The Tonadas Trinitarias

By Yami Cabrera

[English]

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 to 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 –in terms of sound and instrumental format– to that of the harpsichord choirs from the rumba and typical of the cities of Matanzas and Sancti Spíritus.

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 Simpá 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 Tonadas Trinitarias Group in 1963.

Starting in the 80s, this process, unfortunately, led to the degradation of the tradition.  The Tonadas Trinitarias became a generic type to be included as part of a repertoire of the Conjunto Folclórico 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 the efforts of its own members, 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 Bécquer.

[Spanish]

Las tonadas trinitarias

Por Yami Cabrera

En la localidad de Trinidad podemos encontrar un género muy distintivo de esta ciudad, conocido como tonadas trinitarias. Una expresión musical de tipo vocal instrumental, que en sus inicios se desarrollaba como parte de un evento festivo músico-danzario de carácter traslaticio y puramente profano, que actualmente es interpretada por algunas de sus principales agrupaciones musicales folclórico-tradicionales.

Aunque su nombre aluda a una especie genérica vinculada a la música campesina, esta forma musical está muy distante de este tipo de música. Al contrario, refiere un tipo de canto que se hace acompañar por tres tambores pequeños de cuñas parietales, una guataca, un güiro y un coro mixto, agrupación muy similar en cuanto a sonoridad y  formato instrumental al de los coros de clave devenidos de la rumba y propios de las ciudades de Matanzas y Sancti Spíritus.

Los inicios de esta tradición datan de la segunda mitad del siglo XIX y algunas fuentes destacan su semejanza con el comienzo de las luchas independentistas y al fervor revolucionario de la época. Se organizaban por grupos corales de hombres y mujeres encargados de representar a los diferentes barrios establecidos en la villa.

Durante el siglo XIX y la primera mitad del siglo XX se conoció de la existencia de dos agrupaciones principales de tonadas en suelo trinitario, cada una representativa de barrios específicos, tales como el de “La Popa o Jibabuco” y el del “Simpá o el Tamarindo”. Sin embargo, los cambios socioculturales ocurridos en la etapa neocolonial provocaron una fuerte depresión en la práctica de estas tonadas quedando prácticamente inhabilitadas ambas agrupaciones.

Con el Triunfo de la Revolución vuelve a reunirse la agrupación, a instancias de entidades como Cultura Municipal y con la ayuda de jóvenes instructores de arte, se logra reunir a los principales portadores de la tradición y se crea en 1963 una Agrupación de Tonadas Trinitarias adjunta a esta institución.

A partir de los años 80, dicho proceso desdichadamente condujo a la degradación de la tradición, y dejó de ser un formato instrumental con un repertorio específico y funciones particulares, hasta convertirse en un tipo genérico a ser incluido como parte de un repertorio del Conjunto Folclórico de Trinidad y de otras agrupaciones de la localidad.

No obstante, por el valor ideológico y comercial que se le atribuye a la tradición, tras apertura de la ciudad al turismo en la década del 2000, esta tradición tiene un nuevo resurgir como producto cultural, que aún con grandes desafíos en el mejoramiento de su práctica, llega hasta la actualidad.

Actualmente la agrupación se mantiene vigente gracias al esfuerzo de sus propios integrantes y de algunas de las autoridades culturales de la localidad. Las Tonadas Trinitarias se pueden encontrar en diferentes lugares como el Palenque de los Congos Reales o en el Patio Bécquer  en el mismo centro de la ciudad.

 

Here are a couple of different videos,

including a collaboration with Havana Music Tours founder, Chaz Chambers

 

 

For more than a century, the transverse flute has been one of the main and most interesting instruments in Cuban music. 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 major 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 larger 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 Danzón, Cha-cha-chá, and Son, all of which are characteristic of Cuban music.

Orquesta Aragón (Aragón Orchestra) is undoubtedly Cuba’s most important charanga band while Richard Egües, 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 both inside and outside the country. This virtuous musician became the hallmark of this orchestra. One of his most renowned 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 —directed since its foundation by the late Juan Formell, an artist who claims to have totally changed the development of his group with the incorporation of this instrument.
The versatile and renowned Cuban musician José Luis Cortés was precisely the first flutist to use this instrument in Los Van Van. Cortés, known as “el Tosco”, is considered one of the most important flute players within Cuban musical culture.

