¿Tú no querías Mambo? (did you want Mambo?) It’s the question of the moment for the public that follows good Cuban music and, above all, the talent of groups such as Toques del Río. A proposal accompanied by two musical creations from the band’s members, “Mambo No.0” and “Mambo Chípata.” These songs come to fill the existing void regarding the treatment of mambo music, which for many years was in the shadows despite having been one of the most popular and danced traditional Cuban music just a few decades ago.
“Mambo No.0” or “Mambo No.5”?
Yes, the correct title is “Mambo No.0”. This song is a special tribute from the boys of Toques del Río to Dámaso Pérez Prado, who is recognized as the most representative figure of this genre.
“Mambo No.0” is part of the first Toques del Río phonogram, “Pa que te sosiegues”, under the EGREM record label. The song specifically covers the lyrics of the mambo “Ni Habla” by Pérez Prado, in an evident fusion of genres such as pop, rock, and Charleston style of Swing Jazz music.
This back-in-time feeling brought by “Mambo No.0” has gained a lot of acceptance from both the Cuban and international public. The song was awarded in 2015 as the best fusion song at the Cuerda Viva Awards, an event dedicated to highlighting local talent in Cuba’s fusion and alternative music scene.
¿Tú no querías Mambo? Yes, we want more Mambo!
But the story does not end there. Toques del Río accepts its challenge to consume more Mambo with the delivery of a second composition, the “Mambo Chípata,” a creation that is also a challenge for the band due to the complexity included in the musical arrangement.
“Mambo Chípata” has been used on Cuban television as the theme for the program “Al Fin Sábado” presentation that premiered in the summer of 2018. This is just one example of the media impact of the band because many of their songs have been used on several occasions as incidental music for various television programs such as “Ruta 10” and “No te lo pierdas.” Added to this are the dance companies that have choreographed these songs for different kinds of shows.
Toques del Río has opened a new stage in the Mambo. Many of the singers and groups in Cuba have accepted this invitation to cultivate the Mambo again, demonstrating that the new generations are interested in enjoying, dancing, and listening to these rhythms.
If you like this traditional Cuban music we recommend you to check out our Spotify Playlist Cuban Traditional Songs. There you will find one of the “Chan Chan” versions and many other beautiful Cuban songs that you will certainly enjoy.
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Modernity in Cuban music continues to showcase excellent female artists, who make the culture grow on the island more and more. In the last 20 years, women musicians have stepped forward to create songs in various genres. Therefore, we could not end Women’s History Month without honoring the new generations of Cuban Women in Music. That’s why we are launching this second part of our blog CUBAN WOMEN IN MUSIC: SPOTIFY PLAYLIST TRIBUTE TO WOMEN ARTISTS – PART 1.
This new list of artists included in our Playlist will find an extraordinary variety of impressive Cuban and Cuban-American female musicians who defend their musical roots worldwide. Most of them are considered among the best contemporary female singers and composers in Cuba and Latin America due to the diversity of their voices and musical spectrum.
Cuban Women in Music, 21st Century songs written or popularized by female musicians in the last 20 years
Ángel y Habanera – by Liuba María Hevia
Mala – by Haila María Mompié
La Bella Cubana – by La Camerata Romeo / Zenaida Romeo
Bailando con otro – by Anacaona / Omara Portuondo
Donde stabas anoche – by Aymee Nuviola / Septeto Santiaguero
Lágrimas de soledad – by Danay Suarez
Guajiro – by Sexto Sentido
Tu nombre – by Diana Fuentes
Equivocao 8.6 – by Telmary y Habana Sana
Tenerme – by Gretell Barreiro
Palabras – by Haydée Milanés
La rumba me llamo yo – by Daymé Arocena
Mulata Linda – by Brenda Navarrete
Tengo que partir – by Luna Manzanares
Voy – by Eme Alfonso
River – by Ibeyi
Universo – by Yissy García y Bandancha
Bonus track: Havana – by Camila Cabello / Young Thug
You can find our Spotify Playlist Tribute to Women Artists here. Enjoy, and let us know your opinion about our selection on the bottom part of this blog post.
