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Search Results for: World Salsa

My mother sang tango

One of the Latin genres that is currently on the rise is tango, so it is common to find more and more people linked to it. There are even many who have made tango one of the most important passions of their lives, as in the case of Carlos Álvarez Guevara, with whom we have had the fortune to talk exclusively about this and other interesting topics.   

Carlos dancing tango
Carlos dancing with his dance partners in tango classes

Childhood with a tango singer mother   

Carlos’ contact with tango began during his early childhood thanks to his mother, who was a tango singer and dancer.   

Carlos describes his early live in El Salvador and points out that, back then, there were no cassettes or CD players with which to listen to music, so people had to make do with what they heard on the radio. His mother went to a well-known radio station to take part in singing competitions.   

It is then that the boy would listen to his mother rehearse for the competitions with old tango songs, which made him memorize them perfectly and be able to sing them in full. The rest is history.   

How Carlos sees tango today   

Today Carlos is a tango and salsa dancer, a genre that has also been important in his musical journey. However, he sings the songs he dances to at amateur level.   

For many years, he left aside music to devote himself to become a mechanic, a job from which he recently retired after more than 40 years of hard work. It was when he turned 45 that he fully resumed his love for tango and enrolled in dance classes to remember everything he had learned with his mother. 

This is why Carlos says that he is much more professional in dancing than in singing, since he dedicated much more time and effort to the former to become an expert in the field. Dancing, of course, is accompanied by singing, but it has less hierarchy in terms of the artist’s priorities.   

He has reached such a level of excellence in these disciplines that some friends of his put him in touch with Eduardo Guilarte, director of International Salsa Magazine, so that he could talk to us and his talents would become better known.    

Carlos was a mechanic
Carlos was a mechanic during a great part of his life, but tango is his biggest passion

Time dedicated to mechanics and dance   

Regarding the time dedicated to his formal work and dancing, Carlos claims he never had any problems, since he knew how to organize very well in this aspect. 

He always devotes his time to dance on weekends, days where he frequented, and still frequents, nightclubs with friends with whom he dances and spends very pleasant moments that clear his mind of everyday life.   

In addition to that, he also has a karaoke machine at home with which he also sings and practices his repertoire to delight anyone who wants to hear him on any nightclub stage.   

What Carlos has learned from tango   

Just as Carlos has been dedicated to singing and dancing tango, he has also invested time in learning about its history to give more depth to the knowledge he has about this genre and he wanted to share with us a little of what he has learned.  

He told us that one of the things he was most fascinated to learn is that tango has roots from many places and times around the world, although nowadays it is seen as an Argentine genre. Something that many do not know is that it has its origins in the arrival of Africans in the ”New World”, which played a fundamental role in the emergence of tango in Argentina and Uruguay, which were under Spanish rule.    

Both countries were transit ports for slave traffic, so the new inhabitants of these places brought with the their music and customs, which were mixed with the local music and customs to give rise to what is known today as tango. 

A very interesting detail he told us is that, when European sailors stopped in these countries and went to bars to look for drinks and some company, so the ladys in these places danced tango to seduce and provoke them. At that time, this kind of music was perceived as the lowest level of society to the point that the Catholic Church demanded its parishioners not to dance tango, but it turns out that the genre was pleasing to the people and nothing could be done about it.    

In the end, puritans had no choice but to embrace this wonderful dance and, today, people of all social classes, ages and races enjoy it without any complex.   

Carlos with his family
Carlos with his mothers, brothers and dog Mozote

The lyrics and references of tango    

Since Carlos has very extensive knowledge of everything about the genre and its lyrics, we wanted to know what he has studied about it.    

‘‘Tango can be many things at the same time. It can touch on issues related to the moral conduct of the individuals and, like many Latin genres, it also serves to mock and criticize politicians. It can also be an ode to love, spite and regret for having lost the loved one” Carlos shared with us on the subject.    

‘‘This genre can deal with many subjects at the same time, but one of the most recurrent is frustration with failed love and I don’t think that will change in a long time” said Carlos.   

Regarding the issue of the greatest artists who have inspired him to dance and sing tango, he mentioned Carlos di Sarli, Carlos Gardel, Oswaldo Pugliese and Enrique Rodríguez.   

What Carlos feels at singing and dancing tango   

Carlos describes listening to any tango song as ”listening to your own national anthem in a foreign country”. For him, listening to any piece sung by his parents in the past is a source of pride and takes him back to the most beautiful moments of his childhood. 

Carlos pointed out that ”when you are driven by loving emotions and some thoughts are trapped, you can express them through singing and dancing, which is what I always do”.    

