Afro.Cuban.Jazz, photos on Flickr

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

by Rai Poquiz

7 9

we drank coffee, smoked a few cigarettes, walked the streets of montclair village, watched the sunset (pictured here), drove around the hills while listening to afro-cuban jazz music, walked around anza lake, and talked about art and literature over a nice cup of tea at her home's driveway.

good times. good, simple times.

[ Grizzly Peak, Oakland, CA ]

[ July 2009 ]

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

3

www.myspace.com/patatovaldes

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

NYC1-003 by David Swift (Thank you for 95 million views)

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Afro Cuban Jazz singer Dayne Procena,Madison Square Park,NYC.35mm Nikon FM2,Kodak Portra 400.

Carlos "Patato" Valdes, Raniel by Santos Torres

en.wikipedia.org/wiki/Carlos_Valdes

Tito Puente Live at the Montreux tune 1 www.youtube.com/watch?v=ZxzphmtiUVk

Carlos "Patato" Valdez & La Sonora Matancera www.youtube.com/watch?v=Ij6cfcadkbQ

About Carlos Patato Valdes

For over 50 years, Carlos "Patato" Valdez has demonstrated how a musician can combine technical skill with superb showmanship. His conga playing fuses melody and rhythm, and his understanding of rhythm is rooted in dancing. Patato still dazzles onlookers with his famed dance moves at the age of 74 -- he's the man who gave Brigitte Bardot a mambo lesson in the film And God Created Woman- -- dancing to his own solo in front of the congas, behind them and on top of them, bringing them to sing in voices no other conga player is able to create, luring them to tell tales full of melodies and poignancy. It is Patato's spontaneity and charm that enables him to draw audiences from vastly different backgrounds and cultures into the irresistable Afro-Cuban rhythms which he creates.

Patato came to the United States in 1952 and worked at New York's Tropicana nightclub with Conjunto Casino. In 1954, he said good-bye to his homeland, Cuba and never returned. Patato's first jazz work was with Billy Taylor at Philadelphia's Blue Note jazz club. After that he worked at New York City's Apollo Theater with trumpet player Chip Murray and played on his first jazz recording, Afrodesia, with trumpet player Kenny Durham. Years later Patato formed a group of his own, which he named Afrojazzia.

Although Patato has recorded few albums as a bandleader, he is more influential than almost any other conguero because he invented the tunable conga, a revolutionary step in music history. Before Patato's innovation, the traditional conga consisted of a wooden body with a nailed-on drum skin, which was tuned by holding a candle beneath the skin, but the results of this technique were not very satisfactory, as the tension of the drum skin slackened as soon as the skin cooled down again. It was Patato's idea to fix the skin to a metal ring which, connected at various points with the conga body, could be stretched and loosened with the help of a square box wrench, thus enabling the musician to tune his instrument to specific pitches. Consequently, it was now possible to hit each half step of an octave, initiated by Patato's unique melodic style of employing multiple conga drums and using them as a melody-creating instrument, just as a piano player or a horn player would.

Patato patented this invention, and the company Latin Percussion Inc. began manufactured the instrument. Latin Percussion's "Patato Model" is the top star of their product family, and Patato's conga type is now used by hundreds of groups from Santana to the Rolling Stones, as well as by a lot of well-known congueros, many of whom are his former students.

Since the 1950's, Patato has been among the congueros who are in highest demand in the Latin music and jazz worlds. He has played, toured, and recorded with Miguelito Valdes, Perez Prado, Beny More, Cachao, Tito Puente (who called him "the greatest conguero alive today"), Machito, Herbie Mann, Kenny Dorham, Art Blakey, Elvin Jones, Dizzy Gillespie and Quincy Jones. Patato also acted in and composed the title song for the television series The Bill Cosby Show. In 1991 he contributed to the movie soundtrack of The Mambo Kings Play Songs of Love.

Recently, Patato, along with The Machito Orchestra, Candido Camero, Armando Peraza, Alfredo "Chocolate" Armenteros and Francisco Aguabella, was chosen by the Smithsonian to participate, in the Mambo and Afro-Cuban Jazz seminar hosted by Musica de las Americas. This series was an unprecedented event that celebrated the long tradition of exchange among the diverse music cultures of the Americas.

On December 4, 2007, a renowned musician, innovative conguero, and Latin Percussion design collaborator, Carlos Valdez, whom the world knew affectionately as “Patato”, died of respiratory failure. A Cuban of diminutive stature, born November 4, 1926, he generated an enormous tonal presence on congas that belied his modest size. And that rings especially true in light of his passing. Now we shiver when hearing recordings that display his monumental sound, the very thing death cannot claim.

As a youth, he was well known from Cuban television appearances, in which he combined a theatrical flare, sometimes dancing around and atop his congas, always maintaining solid musicality. Emigrating from Cuba to New York in 1955, co-sponsored by Candido and Mongo Santamaria, he quickly saw action with Kenny Dorham, Tito Puente, Herbie Mann, Dizzy Gillespie, and most major Latin and jazz figures of the day.

