The Modern Buena Vista Social Club (Part 3)

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The Buena Vista Social Club Today

 

Byย Rocรญo de Lucรญaย (Cuban Musicologist)

When we talk about The History of Buena Vista Social Club Part 1 and The History of Buena Vista Social Club Part 2, we find that Buena Vista Social Club was the name of a Social Club where the best โ€œsonerosโ€ of the 50s used to sing in Cuba. Then, it was a song that paid tribute to those sublime encounters and musical sessions of the homonymous Club. Later, the song would give the name to an album, a project, and finally to a musical artistic concept, with a particular style and format, founded on bringing together the glorious musicians and songs of previous decades. All that is Buena Vista Social Club.

The project traveled the world always changing the members of the orchestra. Although, it is true that some figures achieved greater popularity, becoming a kind of Buena Vista icon. Many of these original interpreters passed away a few years ago, others are now of advanced age. Let us remember that, by the creation date of the project in the 90s, the vast majority of artists were over 65 years of age.

What happened in Cuba?ย 

Currently, in Cuba, the legacy and principles of the Buena Vista Social Club continue to be exalted, in a project called Tradicionales de Los 50. Because the original name is the intellectual property of the record company that recorded the homonymous album, the longest-lived figures of the Cuban son, they meet every night at the Rosalรญa de Castro Club. Located in the heart of Old Havana, there those songs that for years have brightened the lives of all those who enjoy them are honored.

Former members of the Sonora Matancera -the orchestra with which Celia Cruz recorded her first two musical albums in Cuba and a legend of Latin American dance music of the last century-, along with other great stars of the Buena Vista Social Club and Afro-Cuban All-Stars have been part of this project since 2002.

Among the most prominent figures who have collaborated, we find Julio Alberto Fernรกndez, Barbarito Torres, Amadito Valdรฉs, โ€œEl Guajiroโ€ Mirabal, Julienne Oviedo Sรกnchez, Carlos Gonzรกlez Cรกrdenas, Lรกzaro Villa, Rosa Fornรฉs, Rolo Martรญnez and Manolo del Valle. These names are joined by other great personalities of the Cuban music scene: Rolito, Armandito y Navarro, Feliz Baloy, Hector Tรฉllez, Alfonsรญ Quintana, Caridad Hierrezuelo, Hilda de la Hoz, Marรญa Elena Pena, Xiomara Valdรฉs, Teresa Garcรญa Caturla, Ela Calvo, Marรญa Victoria Gil, Amparito Valencia and Luis Tรฉllez.

The current stars, all stand out for an important musical trajectory, of excellence within Cuban music. There we will find Rolando Montero, Mundito Gonzรกlez, Josรฉ Valladares, Jorge Mulet, Migdalia Hechavarrรญa, Jose Luis Arango, Sergio Farรญas, Raquel Hernรกndez, Flora Max, Pablo Santamarรญa, Millรกn Zuaznabar, Leonor Zayas, Feliz Bernal, Yanko Pizako, Emilio Ramos, Adalberto รvila โ€œCandelaโ€, Martha de Santelices, Andrรฉs Sรกnchez, Maria Elena Lazo, Alfredo Rodrรญguez, Laura Rodrรญguez and Marรญa de Jesรบs Lรณpez.

The wide versatility of the project and its classic soundย make this show a jewel of Cuban cultural heritage. A repertoire that ranges from the great classics of Miguel Matamoros, Miguel Cunรญ, Benny Morรฉ, Compay Segundo, Celia Cruz, and Sonora Matancera -among others-, continues to transport us to the golden age of Cuban music, with the particular timbres and styles of each interpreter.

All of them preserve that old and delightful essence that allows us to enjoy, even in the XXI century, those glorious moments that made the Havana nights of past decades shine. An enjoyment turned into a privilege to get a live glimpse of the flavor and talent of the musicians who have made the whole world dance and distinguished the name of this beautiful island through passion and art.

You can find Parts 1 and 2 of this blog trilogy in the following links:

THE HISTORY OF BUENA VISTA SOCIAL CLUB PART 1: THE VINDICATION OF CUBAN MUSIC

THE HISTORY OF BUENA VISTA SOCIAL CLUB PART 2

The 10 Most Influential Female Musicians in Cuban Music for 2020

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A Reflection about Female Musicians For Women’s History Month

By Rosi del Valle (Cuban musician)

Last year was one of the most difficult for artists, and due to the COVID-19 pandemic, music events were not possible. However, the artistic movement in Cuba did not stop. Social media was flooded with concerts from every genre. Female artists made a difference during this time of total isolation. That’s why we prepared this list of the 10 most influential Female Musicians in 2020 as a tribute to them in this Women’s History Month. All of them are great singers and talented musicians.