After having been a member of orchestras such as Los Van Van and Irakere, Jose Luis Cortés 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 in a daring way by elements of concert music and Jazz, which in turn generates a change in his way of improvising. Due to his transgressive and diverse career, Cortés is considered the most influential flutist of the new generation of Cuban Jazz.

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

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 been able to expand his music, reaching out to a very diverse audience. He was named as “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 greatest attractions of Cuban dance music. It came from Europe to stay forever.

 

By Rosi del Valle

Chapter 2: Buena Vista Social Club: From Local Phenomenon to Global.

It´s never too late if happiness is good.

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, and 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 González (Cuban musician and producer), was a member of that band, and participation in these events around the world allowed him to interact with important personalities and music entrepreneurs. From these exchanges emerged the connection and friendship with Nick Gold and World Music, the record label that would launch the Buena Vista Social Club album to the world, and with it distinguish Cuban music within the heritage of universal culture.

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. 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 the Best World Music with the album Talking Timbuktu, produced by Ry Cooder. With Ry and Nick’s experience, and their 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 original conception of the project. It is then when Juan de Marcos summons consecrated figures of Cuban music, among which were: Compay Segundo, Rubén González, Ibrahim Ferrer and Omara Portuondo.

Ángel Terry Domech, tumbador and member of the project relates:

We were lucky that Rubén González 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 (…). There was a true profession of teachers who, for many years, dedicated themselves to music.

The instrumental danzón “Buena Vista Social Club”, authored by Israel López, Cachao, and which evoked those glorious dances of the homonymous Social Club, gave the title to one of the records that was 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 it was the Buena Vista Social Club studio album that 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 was recognizing the talent and virtuosity of Cuban interpreters and composers, and also 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.

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. 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 that the most worthy way to honor the nation that fathered them. 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.

 

by Cuban Musicologist and Havana Music Tours’ guide, Rocío De Lucía

Buena Vista Social Club: The vindication of Cuban music

In a marginal neighborhood of Havana in the 1930s, an “alluring mestiza” danced in a black social club, eventually packing the most important and distinguished stages in the world. This is the true story of the “Buena Vista Social Club”. 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 “alluring mestiza” that Cuban popular music has always been.

Chapter 1: 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 danzón 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 owner of the Buena Vista cultural society, Julio Dueñas, 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 Arcaño, 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 Arcaño, Arsenio Rodríguez and Regino Frontela Fraga –director of the Melodías 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 Joseíto Valdés, La Típica by Pedrito Calvo, Cheo Belén Puig or La Típica by Aniceto Díaz.

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 término “son”, en español se refiere al género musical bailable de origen cubano.
  2. Conga: Dígase del género musical bailable de origen afrocubano donde los bailadores siguen a los músicos en marcha, marcando el ritmo con sus pasos.

  3. Edificios donde los habitantes viven en cuartos muy pequeños y aglutinados y comparten baños públicos y otras zonas comunes.

 

Read part 2 of the Buena Vista Club Story

 

by Cuban Musicologist and Havana Music Tours’ guide, Rocío De Lucía

Cuba and its capital Havana has been renowned for being one of the premier musical hotspots of the world. After all, you can see it, hear it and feel it everywhere. From narrow alleys and balconies to blasting speakers from cars to hottest venues and dance floors. But just because we can see it anywhere and everywhere, doesn‘t mean we should ignore a wonderful opportunity to explore particular festivals in Havana. Not only they are unique to each other and are rich in variety, but they offer the best of Cuban music with a spice of international twist as well. We invite to explore our list of top 5 most popular music festivals in Havana where everyone is bound to find something they prefer and admire!

 

1. Havana Jazz Plaza – Havana’s Annual Jazz Festival

We simply have to start with a jazz festival. After all, we are talking about Cuba! Havana International Jazz Plaza Festival is one of the most important music events in the country.

Festival dates back to 1980 to its first gig. And over the years it became nothing short of a premium jazz experience in Havana and all of Cuba. Performances from such artists as Telmary, Joe Lovano, Interactivo, Alain Perez and others only testifies it.