His melodic intentions frustrated by traditional fixed-tension instruments, Patato pioneered the first tunable congas, which he put to good use accompanying the great band leaders with melodic lines in addition to the customary indigenous rhythms. Soon after he became a close friend of LP founder Martin Cohen and advised Martin on a variety of technical and design issues. The two were bound by an implicit trust and passion for Latin music. Their collaboration resulted in the LP Patato Model Congas, which became among the top-selling congas of all time.

Patato’s dramatic style garnered him a role in the classic Brigitte Bardot film And God Made Woman. Here Patato gives the film goddess a lesson in dancing the mambo.

Patato was also well-recognized for his contributions to Latin music and culture. The Puerto Rican Jazz Festival, the International Latin Music Hall of Fame, and the New York Hispanic Entertainment Journalists were three among a distinguished list of institutions that recognized Patato’s lifetime achievements with awards.

Many recordings, on the LP and other labels, showcase Patato’s musicality. Examples on LP are Ready for Freddy and Authority. But two revered ensembles most clearly express Patato’s legacy—his indelible touch, organic tone, and sense of musical communion. One is the Latin Percussion Jazz Ensemble, assembled by LP founder Martin Cohen, which immortalized another LP artist, the late Tito Puente, documented on the recording Live at Montreux 1980. The other is a later collaboration, The Conga Kings, in which Patato performed with fellow icons Candido Camero and Giovanni Hidalgo, recording several significant albums. It was with the Conga Kings that Carlos “Patato” Valdez performed his last concert.

His melodic musical contribution and dancing legacy live on, as do the LP congas bearing his name. Latin Percussion mourns his passing. Indeed, we shed a tear for our friend, collaborator and inspiration, Carlos “Patato” Valdez.

Master conguero Giovanni Hidalgo: "Patato was one of the pioneers who brought congas to America. He was also a innovator of tuning the drums . He was our father and he showed us a many ways to survive in this life in personal and musical ways. He was a good example of how to be a great,respectful gentleman. He is still with us...physically he had to leave, but he lives on within all of us."

It is Valdez' spontaneity and charm that enabled him to draw audiences from vastly different backgrounds and cultures into the irresistible Afro-Cuban rhythms which he created. Patato will be remembered by all as a giant of a man, and his spirit shall live forever through his music.

This page was created in loving memory of Carlos "Patato" Valdes.

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

2

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

1

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

Chucho Valdez by abudoma

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Chucho Valdez, pianist

London Jazz Festival

Barbican 22/11/2008

Chuco Valdez is undoubtedly the giant of Afro-Cuban jazz..

His music was described by the Guardian as "...high-pressure virtuosity, cliffhanging improvisation and party-time salsa... which he still throws off as easily as if he were whistling in the street".

sax is his ax by Matt Duke

1 6

overprocessing has its place.

i dunno, maybe this was it.

brent rose from afro-cuban jazz funk band otra laying it down at congo square

Some sketches of Cuban Music by Felix Tamayo

1

The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by West African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world.

For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.

Since the 19th century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genre and musical styles around the globe, most notably in Latin America, the Caribbean, West Africa and Europe. Examples include rhumba, Afro-Cuban jazz, salsa, soukous, a wide variety of West African re-adaptations of Afro-Cuban music (Orchestra Baobab, Africando), Spanish fusion genres (notably with flamenco), and a wide variety of genres in Latin America.

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

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We have dance fitness classes for all levels, all weekend. Plus ballet, Afro-Cuban, jazz, Horton....the drop-in list for adults is endless. #noexcuses #maketime by joyofmotiondancecenter

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

via Instagram ift.tt/1WOvpRI

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

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Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

Masanga Marimba Ensemble - Skirball Cultural Center by Al_HikesAZ

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The Skirball Cultural Center off Sepulvada Blvd in north Los Angeles has numerous cultural and musical events. This is the Masanga Marimba Ensemble playing on June 9, 2007. www.masanga.com/

This was followed by Francisco Aguabella leading an Afro-Cuban jazz group en.wikipedia.org/wiki/Francisco_Aguabella Sounded like a combination of Tito Puentes and the Buena Vista Social Club. Awesome sounds.

My wife wondered where a kid learns to be a Marimba player. But I played Bassoon so takes all kinds I guess.

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

by フィルターフリーク

The Fania All-Stars is a musical group formed in 1968 as a showcase for the musicians on Fania Records, the leading salsa music record label of the time.

In 1964, Fania Records was founded in New York City by Jerry Masucci, an Italian-American lawyer with a love for Cuban music, and Johnny Pacheco, a flutist, percussionist and bandleader born in the Dominican Republic but raised in the South Bronx who had like minded musical tastes. Masucci later bought out his partner Pacheco from Fania Entertainment Group, Ltd. and was the sole owner until his death in December 1997.