10. Luna Manzanares

luna-Manzanaers-female-Cuban-artist

Luna Manzanares is part of the young generation of Cuban Female singers. Last year she released a new album, “Luna Nueva,” made up of her songs, and ventured into musical theater. She also made her debut as host of the “Adolfo Guzman” Song Festival.

9. Aymeรฉ Nuviola

aymee-nuviola-influential-Cuban-female-artist

Aymรฉe Nuviola is a Cuban/American Female Musician and singerย based in the United States. Winner of the 2020 Grammy Award in the Best Tropical Latin Album category for “A Journey Through Cuban Music.”

8. Gretell Barreiro

gretell-barreiro-influential-Cuban-female-artist

Gretell Barreiro is a peculiar Cuban Female singer and pianist. In her most recent musical production, “Marina,” she highlighted femininity through various genres of Cuban music.

7. La Reina y La Real

la reina y la real-influential-Cuban-female-artist

La Reina y la Real is a Cuban Female Musicians andย Rap duo based in Havana, Cuba. These rappers released their most recent phonogram, “Mirame,” on April 3, 2020, under Bis Music record label. During the confinement, they participated in various international online programs and festivals.

6. Haila Maria Mompiรฉ

haila-maria-mompie-influential-Cuban-female-artist

Haila Marรญa Mompiรฉ is a Cuban Female Musician and singer and a trendy icon in the Cuban music scene. Last year Haila premiered her new children’s music album “A song to the smile,” licensed by the EGREM record label. She also frequently offered online concerts.

5. Daymรฉ Arocena

dayme arocena-influential-Cuban-female-artist

Daymรฉ Arocena is one of the youngest Cuban Female Musician and singers dedicated to mixing Afro-Cuban music with Jazz, having already achieved a prominent career. She’s also one of the singers who emphasizes women’s right to art, regardless of race.

4. Brenda Navarrete

brenda-navarrete-influential-Cuban-female-artist

Brenda Navarrete is a surprising Cuban Female percussionist and singer with a very active career in Havana, Cuba. She is also a composer and jazz musician invited to Miami’s Global Cuba Fest 21. She stands out for reflecting Afro-Cuban rhythms in her songs.

3. Diana Fuentes

diana-fuentes-influential-Cuban-female-artist

Diana Fuentes is a very versatile Cuban Female Musician and singerย currently based in Miami. She and Divan (Cuban reggaeton artist) starred in the song “Otra Boca,” one of the most popular last year. Diana captured the attention of the Spanish singer Pablo Alboran, with whom she co-authored two songs.

2. Telmary

telmary-influential-Cuban-female-artist

Telmary is one of the most potent Cuban Female voices of Cuban Rap Music and a former member of Free Hole Negro and Interactivo bands. Together with her group, Habana Sana, she has substantially impacted social networks. Being considered an icon for style, she launched her accessory brand “Tumbao de Telma” last October.

1. Omara Portuondo

omara-portuondo-influential-Cuban-female-artist

Several magazines selected the Cuban Female singer Omara Portuondo as the most important Cuban woman of 2020. She is also a national glory. Omara received another Grammy nomination for her latest album, “Mariposas,” with the collaboration of several artists. She was one of the first to join the online concert strategy.

 

We hope you will follow along with us and learn more about Cuban culture and music.ย You can even take a tour with us!

Rumba, an essential style of Cuban Music

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ByYami Cabrera (Cuban musicologist and Business Development Director of Havana Music Toursย and Musical Getaways)

The rumba is one of the most important and universal Cuban styles of music. Many travelers and music lovers go to the island of Cuba to learn and enjoy a good Cuban rumba. Without a doubt, it is a relevant cultural attraction of this Caribbean island. Therefore, in this article, we will be addressing some essential elements of this peculiar genre.

What does the term rumba mean?

The term rumba is included within a series of Afro-Cuban words that designate a collective and profane festival in Cuba during colonial times. It is originally conceived as a couple of dancers that occur within a related group of people. Rumba is a party, touch, and dance. It manifests itself within a cohesive collective by ties of kinship or friendship, of the neighborhood.

Rumba party? Music and dance in Cuban rumba.ย  ย 

At the rumba party, some play the drums, others raise the song, others respond as a chorus, and the others cheer with claps, waddle, go into the ring to dance, etc. Initially, the instruments used in these festivities were boxes of different sizes, frequently boxes of cod and candles; to achieve the highest sounds it was percussed in a bottle, in pans, or in some metallic implement.

These instruments were replaced with the development of the genre by three โ€œtumbadorasโ€ or โ€œcongasโ€ of different heights. Each drum has a particular and specific rhythmic function.

The highest voice, the โ€œQuintoโ€, a talking drum, is the one in charge of the improvisations that urge the dancer to make different figurations. The third drum or โ€œsalidorโ€, with a deep voice, marks a low ostinato, and the middle voice, โ€œtres dosโ€, produces another stable rhythm that balances the whole percussion section of the rumba music. The singer carries the โ€œclavesโ€, which start and remain stable during the song.