It is all about diversity in artistic expression, inter influence between different music scenes and a strong presence of international music. Attending the Havana Jazz Plaza Festival will allow you to truly feel that pulse of music that Cuba is known for!

 

2. Havana World Music Festival

The festival pulses right in the heart of Havana with a profound link to musical culture and heritage. A celebration and showcase of talent from both Cuba and around the world.

What sets the festival apart the most is the broad spectrum of musical genres available to soak up. From hip-hop, folk and jazz to acoustic, reggae, electronic music and more! Havana World Music Festival ensures that everyone will find their moment of groove! In addition to all of this, you‘ll also be able to witness dazzling street art, dance performances and other forms of creativity exploding.

To sum it up, the award-winning Cuban artist said it best about the festival: „The focus of HWM is to give the Cuban people the chance to become acquainted with the musical diversity of Cuba and the world, as well as to encourage exchanges among international and Cuban bands. This can be very beneficial to the musicians, producers and music promoters in our country“


3. Fiesta del Tambor – Havana’s Annual Percussion Festival

Let‘s shift our focus to the drums! Fiesta del Tambor offers a wonderful chance for percussion enthusiasts to attend the biggest drum party on the island.

Featuring some of the best percussionists, drummers and musicians, both international and local, the festival is now operating for more than 15 years and organized by the National Center for Popular Music.

Greatest percussionists and drummers are accompanied by Cuban dance music bands, various dance groups, folklore jazz compositions, and even Drum masterclasses and cultural events. A festival is rich in every aspect of heritage, art, and music.


4. International Salsa Festival

Just as we turned the tides towards drumming, we are now going to put some emphasis on dancing. A form of expression that has been around since 3300 BC!

The festival offers a 7-day adventure with over 100 hours of dance classes with different levels and styles to choose from. Whether its Cuban Casino, Cha Cha Cha, Reggaeton or Rumba with many more available. And once the sun sets, the party will set Cuban salsa clubs on fire!

Capture the very best of Cuban dance and share your love for music and dancing with thousands of enthusiasts, performers, instructors that are bonded by a passion for something rather simple – dancing!


5. Festival de la Timba

While every festival mentioned before had at least some kind of area they specialize in more, Festival de la Timba will be a beautiful mix of everything.

Dedicated to the legacy of the beloved director of the Van Van and happening in August of 2020, the festival‘s program is something intriguing to explore.

The musical side of the festival will allow dancers, musicians, international DJs, and even famous Cuban orchestras to perform. The activities also have theoretical meetings, photographic exhibitions, musicologists and screenings of documentaries such as Legacy by Nathanael Mergui.

If you‘re interested in something alternative and different format, then be sure to check out the potential of Festival de la Timba!

Rooted deep in history and composed of sounds that seem to not only move the body but the soul as well – music in Cuba is larger than life. It is culture, identity, lifestyle, tradition and a force that moves the whole country in one never-ending concert. And us visitors are always looking to capture the best out of our limited time. So, if you‘re looking to have that iconic music experience in Cuba and have unforgettable fun than make sure not to miss these top five music venues in the capital Havana!

1. Fabrica de Arte Cubano

Established inside of a former cooking oil factory, La Fabrica de Arte Cubano also known as La FAC has quickly become one of the most trendy and popular nightlife hotspots in Havana. And it‘s success lies in many distinctive details.

La FAC delivers incredible diversity both in amenities and activities. Within these refurbished historic walls, you‘ll find a snack restaurant, nightclub and a bar mixed in with spacious outdoor and indoor spaces. But tat‘s only the tip of an entertainment iceberg that La FAC is.

What truly draws in those crowds are intriguing art exhibitions, funky live music, movies and creativity that the venue explodes in every week. And there should be no surprise why the main reason for visiting the Vedado neighborhood is usually the vibrant La Fábrica de Arte Cubano.

2. La Zorra y El Cuervo

Next up we have another exciting place where music makes the air vibrate every night – La Zorra y El Cuervo. A New York Manhattan Village style jazz club and one of the best at it in Havana.

Low ceilings, cramped space, dark and a dim basement with a red English telephone box at the entrance. La Zorra y El Cuvero translates for “the Fox & The Crow“ and offers a vintage and soulful jazz club experience.

