tineared
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How about some Felix Chappottin from back home (Cuba)?
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LATIN MUSIC YOU'D SHARE
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tineared
Addicted to Fun and Learning
This is from one of my more unusual albums. A mixture of Flamenco and Arabic. Not sure if it should be considered Latin, but it is interesting...
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Soandso
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Time to discuss "SON" which many Cuban/Pto.Rican singers will be heard uttering; as in "here's my 'son'", "enjoy this 'son'", "got a 'son'", "dance to the 'son", "it's a 'son'" and such. Non-native speakers often hear it as meaning "sound" or "song" but are mistaken. I'll try to explain it a bit better.
Olden days Cuban music co-evolved with African slaves' music resulting in a musical pattern of 3-2 and 2-3 rhythm. This became called "CLAVE" and although "clave" translates into English as "key" the meaning of Cuban "clave" is not about a musical key. The Cuban "clave" rhythm was suitable for stepping music (in place and/or circulatory rituals) but not so much for dancing partners.
Although not the inventor of "SON" Ignacio Piñeiro Martínez (1888-1969; pictured below) is credited with making it what it became - a wholistic construct of both dancing and lyrical music together, not just musical content. Piñeiro, nicknamed "The Poet of Son" (El Poeta del Son) was a fraternal ABAKUÁ initiate (see comment #77 above) and his contribution was to take the "clave" and alter the one-off asymmetry (3-2, 2-3) into choruses of "clave" segments. He introduced a structural modification of the music's cadence and allowed rhythm, melody and lyrics to make simple instrumentation [for example "sextetos" and "septetos"of 6 and 7 musician groups] danceable in a poly-rhytmic synthesis of Afro-Cuban-Spanish/French. [French colonists resettled in western Cuba (around Santiago de Cuba) from Haiti during 1791-1809 bringing over a hundred thousand of their slaves to work coffee plantations in the Sierra Madre mountains as the Haitian rebellion occurred. An old dance brought along called "Tumba" is said to have been the namesake of the later dance called "Rumba." Those French owned slaves intermixed with Spanish owned slaves along the way forming Afro-Cuban culture. Notably before "son" was taken to heart in Havana it was significant in places like Santiago de Cuba, Camagüey, and Ciego de Àvila.]
The "son" thus is composed of multiple wind and string instrumental refrains ("franjas") yet allows timbal/bongo/conga ongoing drumming passages plus bursts of improvised animated solos of congas, bongos or even timbales [ex: post #1 song's minute plus wild timbales solo] rhythmic hammering ("martillo"). These may be 3 different independent rhythms juxtaposed in contrast using syncopation displacement of their respective accent note(s), with the lyrics being delivered as an African format of melodic call (soloist) and response (chorus). What was originally called the "MONTUNO" was a chorus repeated for up to, but no more, than 4 musical measures as generally formalized by Piñeiro's influence, such that in his old school format [now-a-days taken liberty with] when a "son" chorus is over any soloist's next bit will go on for up to, but no more than, 8 musical measures.
Meanwhile "son" dancing is meant to be done very close to one another as if linked/joined together. Early on partner dancing was commonly called "GUAGUANCÓ" (in later song lyrics it can also mean out partying it up dancing). Once Piñeiro with his hundreds of songs blended "claves" into choruses, added lyrics and set them to "guaguancó" a variety of dance styles became possible. For example the "RUMBA" (a "guaguancó") with African ritual fertility roots became a popular dance where the male simulates trying to advance his pelvis to actual female groin contact which she rhythmically deflects. In "rumba", being a "son guaguancó", there is periodically a delayed hit of a #3 "clave" (2-3 pattern) note creating anticipation which increases dynamic excitement (via a stylized male thrust) for the dancers. While on the subject: what became popular as "SALSA" was originally a type of "guaguancó".
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Soandso
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"BOOGALOO" was, as the next record album's liner notes describes it, "... the favorite 'newyorkina' youth dance..." back in the mid/late 1960s. On the compilation album "I Like It Like That/A Mi Me Gusta Asi" there's the Pedro (Pete) "The King of Boogaloo" Rodriguez (b.1940; Bronx, NYC) hit song (1967) "SOY EL REY."
Another fun Boogalo I like is by the Puerto Rican musicians Willie "Mr. Afinque (groove)" Rosario (b.1924; now 101 years old, percussionist pictured below) and Félix (Frank) "Señor Estilo" (Mr. Style) Figueroa Villa, junior (b.1941; pictured at a microphone) in the song titled "LET'S BOOGALOO" (1968) which can be found on the record "Two Too Much."