Generally, rumba songs are preceded by a melodic vocal inspiration called โ€œDianaโ€. Then, with the entry of the text, improvisation begins to expose the issue that gives rise to the rumba; this is called decimating. After improvisation, it โ€œbreaksโ€ the rumba with the entrance of the instruments and the alternating solo-chorus form.

When the rumba breaks, a couple of dancers go into the ring. The dance is evocative and, in general, convulsive and disjointed; every step and gesture represents the events that precede the possession of a chicken. The Cuban rumba also presents variants of its style of music and dance: the guaguancรณ, the yambรบ, the Columbia, and a Spanish type of rumba.

Cuban rumba style became known at the beginning of the 20th century through famous groups such as `Los Roncosยด, and `El Paso francoยด. Later, they met rumberos who acquired great prestige such as Agustรญn Pina, Roncona, Malanga, Tรญo Tom, Chano Pozo, Virulilla, etc.

New technologies and most current rumba sounds

Undoubtedly, technology has allowed the Cuban rumba to approach contemporary sounds. With it, the electric bass is incorporated into a percussive plane. On some occasions, you can see the electric piano’s presence and the jazz band’s current sound, which has accompanied us since the 1920s when Cuban musicians, mentioned above, brought the rumba and the son to the Latin Quarter of New York. In addition, we can regularly find the violin combined with a contemporary touch during the spiritual songs to the ancestors.

Nowadays, there are famous rumberos such as the Clave and Guaguancรณ, Yoruba Andabo, Los Muรฑequitos de Matanzas and Los Papines groups, among others. The artistic representation of this folkloric manifestation can also be appreciated in the presentations of professional groups such as the Conjunto Folclรณrico Nacional, and local groups such as Rumbatรก de Camagรผey and Rumbรกvila de Ciego de รvila.

Conclusions

As you can see, these are just some relevant data regarding the Cuban rumba. The Cuban rumba is a complex and very peculiar artistic phenomenon. On our part, it only remains to invite you to meet and enjoy this wonderful Cuban party with us.

The rumba is one of the most attractive Cuban styles for our team. That is why we always have a special space for her on our Tours. Havana Music Tours offers the opportunity to enjoy this style through direct contact with specific artists and musical groups such as Los Muรฑequitos de Matanzas or Clave y Guaguancรณ.

However, we recommend our Cuban Jazz and Rumba Tour, Fiestaย Del Tambor (VIP), and even the Josone Music Festival in Varadero (Rumba, Jazz Son). These tours specialize their experiences in Cuban musical matters such as the rumba, and especially its percussion instruments. It is valid to highlight that our agency will also take into account personalized suggestions.

Are you ready to dance and enjoy Cuban rumba with our Havana Music Tours team?

Join us for an unforgettable tour of Cuba.ย Book your CubaTour Now!

Also, check out ourย Ultimate Cuba Travel Checklist (Updated January 2022)

The Tonadas Trinitarias: The Folkloric Music of Trinidad, Cuba

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Tonadas Trinitarias, Cuban Folk Music

ByYami Cabreraย (Cuban musicologist and Business Development Director of Havana Music Toursย and Musical Getaways)ย 

Trinidad is a beautiful city in the center of Cuba. There we can find a very distinctive genre of this city, known as Tonadas Trinitarias. In the beginning, this musical expression was developed as part of a festive musician-dance event of a movement and purely profane nature. This style is currently performed by some of its main folkloric-traditional musical groups from Trinidad city.

Although its name refers to a generic species linked to country Cuban music, the Tonadas Trinitarias musical form is very distant from this type of music. On the contrary, it denotes a type of music that is accompanied by three small drums with the parietal wedge, a guataca, a guiro, and a mixed choir. This type of group is also very similar โ€“in terms of sound and instrumental formatโ€“ to that of the harpsichord choirs from the rumba and typical of the cities of Matanzas and Sancti Spรญritus.

This tradition dates back to the second half of the 19th century, and some sources highlight its similarity with the beginning of the independence struggles and the revolutionary fervor of the time. They were organized by choral groups of men and women, in charge of representing the different neighborhoods established in the town.

During the nineteenth century and the first half of the twentieth century, it was known of the existence of two main groupings of Tonadas Trinitarias, each one representing specific neighborhoods, such as La Popa or Jibabuco and Simpรก or El Tamarindo. However, the socio-cultural changes that occurred in the neocolonial stage caused a strong depression in the practice of these tunes, leaving both groups practically disabled.

The group meets again with the Triumph of the Revolution. This was possible at the request of government entities such as Cultura Municipal, and with the help of young art instructors. They bring together the main bearers of the tradition, it makes possible the creation of the Tonadas Trinitarias Group in 1963.