Leaning towards freestyle Jazz mostly, the club has brightest performers of the Cuban jazz scene to perform here while also casting a spotlight on young and upcoming artists. Spectacular, special and memorable performances are a guarantee for any kind of jazz or music fan.

Cuba is breathing jazz, and if you want to experience to be top-notch, the La Zorra y El Cuervo is where it is at in Havana!

3. Cafe Teatro Bertolt Brecht

Looking for more of that wild nightlife escape in Havana? Then leave a Cafe Teatro Bertolt Brecht name in your notes and prepare to move those hips!

It is without a doubt one of the coolest nightspots in Havana, Cuba. Live music is played every night here, with Wednesdays leading the way. This is when the iconic Jazz fusion group “Interactivo” headlines the show almost every week.

Cafe Teatro Bertolt Brech is the past, present, and future all in one and a beautiful mix of artists perform here simply for good vibes.

While you will also find the theatre here as well, the club is known as “No Se Lo Digas a Nadie“ (Don‘t Tell Anyone“ and is a basement of the building. Tables here are few, and ques can belong. It is best to get here early at around 11:00 PM to get a good feel for the place before the crowds surge in.

4. Casa de la Musica Miramar

It seems that every venue so far has to offer something intriguing and different. And Casa de la Musica Miramar is no exception!

This is a venue known for hosting at least one famous Cuban artist every week. Bands and musicians such as Los Van Van, Alain Perez, Habana D‘Primera and others don‘t shy away from an opportunity to perform here.

The beautiful and elegant old Havana mansion delivers a sophisticated ambiance. However, it is not the most spacious venue. Therefore be prepared to be crowded, even without large numbers of people coming in. But once you surrender yourself to the rhythms and dance, everything will simply fade away!

5. Habana 309

Formerly known as Kpricho Bar-Restaurant, the new venue has been born just recently under the new name of Habana 309.

A new place is yet to be discovered by many people, but good reviews are already making their way. One thing assured – live music here is stellar and is accompanied by the finest cocktails, good service, and a cozy setting.

It seems that Habana 309 is becoming a hub for new underground music and performing it at this cool new venue is no stopping any time soon!

Hi Traveler friends,

Good news and bad news. The good news is that Cuba seems to have a strong handle on the COV-19 outbreak thus far. They recently had a resurgence of the virus in Havana and some other cities. They have put in place a very strict lockdown to control the virus. Cuba recently started clinical trials on a vaccine that is anticipated to be ready by December or January 2021. We are constantly monitoring the situation and we plan to make more updates as soon as new information becomes available.

The “bad news,” mostly for tourism, (rather good for safety) is that Cuba’s borders will remain closed until further notice per the Ministry of Tourism. Some airlines are making reservations to the Cayos for resort-based and isolated tourism, but there are no guarantees that the Cuban government will open the borders within any particular timeframe, especially for tourists.

We have decided to postpone all of our tours until 2021. We will testingly resume some private and personalized tours in November/December 2020 and on a case by case basis as the airports begin to open.

We feel this is the best and safest way to ensure the safety of our travelers. We prefer to allow time for airlines and airports to organize and create efficient processes in this new travel environment.

We are still planning for our annual “Havana Jazz Plaza Tour” in January 2021 and we also added a brand new “Havana Jazz and Rumba Tour.” We added new dates for our VIP Music Tour and the Josone Music Festival, and we plan to add more for other tour themes in the next few months. View all the dates @ HavanaMusicTours.com

We will be indefinitely reducing the size of our group tours from 10 people to only 8 people maximum. The only exception is for private and personalized tours. (School groups, large families, etc)

We also have created a new cancellation addendum that allows for more flexible date exchanges and a credit voucher policy for our future tours. We are also accepting refundable deposits of $300 per person for 2021 tour dates. Your tour balance will not be due until 30 days before your tour start date. This way you can book your future travel with confidence.

Please subscribe to our email newsletter for travel updates, offers, music news, and cultural happenings: http://eepurl.com/dtdYQn

 

Sincerely,

Chaz Chambers (Founder/Director)
Email: [email protected]
WhatsApp: 1-850-396-2855
24/7 Reservations: 1-844-389-9271

 

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Fiesta del Tambor 2019 in Cuba

By Yamilka Cabrera

(English Translation)

 

Fiesta del Tambor is an event that finds space in every corner of Havana to begin the “rumba” and celebrate. In addition, it allows the exchange of musical cultures from around the world. The festival that we will be dedicated to this blogpost.