Members:

Adalberto Santiago, #AlphonseMouzon, #BarryRogers, #BillyCobham, Bobby Cruz, Bobby Valentin, Boncana Maïga, Cali Aleman, Celia Cruz, Cheo Feliciano, #EddiePalmieri, Hector Lavoe, Hector Zarzuela, Ismael Miranda, Izzy Sanabria, #JimmyDelgado, Johnny Pacheco, #JoséMangualJr., Juancito Torres, Justo Betancourt, Larry Harlow, Léo Leobons, Leopoldo Pineda, Lewis Kahn, Luis "Perico" Ortiz, Mongo Santamaria, #MonguitoSantamaria, Nestor Sanchez, Nicky Marrero, Orestes Vilato, Papo Lucca, #Pedro_puchi_Boulong, Pete Rodriguez, Rafael "Felo" Barrio, #RayBarretto, Ray Maldonado, Reynaldo Jorge, Ricardo Ray, Roberto Rodriguez, Roberto Roena, Ruben Blades, Sal Cuevas, Santos Colón, #TonyBarrero, Victor Paz, Willie Colón, Yomo Toro

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Fania All Stars ‎– Rhythm Machine

Label: Fania Records ‎– PC-34711

Format: Vinyl, LP, Album

Country: Netherlands

Released: 1978

Genre: Jazz, Latin, Funk / Soul

Style: Afro-Cuban Jazz, Salsa, Latin Jazz, Pachanga

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Tracklist

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A1 Ella Fue (She Was The One)

A2 En Orbita

A3 Awake

A4 Peanuts (The Peanut Vendor)

B1 Jubileo

B2 Verão Vermelho

B3 Steady (Fijo)

B4 Juan Pachanga (Daylight)

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Credits

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Bass – #BobbyValentin

Bongos, Percussion – #RobertoRoena

Congas – #MongoSantamaria

Flute, Percussion, Vocals – #JohnnyPacheco

Piano – #PapoLucca

Soloist, Keyboards – #BobJames

Soloist, Trumpet – #Louis_Perico_Ortiz

Soloist, Guitar – #EricGale

Lead Vocals – #RubenBlades

Soloist, Vibraphone [Vibe] – #LouieRamirez

Timbales – #NickyMarrero‎

Producer, Arranged By, Conductor – #JayChattaway

Executive-Producer – Bob James

#Latinjazz #JazzFunk #vinylrecordcollection #instarecords #instavinyl #cratedigger #loverecords #vinylgram #recordgram #recordoftheday #1978 #Funk #Soul #AfroCubanJazz #Salsa #Pachanga #percussions #latinjazzrecordoftheday #rhythms #lovelatinjazz

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

Latino Heritage Month Fall 2013 by The Skyline View

Two students having a good time during the celebrations. (A member of the Afro Cuban Jazz Cartel playing at the quad during Latino Heritage Month. (Photo by Avital Pelman's/The Skyline View))

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

PAQUITO D'RIVERA 'JAZZ MEETS THE CLASSICS' (Cuba). Alfa Jazz Fest by Eugene Zhyvchik

MUSIC REVOLUTION FESTIVAL, Polish National Home of Hartford, Felix Garcia, Luques Curtis by Santos Torres

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable." D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years. In 1973, he joined eight members of the Orchestra Cubana de Musica Moderna to form Irakere. The group, which fused jazz, rock, classical, and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Along with the band, D'Rivera toured the world and Irakere became a top-rated jazz ensemble. In 1979, the group joined American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram, and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz." D'Rivera's debut solo album, Blowin', released in June 1981, was followed by Mariel a year later. Time magazine wrote, "the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has its roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane, and Lee Konitz." In 1988, D'Rivera was invited to become a charter member of Gillespie's 15-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaway's David Street Blues at the John F. Kennedy Center. He continued to be involved with a variety of projects. In addition to performing with the Paquito D'Rivera Big Band, the Paquito D'Rivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed "New York Suite" for the Gerald Danovich Saxophone Quartet, and five years later, he composed "Aires Tropicales" for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets. In 1997, D'Rivera's album Portraits of Cuba received a Grammy award as "Best Latin Jazz Performance." During the summer of 1999, he collaborated with Germany's Chamber Orchestra Werneck in a series of programs, D'Rivera Meets Mozart. D'Rivera was artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, was published by the Spanish book publisher Seix Barral, along with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001, D'Rivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, Tribute to Cal Tjader and Riberas in 2004. and the Jazz Chamber Trio in 2005. ~ Craig Harris

VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/

princelang.com/afro-cuban-jazz/

WHAT IS TRUTH REVOLUTION RECORDS truthrevolutionrecords.com/about

Giovanni Almonte is a composer and vocalist born in New York City, the son of a Dominican family. His experience as the front man for the band brokenMadison has garnered him a reputation as a powerful performer with a sincere and passionate stage presence. Over the course of several years brokenMadison toured throughout the east coast, Europe and Egypt before disbanding in 2005 while recording their first album.

Giovanni Almonte continues on his musical career as a solo artist embracing his Latin heritage and the influence of New York City's diverse culture. He is recognized for blending elements of Salsa, Rock, Afro-Cuba, Jazz and Electronica. His unique yet diverse style and inspired writing has allowed him to perform and record with a wide range of musicians including hip-hop producer King Solomon, who featured Giovanni on the acclaimed 2009 release, "The Big Picture". Giovanni Almonte was also featured on another 2009 release by the Latin Jazz group The Curtis Brothers. Their first single, "Thoughts Not My Own" included original lyrics and vocals by Giovanni.