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We want to start by saying that perhaps contrary to what many expected, all Cubans do not dance like salsa professionals; not even all of them like to dance. For some, it could be an evident axiom; for others, not so much, so it is worth the clarification. Although, Cubans have alternatives for any dancer. If you prefer slower and more relaxed types, you can practice danzón or son. But, if you desire faster and more energetic movements, you can try the casino, conga, rumba, and even reggaeton with its extreme sensuality add-on. In general, Cuba is full of options when you ask about dance styles. That’s what we want you to learn from our article today. Let’s find out what are Cuban dances like?
Local dances that Cubans like
The last three decades of history have changed the music-dance scene in Cuba quite a bit. Although many people tend to think that people from Cuba only dance casino (salsa style), rumba, and danzón, the truth is that Cubans nowadays practice a diverse and modern variety of dances. The cultural opening of the Island revived its link with international trends, a connection quite similar to other regions of the Caribbean and Central America such as Puerto Rico, the Dominican Republic, Colombia, Mexico, among others.
Like in other Caribbean contexts, reggaeton has become the favorite musical genre among the youngest and most of the Cuban population. However, even when Puerto Rican reggaeton is widely consumed by the Latinxs community everywhere, Cubans have their own style, different and particular. Without the intention of doing a far-fetched musicological dissertation in this regard, we will comment that this Cubanreggaeton is distinguished by a specific rhythmic cell based on the Cuban clave.
Cuban reggaeton also uses and generates a lot of local slang. Some of the most popular reggaeton names are Chocolate MC, Yomil y el Dany, El Chacal, Divan, El Taiger, Harrison, El Kamel, etc. Then, the dance has particular characteristics and patterns, totally different from the rest of the geographical area.
Besides reggaeton, the other most danced genre is timba, with its casino dance. Timba is a mix derived from Afro-Cuban jazz, similar to son (original type of salsa), but faster and more aggressive. Cubans started calling it casino dance since its widespread use in casino clubs during the ’50s. The style sets the basic rhythm of the salsa, but it does not do it linearly but freely.
In addition to these dances,we found Rumba dance, a folkloric style that remains strong among Cuban people. The Rumba style is divided into Yambu, Columbia, and Guaguancó. The dancers’ energy and flavor explosion is their central characteristic. Despite its more than a hundred years of history, this “mestizo” style continues to captivate generations and generations of Cubans.
The dance varies according to the style of each dancer and the type of variant. You can dance in pairs, separate people, or in a group. You can find rumba dance at both public and private parties, as well as in cultural or recreational centers. One of our favorite places to dance rumba is the Callejon de Hamel.
Another folkloric Cuban dance very vivid on the Island is conga. This genre has a marked African influence, where percussion plays the leading role. This style is a single type of dance, but in a group: the musicians play the congas (drums) and horns, and the dancers follow them through the streets, setting a basic rhythm with their feet. It’s also common for Cuban people to dance at least one conga at private parties and Carnivals.
Other styles danced in Cuba.
Cuba has been working hard to preserve a few other famous but “old school” styles among the popularity of many modern dances. “Classical” orchestras are a big part of this effort, groups that have essentially made Cubans dance for decades. Los Van Van and La Orquesta Aragón are two of these bands highly prestigious in the national and international music scene.
Los Van Van developed a music/dance style called Songo, where the Cuban son’s essence is interpreted with a particular rhythmic base and a charanga style of music format. The most faithful follower of this genre has been Maikel Blanco y Su Salsa Mayor. Another of the most beloved by the Cuban people, La Orquesta Aragón, also uses a traditional charanga music format. They mostly performs danzones,chachachás, boleros, and sones.
However, we must point out that these music and dance genres are reserved for most adult populations. In the same sense, you must know that even when it seems paradoxical, the Buena Vista Social Club and its exquisite repertoire are icons currently reserved mainly for tourism and not the Cuban people. But, that doesn’t mean that they won’t enjoy it every time someone plays it.
On the other hand, it is essential to talk about foreign dance styles currently popular in Cuba, like merengue and bachata. For the youngest, electronicand pop music also appear in their tastes. These styles have become very famous after the abundance of more modern music festivals on the Island. In this realm, we need to add a special mention of a phenomenon called Cimafunk. This band has made the funk style fashionable and danceable among Cuban youth, mixed with Afro-Cuban rhythms and other indigenous stylistic features.