Unfortunately, starting in the 80s, this process led to the degradation of the tradition.ย  The Tonadas Trinitarias became a generic type to be included as part of a repertoire of the Conjunto Folclรณrico de Trinidad, and other local groups.

However, due to the ideological and commercial value attributed to the tradition, this tradition has a new resurgence as a cultural product after opening the city to tourism in the 2000s. The Tonadas reaches into the present despite the great challenges in improving its practice.

Currently, the group remains in force thanks to its own members’ efforts and some of the cultural authorities of the town. The Tonadas Trinitarias can be found in different places in the very center of Trinidad, Cuba, such as the Palenque de Los Congos Reales, or in the Patio Bรฉcquer.

 

Here are a couple of different videos,

including a collaboration with Havana Music Tours founder, Chaz Chambers

 

 

An approach to the transverse flute in Cuban music

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By Rosi del Valle (Cuban musician)

For more than a century, the transverse flute has been one of Cuban music’s leading and most exciting instruments. Its prominence ranges from the so-called Charanga orchestras to the most contemporary Jazz, having virtuous exponents renowned worldwide.

In Cuba, the boom of the flute made this instrument increasingly present in orchestras due to the singularity of its sound and the “flavor” it added to dance music.

The transverse flute can be classified as an aerophone instrument whose register encompasses the mid-bass and high-pitched sounds. It’s got a versatile sonority since it can achieve different sounds for different purposes.

History and significant performers of the transverse flute in Cuba

The flute reached its peak in Cuban popular music during the first decades of the 20th century with the emergence of the “Charanga orchestras.” These traditional music groups were made up of percussion instruments (tumbadoras, timpani, minor percussion), piano, violins, bass, flute. Later on, other instruments such as the trumpet, the trombone, and a more extensive percussion set were added. Because of its sonority, the flute became emblematic in the orchestras of the time; it is essential in musical genres such as Danzรณn, Cha-cha-chรก, and Son, all of which are characteristic of Cuban music.

Orquesta Aragรณn (Aragรณn Orchestra) is undoubtedly Cuba’s most crucial charanga band, while Richard Egรผes, nicknamed “the magic flute,” has been its most recognized flutist. His skills and peculiar sound became a reference for many professional and amateur musicians. His improvisations became so famous that they were imitated inside and outside the country. This virtuous musician became the hallmark of this orchestra. One of his most outstanding soloist performances appears in the recording of the famous song “Tres Bellas Cubanas” during the boom of the Buena Vista Social Club musical project.

Over the years, the flute has become essential in Cuban music. This fact justifies its presence in different musical genres and instrumental formats, as was the case of the well-known Los Van Van Orchestra โ€”directed since its foundation by the late Juan Formell, an artist who claims to have changed the development of his group with the incorporation of this instrument.
The versatile and renowned Cuban musician Josรฉ Luis Cortรฉs was the first flutist to use this instrument in Los Van Van. Cortรฉs, known as “el Tosco,” is considered one of the essential flute players within Cuban musical culture.

After being a member of orchestras such as Los Van Van and Irakere, Jose Luis Cortรฉs founded his own, NG la Banda. His performance in this new musical group brought about new sonorities, more moderate and different. His technique to play the flute is nourished daringly by elements of concert music and Jazz, which generates a change in his way of improvising. Due to his transgressive and diverse career, Cortรฉs is considered the most influential flutist of the new generation of Cuban Jazz.

Orlando “Maraca” Valle, another representative flutist of Cuban music, came onto the same artistic background. Unlike Jose Luis Cortรฉs, he covered a much broader spectrum in the world of flute performance. During his studies, he absorbed specific and unique techniques beyond the trend, focusing on sonority according to the instrument’s evolution.

Maraca has the merit of having managed to reproduce the sound of the wooden flute in the transverse flute. He has become one of the world’s strongest exponents of Latin Jazz, especially for his technique to play the instrument and his improvisation skills. He has expanded his music, reaching out to a very diverse audience. He was named “the liberator of the flute” for moving away from the standard established for flutists in charanga music.

The transverse flute is and will be one of the most fantastic attractions of Cuban dance music. It came from Europe to stay forever.

The History of Buena Vista Social Club Part 2

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Buena Vista Social Club: From Local Phenomenon to Global

Itยดs never too late if happiness is good.

 

Byย Rocรญo de Lucรญaย (Cuban Musicologist)

Throughout its history, the Son -as the Cuban Rumba- took longer to achieve institutional recognition, even though they were always venerated by the people and respected by the musicians of the continental circuit. The Cuban musical product -in all its manifestations- was a great reference for Latin American and Caribbean culture. However, after a glorious time for Cuban artists during the first half of the 20th century, in the young years of socialist Cuba, Cuban music lost its prominence in the region.