Now with experience and an established working relationship with some of New York City's most renowned young musicians, Giovanni Almonte has finished recording his debut solo work that combines powerful lyrics, beautiful melody, raw vocal performances and virtuosity second to none.

The album "High vs. Low" is scheduled for release in June 2010 and includes 12 original compositions written, arranged and produced by Giovanni Almonte and Julie "Jewls" Acosta. The album is bi-lingual English and Spanish and is an eclectic and sophisticated production with global appeal.

Dizzy Gillespie by Detour

1

Artist: Detour

Website: www.detourartstudio.com

John Birks "Dizzy" Gillespie (pronounced /ɡɨˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpet player, bandleader, singer, and composer dubbed "the sound of surprise".

Together with Charlie Parker, he was a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Jon Faddis and Chuck Mangione.

Allmusic's Scott Yanow wrote that "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best, Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated . . . Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time.

In addition to featuring in the epochal moments in bebop, he was instrumental in founding Afro-Cuban jazz, the modern jazz version of what early-jazz pioneer Jelly Roll Morton referred to as the "Spanish Tinge". Gillespie was a trumpet virtuoso and gifted improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. Dizzy's beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.

Candico Camero by fotoJENica

1 5

So well known and respected, his first name alone -- Candido -- is all that is necessary for jazz aficionados to know who he is. Credited with being the first percussionist to bring conga drumming to jazz, Candido Camero is also known for his contributions to the development of mambo and Afro-Cuban jazz.

Born in Havana, Cuba, in 1921, Camero first began making music as a young child, beating rhythms on empty condensed milk cans in place of bongos.

163/365 by prince lang

4

MUSIC REVOLUTION FESTIVAL, Polish National Home of Hartford, Luques Curtis by Santos Torres

VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/

WHAT IS TRUTH REVOLUTION RECORDS truthrevolutionrecords.com/about

Giovanni Almonte is a composer and vocalist born in New York City, the son of a Dominican family. His experience as the front man for the band brokenMadison has garnered him a reputation as a powerful performer with a sincere and passionate stage presence. Over the course of several years brokenMadison toured throughout the east coast, Europe and Egypt before disbanding in 2005 while recording their first album.

Giovanni Almonte continues on his musical career as a solo artist embracing his Latin heritage and the influence of New York City's diverse culture. He is recognized for blending elements of Salsa, Rock, Afro-Cuba, Jazz and Electronica. His unique yet diverse style and inspired writing has allowed him to perform and record with a wide range of musicians including hip-hop producer King Solomon, who featured Giovanni on the acclaimed 2009 release, "The Big Picture". Giovanni Almonte was also featured on another 2009 release by the Latin Jazz group The Curtis Brothers. Their first single, "Thoughts Not My Own" included original lyrics and vocals by Giovanni.

Now with experience and an established working relationship with some of New York City's most renowned young musicians, Giovanni Almonte has finished recording his debut solo work that combines powerful lyrics, beautiful melody, raw vocal performances and virtuosity second to none.

The album "High vs. Low" is scheduled for release in June 2010 and includes 12 original compositions written, arranged and produced by Giovanni Almonte and Julie "Jewls" Acosta. The album is bi-lingual English and Spanish and is an eclectic and sophisticated production with global appeal.VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/

MUSIC REVOLUTION FESTIVAL, Polish National Home of Hartford, Jorge Fuentes Viera, Johnny Rivero, Raniel by Santos Torres

WHAT IS TRUTH REVOLUTION RECORDS truthrevolutionrecords.com/about

Giovanni Almonte is a composer and vocalist born in New York City, the son of a Dominican family. His experience as the front man for the band brokenMadison has garnered him a reputation as a powerful performer with a sincere and passionate stage presence. Over the course of several years brokenMadison toured throughout the east coast, Europe and Egypt before disbanding in 2005 while recording their first album.

Giovanni Almonte continues on his musical career as a solo artist embracing his Latin heritage and the influence of New York City's diverse culture. He is recognized for blending elements of Salsa, Rock, Afro-Cuba, Jazz and Electronica. His unique yet diverse style and inspired writing has allowed him to perform and record with a wide range of musicians including hip-hop producer King Solomon, who featured Giovanni on the acclaimed 2009 release, "The Big Picture". Giovanni Almonte was also featured on another 2009 release by the Latin Jazz group The Curtis Brothers. Their first single, "Thoughts Not My Own" included original lyrics and vocals by Giovanni.

Now with experience and an established working relationship with some of New York City's most renowned young musicians, Giovanni Almonte has finished recording his debut solo work that combines powerful lyrics, beautiful melody, raw vocal performances and virtuosity second to none.

The album "High vs. Low" is scheduled for release in June 2010 and includes 12 original compositions written, arranged and produced by Giovanni Almonte and Julie "Jewls" Acosta. The album is bi-lingual English and Spanish and is an eclectic and sophisticated production with global appeal.