Another fun Boogalo I like is by the Puerto Rican musicians Willie "Mr. Afinque (groove)" Rosario (b.1924; now 101 years old, percussionist pictured below) and Félix (Frank) "Señor Estilo" (Mr. Style) Figueroa Villa, junior (b.1941; pictured at a microphone) in the song titled "LET'S BOOGALOO" (1968) which can be found on the record "Two Too Much."
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Introducing to a wider audience the acoustic and baritone violinist composer Alí Bello who's now solidly part of the NYC latin jazz scene. For a start give a listen to the song "BELLO'S BLUES" from his 2nd album "Inheritance." His latest (2025) CD is titled "The Charanga Syndicate" [he has a faceb--k page about active performances].
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Chucho Valdes skip intro an start at 14:35 when i plays this track Invitacion ( in the 80-90ties) at a Deep House gig people went balistics at 3:40 in the morning serious. Yes Chucho solves Deep Vibe problems his piano play MADness. An closing the morning with Raul de Souza - Sweet Lucy
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Soandso
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Dionisio de Jésus "Chucho" (nickname for Jésus) Valdés Rodríguez (b.1941, Cuba) has a noteworthy musical career that garnered Latin Jazz Album Grammy awards in 2001, 2010, 2017, 2022 and 2025. I'll just post a sampler playlist below.
my bad. never looked to them up. just liked the music.
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Brazilian João José (Raul) Perreíra de Souza (1934-2021) played several kinds of trombones, including bass and valve trombones, as well as saxophone. Actually his first instrument(s) learned were percussion and at age 16 got his start as a professional musician playing percussion for the station "Radio Nacionale" in Rio de Janeiro. Below is my sample playlist for Raul Souza.
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Soandso
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Ismael Quintera (1937-2016), pictured above, sings the unfalteringly cool song "CAFÉ" (1975) recorded with pianist Eddie Palmieri. In addition be aware Quintera deserves recognition for co-writing with Palmieri a good number of the songs which made Palmieri's name famous. If you are a fellow trombone fan perk up as Baron "Barry Rodgers" Rogenstein (1935-1991) pictured below delivers licks that demonstrate how he helped shape "salsa" music trombone styles.
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@Soandso , you know quite a lot about Argie music!
Just a brief summary of a few issues. Originally, tango was played in the poor areas of the "city" (Buenos Aires). Only men danced tango. The upper classes dismissed it as music of the uneducated masses. In the beginning of the 20th century, "pimps" brought women from Poland and made them prostitues. Many tangos have "polaquitas", as these poor women were called, in the lyrics. Only then women became tango dancers. Jorge Luis Borges was fascinated by tango and wrote about it.
Astor Piazzola revolutionized tango creating a huge split in the population. By then, Carlos Gardel was the most renowned tango singer. It is unclear where he was born, whether France, Uruguay or Argentina, but it is clear he died in an airplane crash in Colombia.
Personally, I prefer Piazzola's type of tango, but I must admit that many of the traditional ones are beautiful. If you recall the movie Scent of a Woman, Pacino dances very well to a great tango called "Por una cabeza", about a horse race (allegedly).
Argentina is much more than tango. Folklore is very important too, and Mercedes Sosa was a symbol. But Los Fronterizos and Los Chalchaleros were a more traditional option before her. The most famous song from Sosa is probably Alfonsina y el Mar, lyrics by a historian, Felix Luna. The poetry is just amazing and it has been covered by lots of people in Latin America and Spain.
In addition, rock made its appearance in Argentina in the late 60s and 70s and it has continued very strongly since. The true "genius" was Luis Alberto Spinetta, whose song with the group Almendra "Muchacha Ojos de Papel" will bring tears while sung by most people of my generation. But there much more than that! Manal was the start of Argentine blues, and many musicians followed this style, from Pappo to Memphis La Blusera. Claudio Gabis from Manal, who is in his mid to late 70s, continues to play the guitar magnificently.
I don't want to lecture you, so sorry for all this.
Don't forget Uruguay with the candombe, heavily influenced by African drumming, and the current modern poet and singer Jorge Drexler.
Brazil also has a very rich history of MPB, musica popular brasilera. I can't forget Ney Matogrosso. That is another huge list and history....
Just a brief summary of a few issues. Originally, tango was played in the poor areas of the "city" (Buenos Aires). Only men danced tango. The upper classes dismissed it as music of the uneducated masses. In the beginning of the 20th century, "pimps" brought women from Poland and made them prostitues. Many tangos have "polaquitas", as these poor women were called, in the lyrics. Only then women became tango dancers. Jorge Luis Borges was fascinated by tango and wrote about it.