At the end of the 70s, a project called Estrellas de Areito was carried out, whose purpose was to summon the great figures of the golden age of Cuban Son (the 40s and 50s) in an attempt to exalt these colossi of the Cuban music that were falling into oblivion. The American musician and producer Ry Cooder and the record producer Nick Gold were involved. Although that musical work did not have the expected resonance, it laid the groundwork for subsequent projects that would give rise to the Buena Vista Social Club phenomenon.

Years later, the Sierra Maestra group, a format that paid tribute to the Sonera tradition and Cuban Trova, developed a series of international tours and presentations. Juan de Marcos Gonzรกlez (Cuban musician and producer) was a member of that band. Participation in these events around the world allowed him to interact with essential personalities and music entrepreneurs. From these exchanges emerged the connection and friendship with Nick Gold and World Music. This record labelย would launch the Buena Vista Social Club album to the world and with it distinguish Cuban music within the heritage of universal culture.

The World Music label had been promoting a line of recordings that explored the richness of African culture and in 1994, they had won the Grammy award for Best World Music with the album Talking Timbuktu, produced by Ry Cooder. Finally in 1995, Juan de Marcos and Nick Gold agreed to organize a project, in a Jam Session style, where Cuban and African musicians would merge. With Ry and Nick’s experience and interest in African and Cuban music, which had fascinated them during the edition of Estrellas de Areito, they traveled to Havana in 1996 to undertake this new project.

Along with the troubadour from Santiago de Cuba, Eliades Ochoa, and other Cuban musicians who would be part of the recordings, the arrival of the two African musicians was expected: Toumani Diabate, Cora player, and the guitarist Chadi Madi. The African instrumentalists could never arrive due to difficulties with their visas, and this new circumstance caused a change in the project’s original conception. It is then when Juan de Marcos summons consecrated figures of Cuban music, among which were: Compay Segundo, Rubรฉn Gonzรกlez, Ibrahim Ferrer and Omara Portuondo.

รngel Terry Domech, tumbador and member of the project, relates:

We were lucky that Rubรฉn Gonzรกlez kept, in a folder, danzones of all times: Buena Vista Social Club, La Negra Tomasa, etc., arrangements were not even made; it was all from memory (โ€ฆ). There was a true professional of teachers who, for many years, dedicated themselves to music.

The instrumental danzรณn “Buena Vista Social Club”, authored by Israel Lรณpez, Cachao, evoked those glorious dances of the homonymous Social Club, gave the title to one of the records that were produced at that time. Another of the albums was A Toda Cuba le Gusta, with a big band format. Both musical works were nominated for the 1997 Grammy Awards, but the Buena Vista Social Club studio album won in the Traditional Music category. However, before obtaining the award, the album had already sold more than half a million copies in Europe, as a result of several concerts performed with the Afro-Cuban All Stars format, under the direction of Juan de Marcos, where they only included a few of the musicians who participated in the recordings.

In 1998, Ry Cooder returned to Havana with the German film director Wim Wanders with the intention of filming a documentary about those troubadours and soneros, who were living testimony of a millenary culture, and who had achieved world fame in their old age, to become legends. The cinematographic work recognized the talent and virtuosity of Cuban interpreters and composers, and a whole heritage that had survived wars, revolutions, emigration, and discrimination, yet sounded full of life and joy and managed to move the most diverse audiences.

Artists with capital letters, with no other pretensions than to sing their melodies and serve Cuban music itself, who never renounced their identity, their purest roots, being the most worthy way to honor the nation that fathered them. The documentary was titled Buena Vista Social Club, and beyond its technical values, Wim Wanders delivered a sensitive and honest work, that transmitted the charisma and grace of these Cuban musicians. The film won more than fourteen international awards and an Oscar nomination, in a kind of double distinction: for Wanders’ work and, at the same time, for the work that gave the documentary a reason for being.

 

You can find Part 1 and Part 3 of this blog trilogy in the following links:

THE HISTORY OF BUENA VISTA SOCIAL CLUB PART 1: THE VINDICATION OF CUBAN MUSIC

THE MODERN BUENA VISTA SOCIAL CLUB (PART 3)

The History of Buena Vista Social Club Part 1

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Buena Vista Social Club: The vindication of Cuban music

Byย Rocรญo de Lucรญaย (Cuban Musicologist)

In a marginal neighborhood of Havana in the 1930s, an โ€œalluring mestizaโ€ danced in a black social club, eventually packing the most important and distinguished stages in the world. This is the true story of the โ€œBuena Vista Social Clubโ€. More than a name, more than a gathering of dance-loving folks, more than a nostalgic song, more than a Grammy-winning record, and a multi-awarded documentary, this phenomenon enticed the whole world to dance and became the antonomastic insignia of Cuban Son. Buena Vista Social Club is all that and it is also the vindication of that โ€œalluring mestizaโ€ that Cuban popular music has always been.

The place. The Social Club in the humble Buena Vista neighborhood.