THE CESTA ALL STARS VOL 1, 1974 & 1976 VOL 2, CD MIX by Santos Torres

THE CESTA ALL STARS VOL 1, 1974 & 1976 VOL 2, CD MIX

VEAN VIDEO AQUI youtu.be/wdiZz6maDfo

The Cesta All Stars ‎– Live Jam Session VOL 1

Genre: Jazz, Latin, Funk / Soul

Style:Son Montuno, Descarga, Cha-Cha, Son, Bolero, Latin Jazz, Salsa

Year: 1974

Tracklist

No Hace Falta Papel 6:00

Si A Tu Lado No Estoy 3:05

Soneros En Una Cesta 9:35

Jala-Jala Con Aguardiente 5:50

Echame A Mi La Culpa 4:00

El Rinconcito 9:10

The Cesta All-Stars* ‎– Salsa Festival VOL 2

Genre:Jazz, Latin

Style:Bolero, Mambo, Afro-Cuban Jazz, Salsa

Year: 1976

Tracklist

Arranquen (Come On) 6:47

Delirio (I'm Delirious) 7:12

El Romecabeza (The Puzzle) 8:00

Es Por Tu Bien (It's For You Own Good) 2:45

Beethoven's Fith (El Quinto De Beethoven) 9:50

Mani Tostado (Roasted Peanuts) 2:45

Ran-Kan-Kan 10:33

Director Musical Charlie Palmieri.

Cheo Feliciano, Joe Quijano, Yayo El Indio, Jimmy Sabater, Víctor Velásquez, Changuito Montalvo, Willie Torres y Dioris Valladares, Voces; Víctor Paz, Trompeta; Pedro "Puchi" Boulong, Trompeta; Roy Roman, Trompeta; José "Chombo" Silva, Saxofón; Mario Rivera, Saxofón; Charlie Palmieri, Piano y Organo; Charlie Fox, Piano; Bobby Rodríguez, Bajo; Baltasar Kako, Timbales; Louie Ramírez Vibráfono y Percusión; Johnny "Dandy" Rodríguez, Congas y bongos; Willie Rosario, Timbales y bongos; Orlando Marín, Timbales; Frankie Malabe, Conga y tumbadoras; Pedro Perdomo Conga y Percusión; Barry Rogers, Joe Wohletz y Joe Rodríguez, Trombones. Productor Al Santiago, Joe Quijano y Charlie Palmieri; Irv Greebaum Ingeniero de Grabación, Al Brown, Productor.

VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/

WHAT IS TRUTH REVOLUTION RECORDS truthrevolutionrecords.com/about

Giovanni Almonte is a composer and vocalist born in New York City, the son of a Dominican family. His experience as the front man for the band brokenMadison has garnered him a reputation as a powerful performer with a sincere and passionate stage presence. Over the course of several years brokenMadison toured throughout the east coast, Europe and Egypt before disbanding in 2005 while recording their first album.

Giovanni Almonte continues on his musical career as a solo artist embracing his Latin heritage and the influence of New York City's diverse culture. He is recognized for blending elements of Salsa, Rock, Afro-Cuba, Jazz and Electronica. His unique yet diverse style and inspired writing has allowed him to perform and record with a wide range of musicians including hip-hop producer King Solomon, who featured Giovanni on the acclaimed 2009 release, "The Big Picture". Giovanni Almonte was also featured on another 2009 release by the Latin Jazz group The Curtis Brothers. Their first single, "Thoughts Not My Own" included original lyrics and vocals by Giovanni.

Now with experience and an established working relationship with some of New York City's most renowned young musicians, Giovanni Almonte has finished recording his debut solo work that combines powerful lyrics, beautiful melody, raw vocal performances and virtuosity second to none.

The album "High vs. Low" is scheduled for release in June 2010 and includes 12 original compositions written, arranged and produced by Giovanni Almonte and Julie "Jewls" Acosta. The album is bi-lingual English and Spanish and is an eclectic and sophisticated production with global appeal.

MUSIC REVOLUTION FESTIVAL, Polish National Home of Hartford, Joel E. Mateo, Johnny Rivero, by Santos Torres

Rubén González ‎– Chanchullo

VEAN/SEE VIDEO youtu.be/WOYxaE02Eck

Label: World Circuit ‎– WCD060

Format: CD, Album

Country: UK

Released: 25 Sep 2000

Genre: Jazz

Style: Afro-Cuban Jazz

Tracklist

1 Chanchullo 5:12

2 De Una Manera Espantosa 4:19

3 La Lluvia 5:19

4 Central Constancia 5:57

5 Quizás Quizás 2:30

6 Choco's Guajira 6:52

7 Si Te Contará 1:29

8 El Bodeguero 5:13

9 Isora Club 5:36

10 Rico Vacilón 4:13

11 Pa' Gozar 4:30

Companies, etc.

