luck elsewhere, but first he obtained his master’s degree in music education in 1970. This was the final step that would make him realize that he was ready to take flight farther away from home.
Berkeley
In 1971, David went to Berkeley, California, where he began to teach at King Junior High School, which he describes as an excellent experience that taught him a lot about music at the educational and practical level. His teaching specialized in the orchestral and symphonic part of classical-oriented music. At the same time, he spent much of his time playing for clubs and private parties with various orchestras and bands.
One of his fellow teachers at King Junior High School named Grey Gomez taught at the elementary level and was a trombone player. Gomez told David that he needed a trumpet player for a group called ‘’The Aliens’’, so he proposed him to join the band and play with him at The New Yorker club. This would be the first time the musician played Latin music, more specifically salsa.
Introduction to Latin music in San Francisco
By then, David was looking for new challenges, so he decided that he could not teach at low levels at King Junior High School for life, so he began working part-time at the City College of San Francisco. Parallel to this, he played with another band for various basketball and soccer games during breaks.
Soon after, the musician began directing the big band in the aforementioned institution and teaching at the middle college level outside of San Francisco. When he became a full-time professor at the City College, he was much more exposed to Latin music and genres, which was contrasted with his hometown, as Indiana is not known for its large number of Latin orchestras and musicians.
In the Bay Area, he began to have much more contact with people from other nationalities and cultures, especially Latinos, which made him listen to various Latin music groups and play with others. He even opened up for great artists such as Celia Cruz and the Fania All Stars.
He also played with the group Café Canela, whose genres are a very interesting combination of salsa, chá chá chá and many more.
San Francisco All Star Big Band
About 50 years ago, parallel to what he did with other orchestras, he created his own big band named San Francisco All Star Big Band, with which he has played for all kinds of events such as festivals, university parties, religious services, weddings, birthdays, charity balls, nightclubs, among others.
With this orchestra, he has a few albums which can be found on YouTube and other similar platforms and they are ‘’It’ll be alright’’, ‘’Portrait of David Hardiman’’, and ‘’Music Around The World’’.
Read also: Puerto Rican singer Max Rosado and what he had achieved in Washington DC
Latin America / May 2025
| DIRECTORY OF NIGHTCLUBS | ||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|