As a general rule, family celebrations, national anniversary dates, Father’s Day, Mother’s Day, Christmas, the New Year, school graduations, religions, and the reception of friends or relatives who live in other regions are often top reasons to organize a party. Food, drink, and dance music will not be missing in these celebrations. We must add that, in reality, there is not always a reason for this kind of event; many times, Cubans meet only for leisure and recreation.
Yes, socialization and partying are essential elements in Cuban society. To better illustrate the Cuban character on this topic, note that some dates indicated as “International Worker’s Day” or “International Women’s Day” are usually commemorations of struggle and protest in other world regions; in Cuba, they are holidays. In addition, we will mention events such as Festivals and Carnivals, different spaces that occur regularly, and where music and celebration abound.
So, if you are looking for a community where you can find cultural parties, not so much in clubs, but spontaneous and artistic events, full of traditions, culture, and joy, Cuba is one of the best places for it. However, you can also find all kinds of venues around the Island with excellent music and an impressive number of people dancing.
We could list hundreds of reasons in favor of travel, and about the benefits of visiting and interacting with new cultures. One of these, without a doubt, is that knowing a new city allows us to confront stigmas and stereotypes usually built around culturally different communities. Cuba has not been exempt from this condition. That is why it is necessary to talk about these common stigmas related to Cubans and their culture.
If you like to dance, undoubtedly, Cuba will not disappoint you, especially since the conceptions of dance tend to be more accessible and without so many rigid structures of interpretation. As a general rule, Cubans value the atmosphere, the energy more than the virtuosity of the movements. Their celebrations are full of life and flavor, a friendly spirit, and communion. Even if you are not a dancer, but you like to enjoy this type of environment, in Cuba, you will have unforgettable experiences, and you will indeed be infected with the joy and warmth of its people.
https://i0.wp.com/havanamusictours.com/wp-content/uploads/2022/02/Cuban-Rumba-show-Yoruba-Andabo-Jazz-Plaza-Festival-2020-18-scaled.jpg?fit=2560%2C1701&ssl=117012560Editorial Teamhttps://havanamusictours.com/wp-content/uploads/2022/10/havana-music-tours-logo-website-logo-transparent-300x138.pngEditorial Team2022-02-22 16:09:402022-11-28 17:14:34What is Cuban dance like? All you need to know about it
The Cuban Salsa festival in Havana, Cuba is one of those events where you won’t stop dancing for a second. The event brings together the most relevant famous music orchestras from all over the Island. It is an explosion of music and energy never experienced before.
The highlight of this Festival is the salsa music genre, better known in Cuba as “son” or “timba” -one of the most modern and popular variants of Cuban son. Hence, the possibility of enjoying the rhythmic-melodic combinations of contemporary Cuban popular music.
Since the first versions of the Havana Salsa Festival, the presence of Afro-Cuban rhythms, rumba, Salsa, and casino dance in different modalities has been shocking, such as concerts, showcases, conferences, visits to places with relevant musical history, etc.
The Cuban pianist and composer Maykel Blanco plays the primary host of the event, together with his Salsa Mayor orchestra and Cuban cultural institutions such as the Centro Provincial de Espectáculos y de Carnaval de La Habana (Provincial Center of Shows and Carnival of Havana), and other music businesses like Artex, Paradiso, Musicalia, Clave Cubana, Instituto Cubano of the music.
The festival headquarters is the Club 500 of the José Antonio Echeverría de Palmares Recreational Complex, besieged in the heart of one of the most central and popular neighborhoods in Havana, Vedado. The space includes a large stage with an extensive area conducive to enjoying good music and dancing with your friends.
Every year, the famous Cuban Salsa festival welcomes important Cuban groups such as Pupy y los que Son Son, Adalberto Alvarez y Su Son, Alexander Abreu y Havana D´Primera, and the legendary Los Van Van orchestra. In addition to national artists, the Salsa Festival has had the presence of international musicians such as the Puerto Rican salsero Victor Manuelle.