Copyright (c) – World Circuit

Phonographic Copyright (p) – World Circuit

Recorded At – Estudios EGREM

Recorded At – Angel Studios

Pressed By – Sonopress

Credits

Acoustic Guitar – Eliades Ochoa (tracks: 5)

Bass – Orlando Cachaíto López

Bongos, Cowbell, Percussion [Güiro] – Roberto García

Chorus – Ibrahim Ferrer, Jesús "Aguaje" Ramos, Lázaro Villa

Congas – Angel Terry, Miguel "Angá" Díaz (tracks: 2, 3, 6)

Directed By – Jesús "Aguaje" Ramos

Drums – Joachim Cooder (tracks: 10)

Flute – Joaquín Oliveiras (tracks: 4), Richard Egües (tracks: 4, 5)

Guiro, Claves – Alejandro Pichardo Perez*

Maracas – Alberto "Virgilio" Valdés

Mixed By – Jerry Boys

Piano – Rubén González

Producer – Nick Gold

Saxophone – Javier Zalba (tracks: 1)

Timbales – Amadito Valdés

Tres – Papi Oviedo (tracks: 6), Ry Cooder (tracks: 10)

Trombone – Jesús Aguaje Ramos

Trumpet – Mañuel Guajiro Mirabal*

Violin – Lázaro Ordóñez Enriquez (tracks: 4)

Vocals – Cheikh Lô (tracks: 6), Ibrahim Ferrer (tracks: 2, 6), Jesús "Aguaje" Ramos (tracks: 4), Lázaro Villa (tracks: 4)

Notes

Recorded at EGREM Studios, Havana

and Angel Studios, London, 1997-2000

Amadito Vakdés okays Meinl Percussion and Regal Tip Signature model exclusively

Eliades Ochoa appears courtesy of Virgin, Spain

Papi Oviedo appears courtesy of Tumi Records,

VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/

WHAT IS TRUTH REVOLUTION RECORDS truthrevolutionrecords.com/about

Giovanni Almonte is a composer and vocalist born in New York City, the son of a Dominican family. His experience as the front man for the band brokenMadison has garnered him a reputation as a powerful performer with a sincere and passionate stage presence. Over the course of several years brokenMadison toured throughout the east coast, Europe and Egypt before disbanding in 2005 while recording their first album.

Giovanni Almonte continues on his musical career as a solo artist embracing his Latin heritage and the influence of New York City's diverse culture. He is recognized for blending elements of Salsa, Rock, Afro-Cuba, Jazz and Electronica. His unique yet diverse style and inspired writing has allowed him to perform and record with a wide range of musicians including hip-hop producer King Solomon, who featured Giovanni on the acclaimed 2009 release, "The Big Picture". Giovanni Almonte was also featured on another 2009 release by the Latin Jazz group The Curtis Brothers. Their first single, "Thoughts Not My Own" included original lyrics and vocals by Giovanni.

Now with experience and an established working relationship with some of New York City's most renowned young musicians, Giovanni Almonte has finished recording his debut solo work that combines powerful lyrics, beautiful melody, raw vocal performances and virtuosity second to none.

The album "High vs. Low" is scheduled for release in June 2010 and includes 12 original compositions written, arranged and produced by Giovanni Almonte and Julie "Jewls" Acosta. The album is bi-lingual English and Spanish and is an eclectic and sophisticated production with global appeal.

Rubén González ‎– Chanchullo

VEAN/SEE VIDEO youtu.be/WOYxaE02Eck

Label: World Circuit ‎– WCD060

Format: CD, Album

Country: UK

Released: 25 Sep 2000

Genre: Jazz

Style: Afro-Cuban Jazz

Tracklist

1 Chanchullo 5:12

2 De Una Manera Espantosa 4:19

3 La Lluvia 5:19

4 Central Constancia 5:57

5 Quizás Quizás 2:30

6 Choco's Guajira 6:52

7 Si Te Contará 1:29

8 El Bodeguero 5:13

9 Isora Club 5:36

10 Rico Vacilón 4:13

11 Pa' Gozar 4:30

Companies, etc.

Copyright (c) – World Circuit

Phonographic Copyright (p) – World Circuit

Recorded At – Estudios EGREM

Recorded At – Angel Studios

Pressed By – Sonopress

Credits

Acoustic Guitar – Eliades Ochoa (tracks: 5)

Bass – Orlando Cachaíto López

Bongos, Cowbell, Percussion [Güiro] – Roberto García

Chorus – Ibrahim Ferrer, Jesús "Aguaje" Ramos, Lázaro Villa

Congas – Angel Terry, Miguel "Angá" Díaz (tracks: 2, 3, 6)

Directed By – Jesús "Aguaje" Ramos

Drums – Joachim Cooder (tracks: 10)

Flute – Joaquín Oliveiras (tracks: 4), Richard Egües (tracks: 4, 5)

Guiro, Claves – Alejandro Pichardo Perez*

Maracas – Alberto "Virgilio" Valdés

Mixed By – Jerry Boys

Piano – Rubén González

Producer – Nick Gold

Saxophone – Javier Zalba (tracks: 1)

Timbales – Amadito Valdés

Tres – Papi Oviedo (tracks: 6), Ry Cooder (tracks: 10)

Trombone – Jesús Aguaje Ramos

Trumpet – Mañuel Guajiro Mirabal*

Violin – Lázaro Ordóñez Enriquez (tracks: 4)

Vocals – Cheikh Lô (tracks: 6), Ibrahim Ferrer (tracks: 2, 6), Jesús "Aguaje" Ramos (tracks: 4), Lázaro Villa (tracks: 4)

Notes

Recorded at EGREM Studios, Havana

and Angel Studios, London, 1997-2000

Amadito Vakdés okays Meinl Percussion and Regal Tip Signature model exclusively

Eliades Ochoa appears courtesy of Virgin, Spain

Papi Oviedo appears courtesy of Tumi Records,

Multi-Grammy Award-winner Chucho Valdés by Vancouver Community College

VCC invited students, staff, faculty and the community to a free master class being held by internationally renowned musician, Chucho Valdés.