The artist pointed out that he loves this world and it is one of the things that fills him the most in life, so he is grateful to be able to talk about it in International Salsa Magazine and express what it makes him feel to the world. 

Read also: Bolivian guitarist Gabriel Navia and his love for music 

The Bolivian charango with Spanish roots

There are many instruments that have greatly contributed to make Latin music and its great exponents known worldwide, but unfortunately they are not very popular and the general public is unable to identify them. Such is the case of the charango, which we will talk about in this opportunity.   

The charango can be defined as a stringed instrument that is part of the lute family and has its origin in the South American Andean region. It is believed that it began to gain popularity during the Viceroyalty of Peru. It has approximately five pairs of strings, but there are some models that have a greater or lesser number of strings.   

Here is more information and interesting facts about the charango and its history.   

Federico playing the charango
Peruvian charanguista Federico Tarazona playing the charango

How the charango is created in the first place    

Although it was not possible to determine exactly when the charango began to be played, it was found that it existed from the 17th century and was inspired by the Canarian timple (a stringed instrument from the Canary Islands that has five strings).   

The Canarian timple was always very present in the so-called ”Spanish charangas”, which were a type of parades or comparsas that took place in the street. This is the origin of the name ”charango” with which it would be called from now on.   

How the charango began to become popular   

Previously, it was an instrument used exclusively by the more rural classes of the time and was closely related to the indigenous population. However, since the 1950s, this situation began to change and the charango started to be heard in more urban areas, which led residents of such places to participate in concerts and folkloric activities for all audiences.   

the one responsible for this was Bolivian-born musician and luthier Mauro Núñez, who in 1944 began to use the charango to disseminate folk music and peduce new charango models in order to popularize it even more. This led many other musicians to find their own musical styles with the instrument, which brought the charango to concert halls and theaters all over Bolivia.   

A few years later, the charango arrived in Ecuador, but in the 1960s, it reached Argentina and some European countries. During those same years, several artists from Bolivia, Peru and Argentina began to tour the world and, as a result, ended up taking the charango to the rest of Europe, the United States and Japan.    

In 1973, Bolivian charanguista and composer William Ernesto Centellas took the initiative to create la Sociedad Boliviana de Charango with the support of charanguista Abdón Caméo and singer-songwriter Ernesto Cavour Aramayo. This society organizes the Congreso Nacional de Charango and the Encuentro Internacional de Charanguistas every two years.   

Nowadays, everyone accepts the idea that the home city of the charango is the city of Potosí and, due to the way its later diffusion went, the town of Aiquile was very important for the instrument to the point that today it is known as the ”Capital of the Charango”.  

A Youtuber playing the charango
A Youtuber teaching how to play a charango

How is the charango and how is it played? 

The charango is shaped like the guitar, although it tends to be slightly smaller. Likewise, its sound box has a smaller size and the neck is much shorter. Among the most common sizes, we can mention 50cm, 60cm and 75cm. Generally, it has five pairs of strings, but there are some Peruvian models that may have four strings, two at eaither end and a double string in the middle. 

The way in which the charango is tuned varies depending on the area and the musician’s preferences, but the most common tuning is natural temple. Just like the guitar, the charango also has the third-order strings octaved between them.   

As for the way the charango should be played, the techniques most used by the charanguistas are the rasgueos, the repiques and the tremolo. In talking about the most popular rhythms, we cannot fail to mention the Huayno, the Carnaval, the Cuenca, among others.    

Playing the charango can be quite a challenge for beginning musicians, but with enough effort and dedication, incredible results can be achieved even for the most inexperienced. 

Read also: Yes, I speak the ancient African Lucumi toungue: The second language of salsa 

Rumberos del Callejón bring their new hit “Me Tienes Loco” Ft. Gilberto Santa Rosa

Northeast – Middle Atlantic – New York

Rumberos del Callejón New Single “Me Tienes Loco” Ft. Gilberto Santa Rosa is already here!!!

Rumberos del Callejón brings to the Salsero musical market their new promotional single “Me Tienes Loco” with the special guest, Gilberto Santa Rosa “El Caballero de la Salsa”. This third track of the album “Celebrando” presents contemporary salsa with a fresh and avant-garde touch.

Rumberos del Callejón New Single “Me Tienes Loco”
Rumberos del Callejón New Single “Me Tienes Loco”

The musical arrangements of “Me Tienes Loco” were in charge of Alberto Crespo, while Carlitos Padrón was responsible for the musical production. This third single of nine in total of “Celebrando” Volume 1 was recorded between Caracas – Venezuela and the capital of the World, New York.