For 2022, Festival de la Salsa organizers presented another tight Line-Up, including the famous Cuban orchestras mentioned before. Let’s check it out!
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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 “soneros” 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?
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 Rosalía 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 Fernández, Barbarito Torres, Amadito Valdés, “El Guajiro” Mirabal, Julienne Oviedo Sánchez, Carlos González Cárdenas, Lázaro Villa, Rosa Fornés, Rolo Martínez and Manolo del Valle. These names are joined by other great personalities of the Cuban music scene: Rolito, Armandito y Navarro, Feliz Baloy, Hector Téllez, Alfonsí Quintana, Caridad Hierrezuelo, Hilda de la Hoz, María Elena Pena, Xiomara Valdés, Teresa García Caturla, Ela Calvo, María Victoria Gil, Amparito Valencia and Luis Téllez.
The current stars, all stand out for an important musical trajectory, of excellence within Cuban music. There we will find Rolando Montero, Mundito González, José Valladares, Jorge Mulet, Migdalia Hechavarría, Jose Luis Arango, Sergio Farías, Raquel Hernández, Flora Max, Pablo Santamaría, Millán Zuaznabar, Leonor Zayas, Feliz Bernal, Yanko Pizako, Emilio Ramos, Adalberto Ávila “Candela”, Martha de Santelices, Andrés Sánchez, Maria Elena Lazo, Alfredo Rodríguez, Laura Rodríguez and María de Jesús López.
The wide versatility of the project and its classic sound make this show a jewel of Cuban cultural heritage. A repertoire that ranges from the great classics of Miguel Matamoros, Miguel Cuní, Benny Moré, 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:
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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.
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.
La Reina y la Real is a Cuban Female Musicians and 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.
Haila María Mompié 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.
Daymé 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.
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.
Diana Fuentes is a very versatile Cuban Female Musician and singer 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.
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.
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.
https://i0.wp.com/havanamusictours.com/wp-content/uploads/2021/03/brenda-navarrete.jpg?fit=1440%2C1440&ssl=114401440Editorial Teamhttps://havanamusictours.com/wp-content/uploads/2022/10/havana-music-tours-logo-website-logo-transparent-300x138.pngEditorial Team2021-03-29 11:43:202022-02-23 21:26:54The 10 Most Influential Female Musicians in Cuban Music for 2020
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.
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 “tumbadoras” or “congas” of different heights. Each drum has a particular and specific rhythmic function.
The highest voice, the “Quinto”, a talking drum, is the one in charge of the improvisations that urge the dancer to make different figurations. The third drum or “salidor”, with a deep voice, marks a low ostinato, and the middle voice, “tres dos”, produces another stable rhythm that balances the whole percussion section of the rumba music. The singer carries the “claves”, which start and remain stable during the song.
Generally, rumba songs are preceded by a melodic vocal inspiration called “Diana”. 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 “breaks” 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 guaguancó, the yambú, 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 Roncos´, and `El Paso franco´. Later, they met rumberos who acquired great prestige such as Agustín Pina, Roncona, Malanga, Tío 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 Guaguancó, Yoruba Andabo, Los Muñequitos 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 Folclórico Nacional, and local groups such as Rumbatá de Camagüey and Rumbávila de Ciego de Ávila.
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 Muñequitos de Matanzas or Clave y Guaguancó.
However, we recommend our Cuban Jazz and Rumba Tour, Fiesta 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?
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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 –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 ElTamarindo. 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.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 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 Bécquer.
Here are a couple of different videos,
including a collaboration with Havana Music Tours founder, Chaz Chambers
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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 González (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 label 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, 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 professional of teachers who, for many years, dedicated themselves to music.
The instrumental danzón “Buena Vista Social Club”, authored by Israel López, 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:
https://i0.wp.com/havanamusictours.com/wp-content/uploads/2017/07/Photo-Jan-02-8-43-32-PM-scaled.jpg?fit=2560%2C1920&ssl=119202560Editorial Teamhttps://havanamusictours.com/wp-content/uploads/2022/10/havana-music-tours-logo-website-logo-transparent-300x138.pngEditorial Team2020-09-20 11:15:022022-04-03 10:45:14The History of Buena Vista Social Club Part 2
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