Hailed as "the Dean of Latin jazz" and "one of the world’s great virtuosic pianists" by the New York Times, multi-Grammy Award-winner Chucho Valdés has recorded over 80 albums. With a long-reaching history in developing Afro-Cuban jazz, he is revered throughout the international jazz community.

MUSIC REVOLUTION FESTIVAL, Johnny Rivero by Santos Torres

VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/

WHAT IS TRUTH REVOLUTION RECORDS truthrevolutionrecords.com/about

Giovanni Almonte is a composer and vocalist born in New York City, the son of a Dominican family. His experience as the front man for the band brokenMadison has garnered him a reputation as a powerful performer with a sincere and passionate stage presence. Over the course of several years brokenMadison toured throughout the east coast, Europe and Egypt before disbanding in 2005 while recording their first album.

Giovanni Almonte continues on his musical career as a solo artist embracing his Latin heritage and the influence of New York City's diverse culture. He is recognized for blending elements of Salsa, Rock, Afro-Cuba, Jazz and Electronica. His unique yet diverse style and inspired writing has allowed him to perform and record with a wide range of musicians including hip-hop producer King Solomon, who featured Giovanni on the acclaimed 2009 release, "The Big Picture". Giovanni Almonte was also featured on another 2009 release by the Latin Jazz group The Curtis Brothers. Their first single, "Thoughts Not My Own" included original lyrics and vocals by Giovanni.

Now with experience and an established working relationship with some of New York City's most renowned young musicians, Giovanni Almonte has finished recording his debut solo work that combines powerful lyrics, beautiful melody, raw vocal performances and virtuosity second to none.

The album "High vs. Low" is scheduled for release in June 2010 and includes 12 original compositions written, arranged and produced by Giovanni Almonte and Julie "Jewls" Acosta. The album is bi-lingual English and Spanish and is an eclectic and sophisticated production with global appeal.

Rubén González ‎– Chanchullo

VEAN/SEE VIDEO youtu.be/WOYxaE02Eck

Label: World Circuit ‎– WCD060

Format: CD, Album

Country: UK

Released: 25 Sep 2000

Genre: Jazz

Style: Afro-Cuban Jazz

Tracklist

1 Chanchullo 5:12

2 De Una Manera Espantosa 4:19

3 La Lluvia 5:19

4 Central Constancia 5:57

5 Quizás Quizás 2:30

6 Choco's Guajira 6:52

7 Si Te Contará 1:29

8 El Bodeguero 5:13

9 Isora Club 5:36

10 Rico Vacilón 4:13

11 Pa' Gozar 4:30

Companies, etc.

Copyright (c) – World Circuit

Phonographic Copyright (p) – World Circuit

Recorded At – Estudios EGREM

Recorded At – Angel Studios

Pressed By – Sonopress

Credits

Acoustic Guitar – Eliades Ochoa (tracks: 5)

Bass – Orlando Cachaíto López

Bongos, Cowbell, Percussion [Güiro] – Roberto García

Chorus – Ibrahim Ferrer, Jesús "Aguaje" Ramos, Lázaro Villa

Congas – Angel Terry, Miguel "Angá" Díaz (tracks: 2, 3, 6)

Directed By – Jesús "Aguaje" Ramos

Drums – Joachim Cooder (tracks: 10)

Flute – Joaquín Oliveiras (tracks: 4), Richard Egües (tracks: 4, 5)

Guiro, Claves – Alejandro Pichardo Perez*

Maracas – Alberto "Virgilio" Valdés

Mixed By – Jerry Boys

Piano – Rubén González

Producer – Nick Gold

Saxophone – Javier Zalba (tracks: 1)

Timbales – Amadito Valdés

Tres – Papi Oviedo (tracks: 6), Ry Cooder (tracks: 10)

Trombone – Jesús Aguaje Ramos

Trumpet – Mañuel Guajiro Mirabal*

Violin – Lázaro Ordóñez Enriquez (tracks: 4)

Vocals – Cheikh Lô (tracks: 6), Ibrahim Ferrer (tracks: 2, 6), Jesús "Aguaje" Ramos (tracks: 4), Lázaro Villa (tracks: 4)

Notes

Recorded at EGREM Studios, Havana

and Angel Studios, London, 1997-2000

Amadito Vakdés okays Meinl Percussion and Regal Tip Signature model exclusively

Eliades Ochoa appears courtesy of Virgin, Spain

Papi Oviedo appears courtesy of Tumi Records,

Rubén González ‎– Chanchullo

VEAN/SEE VIDEO youtu.be/WOYxaE02Eck

Label: World Circuit ‎– WCD060

Format: CD, Album

Country: UK

Released: 25 Sep 2000

Genre: Jazz

Style: Afro-Cuban Jazz

Tracklist

1 Chanchullo 5:12

2 De Una Manera Espantosa 4:19

3 La Lluvia 5:19

4 Central Constancia 5:57

5 Quizás Quizás 2:30

6 Choco's Guajira 6:52

7 Si Te Contará 1:29

8 El Bodeguero 5:13

9 Isora Club 5:36

10 Rico Vacilón 4:13

11 Pa' Gozar 4:30

Companies, etc.