 

In this CD, celebrating the anniversary for the 10 years of the orchestra you can listen the interpretation of the most famous artists of the Salsa genre, such as: the Puerto Ricans Tito Nieves, Gilberto Santa Rosa, and Maelo Ruíz, Domingo Quiñones, and for Venezuela there are the singers: Luis Fernando Borjas, Rodrigo Mendoza, Wilmer Lozano, Angel Vallenilla, Veruzca Verdú, Gonzalo Díaz and Memo Arroyave.

Rumberos del Callejón
Rumberos del Callejón

“Celebrando” Volumen 1 is available on all digital platforms.

 

Release Date: June 28th, 2018

 

Credits:
Javier Vásquez Lyric
Alberto Crespo Arrangements
Gilberto Santa Rosa Lead Vocal
Alberto Crespo Piano
José Tabares Bass
Carlitos Padrón Congas, Bongos & Timbales
Larry Flint Minor Percussion
William Rada Trumpets
Pedro Moya Trombone
José Fariña Baritone
Rodrigo Mendoza, Wilmer Lozano, Leo Gruber, Ángel Vallenilla Chorus
Rumberos del Callejón 10th anniversary
Rumberos del Callejón 10th anniversary

Vídeo: https://youtu.be/Ewcil67kjyQ

The Djembe is a percussion instrument belonging to the family of membranophone instruments

It originated in the ancient Mandinga Empire, approximately between the towns of Bamako (Mali) and Kankan (Guinea), from where it later migrated to Senegal, Ivory Coast and Burkina Faso, forming an integral part of the music and traditions of the area.

Africans playing Djembe
Africans playing Djembe

It is believed that this migration was due to the Numu, who were (and still are) blacksmiths [[professionals considered guardians of certain powers.

They were in charge of making the Komo masks, performing circumcision and ablation of adolescents to mark their passage to adulthood, as well as sculpting and playing the yembes.

As a result of differences in shape, wood density, internal engravings and skin, there is a wide range of tones that can be emitted by the yembe.

Striking the skin near the center produces lower notes, striking it near the edge.

It is struck with the fingers together and stretched, but without leaving them glued to the drumhead, so that the sound comes out.

On the other hand, to produce the highest pitched sound, the slap is used.

The palm of the hand is slightly curved and the membrane is hit with the fingertips.

It is estimated that the djembe was invented approximately 3000 years ago by the African Maninka tribe, who used it as a ceremonial instrument.

The Djembe originated in the former Mandinga Empire, approximately between the towns of Bamako (Mali) and Kankan (Guinea).
The Djembe originated in the former Mandinga Empire, approximately between the towns of Bamako (Mali) and Kankan (Guinea).

The word yembé comes from the Bambara language and means together in peace.

Membranophones are musical instruments that produce sound through the vibration of a taut membrane or drumhead.

The membranes can be made of animal skin or synthetic material and the instruments can be mounted on wooden cylinders, ceramic vessels or gourds.

Membranophones can be played by percussion or rubbing and can have one or two membranes, closed or open bottoms.

Some examples of membranophones are:

– Bombo: A direct hit membranophone whose sound is extracted by striking it with a wooden striker.

– Snare: A membranophone instrument

– Drum: A percussion instrument with a resonance box, which is usually cylindrical, and a membrane called a drumhead that covers the opening of the box.

– Zambomba: A friction drum.

– Cuica: A friction drum

– Juque: A Costa Rican instrument that is a friction drum

– Mirlitón: A blown membranophone instrument.

Membranophone Africa This percussion instrument is of African origin, but its antecedents are Asian (Japan and China) places where it is widely spread and is known with the names “Kelontonga” and also known as “Den-Den Daiko”.

Djembe parts
Djembe parts

Membranophones. The membranophones produce the sound by means of the vibration of a tensed membrane. The vibration of this membrane can be provoked by hitting it, rubbing it or by voice (humming).

The castanets or “palillos” are a percussion instrument created by the Phoenicians three thousand years ago.

The oldest instrument is the flute, invented by Homo habilis in the Paleolithic and made of bird bone and mammoth ivory, this instrument is about 42 000 years old.

The oldest instrument is the flute, invented by Homo habilis in the Paleolithic period and made of bird bone and mammoth ivory, this instrument is about 42 000 years old.dor de 42 000 años
The oldest instrument is the flute, invented by Homo habilis in the Paleolithic period and made of bird bone and mammoth ivory, this instrument is about 42 000 years old.

The Divje Babe flute is the oldest instrument in the world and is currently in the National Museum of Slovenia.

Alex Acuna Special Edition Djembe.