From the depths of the Cuban East, the Son and the Trova were dragging musicians, poets, dancers, love stories, tragedies, parties, and passions in a kind of conga, until they reached Havana in the early twentieth century. In the capital, the Son seduced with such force that he came to merge with ballroom and solar dances, he entered the bowels of the culture to baptize everything he touched as “Cuban”, from danzรณn to salsa -which would later be consolidated as a genre in New York, at the end of the 60s-.

Thus the Son arrived at the Buena Vista Social Club, which, according to Rafael Lam (2016: 58), was a black society, of the many that existed in Havana before 1959. The Social Clubs were popular cultural societies in Havana, divided according to the different social strata, and where its members paid a monthly fee to participate in the activities that were organized there. Buena Vista, on the other hand, is a neighborhood located to the west of the city, and it was built to be inhabited by the servants who worked for the rich of Miramar, a neighborhood that was right next door, much more luxurious and residential.

The Buena Vista cultural society owner, Julio Dueรฑas, had moved the entity from a small and humble house to a slightly larger one in 1948. The new location had a patio and living room 15 meters long by 20 meters wide, where dances were developed and some of the most popular musicians of the time played. Although it was a humble neighborhood and the society was frequented by black proletarians, it was mandatory to dress elegantly in correspondence with the standards of the time.

Many of the events exceeded the cost of the average salary of the club’s worker members. The musician and composer Antonio Arcaรฑo, one of the great monarchs of the dances, would later confess that he offered many free dances in that society. He did it not only for the satisfaction of that humble sector, but because those entities were dance music authorities, practically judges of the charangas, and if an orchestra succeeded in that environment, it could be considered a good orchestra.

The Buena Vista Social Club became the mecca of Cuban Son, where the most authentic musicians, composers, and orchestras of the time passed, paradoxically the most humble. Antonio Arcaรฑo, Arsenio Rodrรญguez and Regino Frontela Fraga โ€“director of the Melodรญas del 40 orchestra- became the sovereigns of dance after passing the litmus test of the Buena Vista public. Legend has it that while absurd waltzes or fox-trots were performed in the highest status clubs, at the Buena Vista Social Club dancers packed the sidewalk when a concert by the danzoneras brass bands was announced, for example, La Ideal by Joseรญto Valdรฉs, La Tรญpica by Pedrito Calvo, Cheo Belรฉn Puig or La Tรญpica by Aniceto Dรญaz.

In the new regime established after the triumph of the revolution in 1959, all societies and Social Clubs in Cuba were eliminated. Considered a “vice” that promulgated racism and the division of society, the concept of the Social Club was not compatible with the new socialist ideology. The Buena Vista Social Club was closed and the building became merely a home, with no more glories, and whose joys would not be evoked until decades later.

Footnotes (Spanish):

  1. El tรฉrmino โ€œsonโ€, en espaรฑol se refiere al gรฉnero musical bailable de origen cubano.

  2. Conga: Dรญgase del gรฉnero musical bailable de origen afrocubano donde los bailadores siguen a los mรบsicos en marcha, marcando el ritmo con sus pasos.

  3. Edificios donde los habitantes viven en cuartos muy pequeรฑos y aglutinados y comparten baรฑos pรบblicos y otras zonas comunes.

 

You can find Parts 2 and 3 of this blog trilogy in the following links:

THE HISTORY OF BUENA VISTA SOCIAL CLUB PART 2

THE MODERN BUENA VISTA SOCIAL CLUB (PART 3)

History of Celia Cruz In 4 Quick Steps

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The life story of glory

รšrsula Hilaria Celia de la Caridad Cruz Alfonso, more widely known asย Celia Cruz, was a famousย Cubanย singer and left a footprint in history as one of the most popular Latin artists of the 20th century. Often referred to as Queen of Salsa, Celia Cruzโ€˜s biography and history are very rich, intriguing, and full of accomplishments. Therefore, letโ€˜s explore and discover the history of the legendary Cuban singer in 4 steps that are made simple, to take you back through one of the most illustrious music careers in Latin Americaโ€˜s history.

Step 1: Early Life Footprints

According to Catalina Alfonso Ramos, her mother, Celia Cruz began singing as early as 10 months of age!

Celia Cruz was born at 47 Serrano Street in the Santos Suรกrez neighborhood ofย Havana,ย Cuba while her father, Simon Cruz, worked as a railway stoker and her mother was a housewife who took care of a big family of 14.

What started early continued every year for Celia Cruz. She sang practically everywhere: in school during the Fridays’ย actos cรญvicos, in her neighborhood ensemble, Botรณn de Oro, and in cabarets as a teenager when her aunt took her there to perform.

Yet, still, Celia Cruz originally intended to become a literature teacher, but it was that critical victory in a
talent show where she interpreted the tango piece โ€žNostalgiaโ€œ in a bolero tempo that became life-changing, making her pause her studies to pursue what became an elusive music career.

celia-cruz-promo

Step 2: The Rise Of Musical Career

Her musical breakthrough started here in Cuba with her first recordings made in 1948 and 1950 when she began singing with the celebrated Cuban orchestra Sonora Matancera.