Copyright (c) – World Circuit

Phonographic Copyright (p) – World Circuit

Recorded At – Estudios EGREM

Recorded At – Angel Studios

Pressed By – Sonopress

Credits

Acoustic Guitar – Eliades Ochoa (tracks: 5)

Bass – Orlando Cachaíto López

Bongos, Cowbell, Percussion [Güiro] – Roberto García

Chorus – Ibrahim Ferrer, Jesús "Aguaje" Ramos, Lázaro Villa

Congas – Angel Terry, Miguel "Angá" Díaz (tracks: 2, 3, 6)

Directed By – Jesús "Aguaje" Ramos

Drums – Joachim Cooder (tracks: 10)

Flute – Joaquín Oliveiras (tracks: 4), Richard Egües (tracks: 4, 5)

Guiro, Claves – Alejandro Pichardo Perez*

Maracas – Alberto "Virgilio" Valdés

Mixed By – Jerry Boys

Piano – Rubén González

Producer – Nick Gold

Saxophone – Javier Zalba (tracks: 1)

Timbales – Amadito Valdés

Tres – Papi Oviedo (tracks: 6), Ry Cooder (tracks: 10)

Trombone – Jesús Aguaje Ramos

Trumpet – Mañuel Guajiro Mirabal*

Violin – Lázaro Ordóñez Enriquez (tracks: 4)

Vocals – Cheikh Lô (tracks: 6), Ibrahim Ferrer (tracks: 2, 6), Jesús "Aguaje" Ramos (tracks: 4), Lázaro Villa (tracks: 4)

Notes

Recorded at EGREM Studios, Havana

and Angel Studios, London, 1997-2000

Amadito Vakdés okays Meinl Percussion and Regal Tip Signature model exclusively

Eliades Ochoa appears courtesy of Virgin, Spain

Papi Oviedo appears courtesy of Tumi Records,

MUSIC REVOLUTION FESTIVAL, Polish National Home of Hartford, Joel E. Mateo, Johnny Rivero by Santos Torres

Rubén González ‎– Chanchullo

VEAN/SEE VIDEO youtu.be/WOYxaE02Eck

Label: World Circuit ‎– WCD060

Format: CD, Album

Country: UK

Released: 25 Sep 2000

Genre: Jazz

Style: Afro-Cuban Jazz

Tracklist

1 Chanchullo 5:12

2 De Una Manera Espantosa 4:19

3 La Lluvia 5:19

4 Central Constancia 5:57

5 Quizás Quizás 2:30

6 Choco's Guajira 6:52

7 Si Te Contará 1:29

8 El Bodeguero 5:13

9 Isora Club 5:36

10 Rico Vacilón 4:13

11 Pa' Gozar 4:30

Companies, etc.

Copyright (c) – World Circuit

Phonographic Copyright (p) – World Circuit

Recorded At – Estudios EGREM

Recorded At – Angel Studios

Pressed By – Sonopress

Credits

Acoustic Guitar – Eliades Ochoa (tracks: 5)

Bass – Orlando Cachaíto López

Bongos, Cowbell, Percussion [Güiro] – Roberto García

Chorus – Ibrahim Ferrer, Jesús "Aguaje" Ramos, Lázaro Villa

Congas – Angel Terry, Miguel "Angá" Díaz (tracks: 2, 3, 6)

Directed By – Jesús "Aguaje" Ramos

Drums – Joachim Cooder (tracks: 10)

Flute – Joaquín Oliveiras (tracks: 4), Richard Egües (tracks: 4, 5)

Guiro, Claves – Alejandro Pichardo Perez*

Maracas – Alberto "Virgilio" Valdés

Mixed By – Jerry Boys

Piano – Rubén González

Producer – Nick Gold

Saxophone – Javier Zalba (tracks: 1)

Timbales – Amadito Valdés

Tres – Papi Oviedo (tracks: 6), Ry Cooder (tracks: 10)

Trombone – Jesús Aguaje Ramos

Trumpet – Mañuel Guajiro Mirabal*

Violin – Lázaro Ordóñez Enriquez (tracks: 4)

Vocals – Cheikh Lô (tracks: 6), Ibrahim Ferrer (tracks: 2, 6), Jesús "Aguaje" Ramos (tracks: 4), Lázaro Villa (tracks: 4)

Notes

Recorded at EGREM Studios, Havana

and Angel Studios, London, 1997-2000

Amadito Vakdés okays Meinl Percussion and Regal Tip Signature model exclusively

Eliades Ochoa appears courtesy of Virgin, Spain

Papi Oviedo appears courtesy of Tumi Records,

VIDEO EVENT HERE www.youtube.com/watch?v=VSe1_-EJnUA&list=PLC87jK6_9w7...

BUY CD HERE trrstore.bandcamp.com/