The combination of Asian Oak shell, Remo Skyndeep Natural head and premium Gon Bops hardware produces massive bass and impressive volume on Alex Acuna’s Signature 14″ Djembe.

Alex Acuna Special Edition Djembe
Alex Acuna Special Edition Djembe

Source: Gon Bops

Also Read: Orestes Vilató es una de las figuras más influyentes en el mundo de la percusión Latina

The son montuno was born in the area of Santiago de Cuba

It was constituted by a mixture, in perfect harmony, of the African sonorous roots with the metric and the style of versification of Spanish origin. Although it presents a rhythmic base similar to the son, they do not have a common origin.

This rhythm is a product of the same phenomenon of transculturation that other genres of the Cuban traditional music have undergone by the hybridization of cultures.

Uncertainties about the origin of son montuno

According to Fuentes Matons himself, he is only a compiler of the verses and the authors were the sisters Micaela and Teodora Ginés, who wrote the lyrics in Santiago de Cuba around 1560.

The son montuno was born in the area of Santiago de Cuba
The son montuno was born in the area of Santiago de Cuba

But this story does not have sufficient evidence, and may be the result of the author’s modesty, the oldest son montuno that is collected is that of Ma’Teodora, from 1893.

Many authors assure that the real author is Fuentes Matons, in an attempt to validate the musical roots of the Island. What is certain is that the expansion of this rhythm from the 18th century in Cuba was very fast.

In addition, due to the migration of Caribbean people to Cuba, the mixture with sonorities coming from Haiti, Santo Domingo and Puerto Rico became more and more frequent Haiti, Santo Domingo and Puerto Rico.

Evolution and popularity of son montuno in the 20th century.

From the 19th century onwards, migration from East to West was significant.

This was due to the wars of independence that had taken place in the eastern part of the island.

This migration brought as a consequence that the rhythm also expanded and mixed with the rhythms that already existed in the West.

In the western provinces, mainly in Havana and Matanzas, there was the concept of a band composed of six or seven members, which favored the new genre.

Arsenio Rodríguez (1911-1970), known as “el ciego maravilloso” (the wonderful blind man), was one of the great musicians who brought this sonority to the forefront.

Among his most popular works are “Papa upa”, “Mami, me gustó”, “La vida es sueño”, “La yuca de Catalina”, among many others.

The lyrics are characterized by the picaresque jocularity, the simplicity of the message, the easy to memorize refrains and the exchange with the public in occasional interpretations.

The orchestra, on the other hand, does perform complex improvisations and virtuoso musical combinations. Arsenio Rodríguez popularized the rhythm worldwide, opening a space for traditional Cuban music in the 1950s.

Arsenio Rodríguez (1911-1970), known as “el ciego maravilloso”, was one of the great musicians who brought this sonority to the forefront.
Arsenio Rodríguez (1911-1970), known as “el ciego maravilloso”, was one of the great musicians who brought this sonority to the forefront.

Legacy of Son montuno

The legacy of this Cuban rhythm is present in genres such as Latin salsa, mambo, Latin jazz, timba and chachachá. Some outstanding musicians kept its rhythmic base and incorporated their own melodic creations.

Among these are: Benny Moré, Pío Leyva, Roberto Faz, among many others.

The primitive instruments of the Cuban son are the Cuban tres, the bongo, the maracas, the claves and the marimbula.

The Cuban tres is a kind of guitar with three pairs of strings. The bongo constantly improvises. The maracas and claves accompany the guitar and the bongo.

The marimbula was used as a bass in the traditional Cuban son.

Later, other instruments such as the guitar, double bass, trumpet and timbales were added.

What kind of instruments did the African slaves bring to Cuba?

Among the typical instruments we find the chekeré, the güiro and the batá drums. The chekeré in Cuba is also known as ágbe.

The basic instrumental ensemble is made up of a series of string instruments (jarana, requinto or son guitar, leona) and percussion instruments (pandero, quijada de burro, marimbol, tarima for zapateado), to which other instruments have been added in recent experiments (violin, double bass, cajón, etc.).

What is the national instrument of Cuba?

The Cuban BongóThis small double drum is considered by many to be the most characteristic instrument of Cuba
The Cuban Bongó
This small double drum is considered by many to be the most characteristic instrument of Cuba

The Cuban bongo

This small double drum is by many considered the most characteristic instrument of Cuba.

It is easy to identify the bongo at first glance as it has been used and popularized in countless celebrations until it has become an indispensable instrument.

Also Read: Israel “Cachao” López Sobrado en fama y respeto en los años setenta se dedicó a mantener la tradición a nivel supremo

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.