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Timbalero
Timbales () or pailas are shallow single-headed drums with metal casing. They are shallower than single-headed tom-toms and usually tuned much higher, especially for their size.Orovio, Helio 1981. ''Diccionario de la música cubana: biográfico y técnico''. Entries for ''Paila criolla''; ''Timbal criollo''. They were developed as an alternative to classical timpani in Cuba in the early 20th century and later spread across Latin America and the United States. Timbales are struck with wooden sticks on the heads and shells, although bare hands are sometimes used. The player (called a ''timbalero'') uses a variety of stick strokes, rim shots, and rolls to produce a wide range of percussive expression during solos and at transitional sections of music, and usually plays the shells (or auxiliary percussion such as a cowbell or cymbal) to keep time in other parts of the song. The shells and the typical pattern played on them are referred to as ''cáscara''. Common stroke patterns incl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timbales
Timbales () or pailas are shallow single-headed drums with metal casing. They are shallower than single-headed tom-toms and usually tuned much higher, especially for their size.Orovio, Helio 1981. ''Diccionario de la música cubana: biográfico y técnico''. Entries for ''Paila criolla''; ''Timbal criollo''. They were developed as an alternative to classical timpani in Cuba in the early 20th century and later spread across Latin America and the United States. Timbales are struck with wooden sticks on the heads and shells, although bare hands are sometimes used. The player (called a ''timbalero'') uses a variety of stick strokes, rim shots, and rolls to produce a wide range of percussive expression during solos and at transitional sections of music, and usually plays the shells (or auxiliary percussion such as a cowbell or cymbal) to keep time in other parts of the song. The shells and the typical pattern played on them are referred to as ''cáscara''. Common stroke patterns in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ulpiano Díaz
Ulpiano Díaz (1900–1990) was a Cuban timbalero. He is considered an innovator of the timbales, being the first to add a small cowbell to the setup, and popularizing the abanico. He started his career playing güiro in Félix González's orquesta típica, and rose to prominence as the timbales player of three important charangas: Orquesta de Tata Alfonso, Arcaño y sus Maravillas and Fajardo y sus Estrellas. Career Díaz was born in Pinar del Río in the year 1900. He learned to play several percussion instruments by himself before joining the Septeto Cuba, based in Havana. He later became the güirist in Orquesta de Félix González. He then joined Tata Alfonso's charanga as the timbalero. He would become a master of the instrument, joining Fernando Collazo's La Maravilla del Siglo in 1936. Along with Antonio Arcaño and other members of this band, Díaz founded La Maravilla de Arcaño in 1937. La Maravilla de Arcaño, later renamed Arcaño y sus Maravillas, would become C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amadito Valdés
Amadito Valdés (born February 14, 1946) is a Cuban timbalero, best known for his work with Cuarteto Las d'Aida and Buena Vista Social Club. Career Valdés was born in Havana in 1946. Early on, he studied music with his father, Amadito Valdés Sr., who was a well-known Cuban jazz saxophonist, and in 1961 he took up drumming under the supervision of Walfredo de los Reyes. When Reyes left Cuba, Valdés joined Havana's "Alejandro García Caturla" Conservatory and it was there that he began to develop his improvisational style on the timbales, mixing Afro rhythms in time with the Cuban son syncopated rhythms in 2/4 time. In the 1960s, Valdés became the timbalero for the popular Cuban vocal quartet Las d'Aida. In 1996, Valdés joined American guitarist Ry Cooder for the Buena Vista Social Club collaboration, playing timbales on both records and performances for the group and featuring in the 1999 movie also titled ''Buena Vista Social Club''. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Descarga
A descarga (literally ''discharge'' in Spanish) is an improvised jam session consisting of variations on Cuban music themes, primarily son montuno, but also guajira, bolero, guaracha and rumba. The genre is strongly influenced by jazz and it was developed in Havana during the 1950s. Important figures in the emergence of the genre were Cachao, Julio Gutiérrez, Bebo Valdés, Peruchín and Niño Rivera in Cuba, and Tito Puente, Machito and Mario Bauzá in New York. Originally, descargas were promoted by record companies such as Panart, Maype and Gema under the label Cuban jam sessions. From the 1960s, the descarga format was usually adapted by large salsa ensembles, most notably the Fania All-Stars. History Origins: son, filin and jazz During the 1940s, the term ''descarga'' was commonly used in the music scenes of Cuba to refer to performances of jazz-influenced boleros in an improvised manner. This was part of the so-called filin (''feeling'') movement spearheaded ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walfredo De Los Reyes
Walfredo de los Reyes Sr. (Born June 16, 1933) is a Cuban percussionist, timbalero, and educator, in the fields of session recording, live performance, and clinics. He is the father of famed percussionists Walfredo Reyes Jr. and Daniel de los Reyes and of actor Kamar de los Reyes. He is often cited as one of the most influential modern timbaleros together with Tito Puente and Willie Bobo. Career Born as Walfredo de los Reyes III, his trumpeter father was named Walfredo de los Reyes II, also a well known musician. To distinguish the two during their mutually active career span from the 1940s through the early 1960s, his father was originally published as Walfredo de los Reyes Sr. and he as Walfredo de los Reyes Jr. With the senior's retirement, and the onset of his own son's career, he then became published as the new Walfredo de los Reyes Sr. and his son as Walfredo Reyes Jr. (natively Walfredo de los Reyes Palau IV). Citing Louie Bellson and Buddy Rich as musical influences, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Silvano "Chori" Shueg