In the last 18 Edition of Festival and competition, Fiesta del Tambor “Guillermo Barreto in Memoriam”, a tribute was made to Spain, a country that gave birth to many styles of Cuban music and that still keeps latent such inescapable connection that unites both countries. A week where both cultures came together in rumbas, bulerías, couplets, rhythmic and even Jazz, to be enjoyed by all audiences. The doors were opened for a long-awaited meeting with well-known Spanish artists and groups in Cuba, such as Ketama, Patax and Falete and other excellent musicians, such as the pianist Laura de Los Angeles and Israel Suárez “El Piraña”.

Drums, pailas and congas were a crucial part of these shows. Without exaggeration, the duets were stunning in the drums starring the young pillars of Cuban percussion, such as Rodney Barreto, Oliver Valdés, Ruly Herrera and Ruy Adrián López Nussa, who were joined by improvisations by Giraldo Piloto and Samuel Formell, with their respective orchestras Klímax and Van Van.

The rumba had a special space, the “Salon de la Rumba” dressed up to receive thousands of followers of the genre inside and outside of Cuba. Stage that warmly welcomed groups, such as Yoruba Andabo, Ronald and Explosión Rumbera, Obbini Batá and the Mutanquitos de Matanzas.

On the other hand, there were a lot of people attending Casa de la Música de Plaza 31 and 2 to learn and apprehend updated ways of interpreting percussion instruments, through the master classes of Cubans Rodney Barreto (drums), Tomás Ramos “el Panga” (congas) and the Spanish drawer Israel Suárez “el Piraña”. A musical space that also gives birth to many young Cuban percussionists, those who were amongst the participants of the International Percussion Competition.

There is no doubt that this is a necessary event for the development of Cuban music, inside and outside this island, both for its educational value and its ability to unveil the valuable history of its instruments and roots through the symbolic and leading role in performing the drums. This party has the courage to go beyond the stereotypes that stalk Cuban music, bringing all kinds of audiences closer to the consumption of good live, latent, and unbreakable Cuban music.

 

 

La Fiesta del Tambor 2019 en Cuba

Por Yamilka Cabrera

(Original Spanish Version – Versión original en español)

 

La Fiesta del Tambor es un evento que encuentra espacio en cada rincón de La Habana para comenzar la rumba y celebrar. Además, permite el intercambio con culturas musicales de todo el mundo. Por supuesto que les estoy hablando de la Fiesta del tambor, festival al cual le estaremos dedicando esta tarde.

En la pasada Edición 18  del Concurso y Festival Internacional Fiesta del Tambor “Guillermo Barreto in Memoriam”, se hizo tributo a España, país que dio origen a muchos estilos de la música cubana y que aún mantiene latente esa conexión ineludible que hermana a ambos países. Una semana donde se juntaron ambas culturas en rumbas, bulerías, coplas, sones e incluso jazz, para ser disfrutados por todos los públicos. Se abrieron las puertas para un anhelado encuentro con artistas y agrupaciones españolas muy conocidas en Cuba como Ketama, Patax y Falete y otros excelentes instrumentistas como la pianista Laura de los Ángeles y el cajonero Israel Suárez “El Piraña”.

Baterías, pailas y congas fueron parte crucial de estos espectáculos. Sin ánimos de exagerar, fueron despampanantes los duetos en el drums protagonizados por los jóvenes pilares de la percusión cubana como Rodney Barreto, Oliver Valdés, Ruly Herrera y Ruy Adrián López Nussa, a los que se sumaron las improvisaciones de Giraldo Piloto y Samuel Formell, junto a sus respectivas orquestas Klímax y Van Van.

La rumba tuvo un espacio especial, el “Salón de la Rumba” se vistió de gala para recibir a miles de seguidores del género dentro y fuera de Cuba. Escenario que acogió calurosamente agrupaciones como Yoruba Andabo, Ronald y Explosión Rumbera, Obbini Batá y los Muñequitos de Matanzas.