Astor Piazzola revolutionized tango creating a huge split in the population. By then, Carlos Gardel was the most renowned tango singer. It is unclear where he was born, whether France, Uruguay or Argentina, but it is clear he died in an airplane crash in Colombia.
Personally, I prefer Piazzola's type of tango, but I must admit that many of the traditional ones are beautiful. If you recall the movie Scent of a Woman, Pacino dances very well to a great tango called "Por una cabeza", about a horse race (allegedly).
Argentina is much more than tango. Folklore is very important too, and Mercedes Sosa was a symbol. But Los Fronterizos and Los Chalchaleros were a more traditional option before her. The most famous song from Sosa is probably Alfonsina y el Mar, lyrics by a historian, Felix Luna. The poetry is just amazing and it has been covered by lots of people in Latin America and Spain.
In addition, rock made its appearance in Argentina in the late 60s and 70s and it has continued very strongly since. The true "genius" was Luis Alberto Spinetta, whose song with the group Almendra "Muchacha Ojos de Papel" will bring tears while sung by most people of my generation. But there much more than that! Manal was the start of Argentine blues, and many musicians followed this style, from Pappo to Memphis La Blusera. Claudio Gabis from Manal, who is in his mid to late 70s, continues to play the guitar magnificently.
I don't want to lecture you, so sorry for all this.
Don't forget Uruguay with the candombe, heavily influenced by African drumming, and the current modern poet and singer Jorge Drexler.
Brazil also has a very rich history of MPB, musica popular brasilera. I can't forget Ney Matogrosso. That is another huge list and history....
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Soandso
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Very interesting contribution, thanks. It's been a long time since I was working in Argentina (1987) where my favorite rock band was the homegrown Los Enanitos Verdes. While there I got a slim paperback Spanish-Lunfardo "dictionary" and tried some of that out; but can't say what slang has been added since then which young people also consider lunfardo.
About tango: I was informed circumstances were such that the unknown poor practitioners danced on dirt floors. The sweeps their feet made formed traces in the sand and the description of some patterns became names for certain of the now traditional Tango movements. Later on once dancing upon solid floors other additional footwork became practical giving many more stylized names to movements which Tango dance students learn.
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Cuban virtuoso Juan Pablo Torres Morell (1946-2005) who 1st performed at age 14 on the "bombardino" (euphonium ) later teaching himself trombone from clarinet lessons. He is remembered as a transitional musician-composer-arranger for traditional Cuban "SON" (previously described) and the broad genre of Latin jazz. Give a listen to the absolutely delightful "MOONLIGHT SERENADE" recorded about 3 years before his untimely demise due to a brain tumor.
Peterinvan
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I have a few Tidal playlists you might like to sample
Latin Jazz:
Easy Listening Latin
POP/Salsa:
Los Indios:
Latin Jazz:
TIDAL - High Fidelity Music Streaming
TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content — making it a trusted source for music and culture.
tidal.com
Easy Listening Latin
TIDAL - High Fidelity Music Streaming
TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content — making it a trusted source for music and culture.
tidal.com
POP/Salsa:
TIDAL - High Fidelity Music Streaming
TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content — making it a trusted source for music and culture.
tidal.com
Los Indios:
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Soandso
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"First Lady of Latin Jazz" Felipa "Graciela" Pérez Grillo (1915-2010) grew up in the same Cuban household with Francisco "Machito" Gutiérerrez Grillo (1909-1984). She seductively lays out humorous innuendo in their 1963 recording "AY JOSÉ".
"Ay José,
Así no por favor.
…
Ay José así no.
Ay José qué rico es.
…
No se ponga,
Tal blandito.
Ponte un poco,
Más durito.
…."
"Ay José,
Así no por favor.
…
Ay José así no.
Ay José qué rico es.
…
No se ponga,
Tal blandito.
Ponte un poco,
Más durito.
…."
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Soandso
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I have a few Tidal playlists you might like to sample
Latin Jazz:
TIDAL - High Fidelity Music Streaming
TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content — making it a trusted source for music and culture.tidal.com
Easy Listening Latin
TIDAL - High Fidelity Music Streaming
TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content — making it a trusted source for music and culture.tidal.com
POP/Salsa:
TIDAL - High Fidelity Music Streaming
TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content — making it a trusted source for music and culture.tidal.com
Los Indios:
Links 1-3 seem inactive each showing the following same message.