Silvano Shueg Hechevarría (January 6, 1900 – April 1974), better known as Chori or Choricera, was a famous Cuban percussionist. He rose to prominence in the 1930s due to his extravagant shows at many nightclubs in Havana where he played timbales, drums, Cowbell (instrument), cowbells and objects such as bottles and metal pans. He composed the popular son cubano, sones "La choricera" and "Ayaca de maíz", and appeared in several films in the 1950s. Life and career Early years Silvano Shueg Hechevarría was born on January 6, 1900, in Santiago de Cuba, the capital of Oriente Province, Oriente, Cuba's easternmost region. In 1919 Shueg became the timbalero in a son cubano, son ''estudiantina'' (student ensemble) from Santiago called Los Champions del Son. In 1927, the band toured Havana and Shueg decided to stay in the city, where he joined the Marte y Belona dance academy. He then began performing at the numerous nightclubs and cabarets along the beach in Marianao, such as Los Tres ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillermo Barreto
Guillermo Barreto (August 11, 1929 – December 14, 1991) was a Cuban drummer and '' timbalero''. He was a major figure in the Cuban music scene for more than fifty years and one of the first drummers in Cuba to play Afro-Cuban jazz. Nicknames Like many Cuban musicians, Guillermo Barreto had several nicknames. He was usually credited as "Barretico" during the 1950s and 1960s. He was also known as "El Loro" (''The Parrot'') and "Pata de loro" (''Parrot leg'') "due to his constant chatter and parrotlike walk", a nickname given to him by Rita Montaner according to Paquito D'Rivera. Biography Early life and career Barreto was born in Havana on August 11, 1929. His father was Primo Barreto, a clarinetist who taught music to all of his children: Lita, Josefina, Estela, Alejandro "Coco", Roberto "Bobby", and Guillermo. As a young man, Guillermo became a skilled interpreter of Cuban pailas. In the 1940s, he was part of several big bands: the Cabaret Tropicana resident orchestra (d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bongo Drum
Bongos ( Spanish: ''bongó'') are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed hand drums of different sizes. The pair consists of the larger ''hembra'' () and the smaller ''macho'' (), which are joined by a wooden bridge. They are played with both hands and usually held between the legs, although in some cases, as in classical music, they may be played with sticks or mounted on stands. Bongos are mainly employed in the rhythm section of son cubano and salsa ensembles, often alongside other drums such as the larger congas and the stick-struck timbales. In these groups, the bongo player is known as ''bongosero'' and often plays a continuous eight-stroke pattern called ''martillo'' () as well as more rhythmically free parts, providing improvisatory flourishes and rhythmic counterpoint. Bongos originated in eastern Cuba at the end of the 19th century, possibly from a pair of larger drums such as the bokú. These older, larger bongos are known ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mambo (music)
Mambo is a genre of Cuban dance music pioneered by the Charanga (Cuba), charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado. It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the ''guajeos'' typical of son cubano (also known as ''montunos''). These ''guajeos'' became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing music, swing and jazz. By the late 1940s and early 1950s, mambo had become a "dance craze" in Mexico and the United States as its mambo (dance), associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito Rodríguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha (music), cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
José Fajardo (musician)
José Antonio Fajardo Ramos (October 18, 1919 – December 11, 2001) was a Cuban Charanga (Cuba), charanga bandleader and flautist, who played the traditional Five-key flute, five-keyed wooden flute. Born in Guane, Pinar del Río Province, Fajardo learned the flute from his father, before moving to Havana in the 1930s. He played with the band of Antonio María Romeu and formed his own charanga band in 1949. He defected to the United States in 1961 while touring Japan and reformed his band in New York City with new musicians. Fajardo died on December 11, 2001, in New York, at the age of 82. References 1919 births 2001 deaths Cha-cha-cha musicians Cuban bandleaders Cuban charanga musicians Cuban male musicians Cuban flautists Cuban composers Cuban male composers Danzón musicians Fania Records artists Mambo musicians People from Pinar del Río 20th-century flautists {{Cuba-musician-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Arcaño
Antonio Arcaño Betancourt (Atarés, Havana 29 December 1911 – 1994) was a Cuban flautist, bandleader and founder of Arcaño y sus Maravillas, one of Cuba's most successful charangas. He retired from playing in 1945, but continued as director of the group until its dissolution in 1958. Despite his early retirement due to health problems, he is considered one of the most influential flautists in Cuba. After leaving La Maravilla del Siglo, a very popular charanga, Arcaño founded La Maravilla de Arcaño, later known as Arcaño y sus Maravillas. The band featured the López brothers, Israel López "Cachao" and Orestes López, composers and multi-instrumentalists that originated the danzón-mambo, the direct precursor of the mambo, through compositions such as " Rareza de Melitón", "Se va el matancero" and, above all, "Mambo", the piece that lent its name to the genre. Arcaño was posthumously inducted into the International Latin Music Hall of Fame The International Latin Musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cowbell (instrument)
The cowbell is an idiophone hand percussion instrument used in various styles of music, such as Latin and rock. It is named after the similar bell used by herdsmen to keep track of the whereabouts of cows. The instrument initially and traditionally has been metallic; however, contemporarily, some variants are made of synthetic materials. Origins While the cowbell is commonly found in musical contexts, its origin can be traced to freely roaming animals. In order to help identify the herd to which these animals belonged, herdsmen placed these bells around the animal's neck. As the animals moved about the bell would ring, thus making it easier to know of the animal's whereabouts. Though the bells were used on various types of animals, they are typically referred to as "cowbells" due to their extensive use with cattle. Tuned cowbells Tuned cowbells or ''Almglocken'' (their German name, ‘Alm’ meaning a mountain meadow, and ‘Glocken’ bells), sometimes known by the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