Por otro lado, no fuimos pocos los que nos acercamos a la Casa de la Música de Plaza 31 y 2 para aprender y aprehender actualizadas maneras de interpretar los instrumentos de percusión, a través de las clases magistrales de los cubanos Rodney Barreto (drums), Tomás Ramos “el Panga” (congas) y del cajonero español Israel Suárez “el Piraña”. Espacio que además permitió dar a conocer, como cada año, las jóvenes promesas de la percusión cubana entre los participantes de la Competencia Internacional de Percusión.

No hay dudas de que este es un evento necesario para el desarrollo de la música cubana, dentro y fuera de esta isla, tanto por su valor educativo como su capacidad de develar la valiosa historia de sus instrumentos y raíces a través de la simbólica y protagónica utilización del tambor. Esta fiesta tiene el valor de ir más allá de los estereotipos que acechan la música cubana, acercando a todo tipo de público al consumo de la buena música cubana en vivo, latente e inquebrantable.

Úrsula Hilaria Celia de la Caridad Cruz Alfonso, more widely known as Celia Cruz, was a famous Cuban 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 Cruz‘s biography and history are very rich, intriguing and full of accomplishments. Therefore, let‘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 America‘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 Suárez neighborhood of HavanaCuba 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’ actos cívicos, in her neighborhood ensemble, Botón 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 „Nostalgia“ in a bolero tempo that became lifechanging, making her pause 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 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, Havana’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 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 becoming a U.S. citizen by 1961, settling in New York City while enraged Fidel Castro forbade her to return to Cuba‘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 mid 1960s she started gaining exposure and momentum after joining Tito Puente Orchestra which had a strong following across Latin America.

Not only she became 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 that‘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’s 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 century’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 to Guantánamo Bay 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

Let‘s admit it, we all love music. And with so many different genres, sub-genres, techniques, sounds, and historical 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, and history  the soul-moving Afro-Cuban Jazz. Acknowledging the intriguing and complicated development of such music genres like Afro-Cuban jazz might not be easy, but if you‘re a music fan and want to explore Afro-Cuban jazz without hassle, then let this article create you a composition of easy history notes that you will certainly love exploring!

 

It All Starts With Deep Roots of History

 

Until the mid-20th century, clave-base Afro Cuban Jazz didn‘t appear, but that doesn‘t neglect the fact that Cuban presence and influence was there, from the very moments of birth of jazz music. 

African-American music started to include Afro-Cuban musical motifs extensively in the 19th century when the habanera gained international popularity. 

The habanera itself was the firstever music to be written that was rhythm-based on the African motifs which are often described as the tresillo and the backbeat combination.

 

An Important Interaction With American Music

 

During the first decades of the Afro-Cuban jazz movement was much stronger in the United States compared to Cuba.

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

Musicians from Havana and New Orleans traveled between both cities to perform, while Latin American melodies and dance rhythms spread through the United States, and the sound waves of American jazz made theirs towards the Caribbean and Central and South America.

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

Formation of Cuban Jazz Bands

 

Jazz bands in Cuba started forming as early as 1920. 

These bands often showcased versatility in their repertoires, by jamming both North American jazz and Cuban pop music. But even with this diversity in their lively music, the sounds that molded Afro-Cuban rhythms, pop music and jazz together, wasn‘t enough to make their presence strong in Cuba for decades to come.

Leonardo Acosta once said, “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.“

But that only was until Grammy Award-winning Cuban band Irakere was born and sparked a new era in Cuban jazz that is still present to this day.

Irakere made historic 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

 

Afro-Cuban jazz is sometimes known as Latin jazz, but that‘s mostly because Afro-Cuban jazz is the earliest form of Latin jazz genre. 

It is a style of music that blends and encompasses many components to craft that soulful jazz sound. From Cuban and Spanish Caribbean rhythms and percussion instruments to jazz harmonies, improvisations alongside European and African musical elements as well. 

After everything that was made and played, Afro-Cuban jazz truly emerged in the early 1940s when Cuban musicians Mario Bauzá and Frank Grillo more known by his iconic name“Machito” formed a band called Afro-Cubans in New York City. 

Machito’s music not only refined Afro-Cuban jazz but also had atremendous effect on the lives of many musicians who played in the Afro-Cubans over the years, and on those who fell in love with rhythms of Latin jazz becauseof his music.

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