Celia Cruz sang regularly in Cuba with the ensemble on radio and television, made extensive tours, compiled full-length albums, headlined Havana’s Tropicana nightclub, and even appeared in five films that were produced in Mexico.

Unfortunately, after the Cuban revolution of 1960, Havanaโ€™s nightlife came to a standstill which made her leave Cuba.

A journey that changed her life and career forever.

celia cruz and band

Step 3: Commerical Success In the USA

When the revolution started sweeping over Cuba, Sonora Matancera with Celia Cruz was touring Mexico and decided to cross into the United States instead of coming back home to Cuba. This led Cruz to become a U.S. citizen by 1961, settling in New York City while enraged Fidel Castro forbade her to return to Cubaโ€˜s soil.

In the beginning, as expected, she was relatively unknown in a new country, with a presence only in the Cuban exile community. In the mid-1960s she started gaining exposure and momentum after joining Tito Puente Orchestra which had a strong following across Latin America.

Not only did she become the face of the group, but Cruz captivated audiences with her enthusiasm, sparkling attires, and crowd entertainment, skyrocketing her musical career into new heights that not many could have predicted, forming one of the greatest music legacies in Cuban history.

celia cruz

Step 4: Strong Legacy & Death

Celia Cruz passed away in New Jersey on July 16, 2003, at the age of 77.

Her legacy left behind still goes strong to this day, and it encompasses so many areas that she was able to touch with her fascinating 40-year musical career.

As Celia Cruz continued to perform throughout the years, she made over 75 records of which 23 went gold, winning multiple Grammy & Latin Grammy awards. But thatโ€˜s only the tip of a legacy iceberg that still floats around today, approaching 2020.

The singer made an appearance in several movies, stamped a star on the iconic Hollywood Walk of Fame, and received an award of the American National Medal from President Bill Clinton. The highest recognition an artist can receive from the United States government. Cruz is remembered as one of the 20th centuryโ€™s most beloved and popular Latin musicians with many tributes made for her over the years, including music schools being named after her, television series, and many many more.

However, Celia Cruz did manage to return to Cuba in 1990 after she was invited to make a presentation at the Guantanamo Bay Naval Base. After that, she took a few grams of earth from Cuba with her.

An epilogue in her autobiography notes that, in accordance with her wishes, Cuban soil which she had saved from a visit toย Guantรกnamo Bayย was used in her entombment. Returning her home, forever.

Image links:

https://en.wikipedia.org/wiki/Celia_Cruz#/media/File:Celia_Cruz,_1957.jpg

https://en.wikipedia.org/wiki/Celia_Cruz#/media/File:Celia_Cruz_y_La_Sonora_Matancera.jpg

https://en.wikipedia.org/wiki/Celia_Cruz#/media/File:Cruz_and_Ros-Lehtinen1992a.jpg

Afro-Cuban Jazz: A Powerfull Blend of Rhythms & History

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Letโ€˜s admit it, we all love music.ย And with so many different genres, sub-genres, techniques, sounds,ย and historicalย aspects, sometimes it can seem like a vast ocean, almost endless. But when it comes to Cuba, and discovering its culture, one particular style stands out as a staple of Cuban rhythm of life, heritage,ย and historyย –ย the soul-movingย Afro-Cuban Jazz.ย Acknowledging the intriguing and complicated development of such music genres like Afro-Cubanย jazz might not be easy, but if youโ€˜re a music fan and want to explore Afro-Cubanย jazz without hassle, then let this article create you a composition ofย easyย history notes that you will certainly love exploring!

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It All Starts With Deep Roots of History

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Untilย theย mid-20th century, clave-base Afro Cuban Jazz didnโ€˜t appear, but that doesnโ€˜t neglect the fact that Cuban presence and influence was there, from the very moments of the birth of jazz music.ย 

African-American musicย started to includeย Afro-Cubanย musical motifsย extensivelyย in the 19th century when theย habaneraย gained international popularity.ย 

The habaneraย itselfย was the first–ever music to be writtenย thatย was rhythm-based on the African motifs whichย areย often described as the tresillo and the backbeat combination.

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An Important Interaction With American Music

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Duringย theย first decadesย ofย the Afro-Cuban jazz movementย was muchย stronger in the United Statesย compared toย Cuba.

The interaction and connection betweenย theย US and Cubaย isfascinating when it came to jazz music.ย The early jazz bands ofย New Orleans jazzย incorporated habaneras as well, and eventually the habanera became a staple of jazz music in the 20th century.

Musicians from Havana and New Orleansย traveledย between both cities to perform,ย whileย Latin American melodies and dance rhythmsย spread throughย the United States,ย andย theย sound wavesย of American jazzย made theirsย towardsย the Caribbean and Central andย South America.

Both trading, interacting, blending, and cherishing music, making jazz evolve strongly.

Formation of Cuban Jazz Bands

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Jazz bands in Cuba started forming as early as 1920.ย 

These bands oftenย showcasedย versatility in their repertoires, by jamming both North American jazz and Cuban pop music.ย But even with this diversity in their lively music, the sounds that molded Afro-Cuban rhythms, pop musicย and jazz together,ย wasnโ€˜t enough to make their presence strong in Cubaย for decades to come.

Leonardo Acosta once said,ย “Afro-Cuban jazz developed simultaneously in New York and Havana, with the difference that in Cuba it was a silent and almost natural process, practically imperceptible.โ€œ

But that only was until Grammy Award-winning Cuban bandย Irakereย was born and sparked aย new era in Cuban jazzย thatย is still present to this day.

Irakere made historicย innovations not only in Afro-Cuban jazz but Cuban popular dance music as well, as the band made a very wide array of percussion instruments create magic. Those instruments included maracas, claves, cencerros, tumbadoras, abuaka, arara drums and many more!

Afro-Cuban Jazz Blends It All Up

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Afro-Cuban jazz is sometimes known as Latin jazz, but thatโ€˜s mostly because Afro-Cuban jazz is the earliest form of the Latin jazz genre.ย 

It is aย style ofย musicย that blendsย and encompasses many components to craft that soulful jazz sound. From Cuban and Spanish Caribbeanย rhythms and percussion instruments to jazz harmonies, improvisations alongsideย European and African musical elementsย as well.ย 

Afterย everything that was made and played,ย Afro-Cuban jazzย truly emerged in the early 1940s when Cubanย musiciansย Mario Bauzรกย andย Frank Grilloย more known by his iconic name“Machito”ย formed a band calledย Afro-Cubansย in New York City.ย 

Machito’s musicย not only refined Afro-Cuban jazzย but alsoย had a tremendousย effect on the lives of many musicians who played in the Afro-Cubans over the years, and on those whoย fell in love with the rhythms ofย Latin jazz because ofย his music.

An intersection inย East Harlemย is named “Machito Square” in his honor.

 

If you would like to see the best Latin and Afro-Cuban Jazz, join us on our Cuban Jazz and Rumba Tour featuring Havana Jazz Plaza (Cuba’s annual Jazz Festival)

Havana Jazz Plaza, the Annual Jazz Fest in Cuba.

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Cuba Music Festival

Byย Chaz Chambers(Musician, Tour Guide Leader, and Director ofย Havana Music Toursย andย Musical Getaways)

Havana Jazz Plaza is one of the biggest music festivals in Cuba all year. It usually happens around December or January. For 2020 it will be happening January 14th-20th. Some of the most famous artists from Cuba and around the world come to perform for an international audience each year. Almost every theater and music venue in Havana will have an interactive schedule of music events, public performances, clinics, and workshops.

havana music tours jazz plaza festival picture at teatro nacional

In the past we have seen such artists as Chucho Valdes, Alain Pรฉrez, Interactivo, Daymรฉ, Los Van Van, Hector Quintana, Muรฑequitos de Matanzas, Pedrito Martinez, Cimafunk, Ruy Lรณpez Nussa, Dave Weckl, Horacio Hernรกndez (El Negro), Habana de Primera, Rumbatรก, Preservation Hall Jazz Band, and much more!

The Havana Jazz Plaza is not just Jazz, but the foundation and history is Jazz. Cuba and its musicians are very much influenced by jazz, Latin jazz, and world music. This music festival is a great example of a modern-day fusion. Usually, you can find many artists that you want to see each day and sometimes it seems there are too many options!

live latin jazz in havana cuba

Live Jazz at La Zorra y El Cuervo

The Havana Jazz Festival is organized in multiple venues all over the city and has a schedule each day full of music. Some of the best venues in Havana are available to host each concert. Venues such as Fabrica de Arte Cubano, Teatro Mella, Teatro Karl Marx, Teatro Nacional, La Zorra y El Cuervo, Bar Elegante at Hotel Riviera, Jazz Cafรฉ, Casa de la Cultura, Teatro America, Cafe Teatro Bertolt Brecht, and more!

No matter if you are a fan of Latin jazz, rumba, son, or even jazz fusion, this is the festival for you. If you have never been to Cuba before and want to see the music, this is the best music event to catch many amazing artists within one week.

a picture of chucho valdez playing at havana jazz plaza

American travelers can visit Cuba with Havana Music Tours under a license for Support for the Cuban people and Public Performances, Workshops, and Clinics. Despite further regulations from the US Government it is still possible to travel legally to Cuba. Music travel to Cuba has never been easier. When you are ready, you can book your VIP Jazz Plaza pass and festival tour here.