cinco lines, cuatro espacios, para bien harmonizar
02
El Niño Rey
4:12
digame madrina que yo debo hacer
03
Maldito Solar
2:23
el encargado me recomendo
04
Eres La Hiel
2:32
eres la creul serpiente maligna de la falsedad
05
Las Lomas De Belén
3:00
....chen che, columbiano chen che
06
La Turba Mala
4:41
ya tu lo ves compañero que la turba no da na'
07
La Plegaria
4:30
con su voz imperativa y bronca exigen que los lleven
08
Madrina
5:05
tiene sangre lucumi cuando sea grande sera babalao
09
Tradicion De Matanzas
5:50
carabali congo, yo vivo en cazuela de barro
10
Abakua
4:27
un 6/8, ahora oiran señores lo que les voy a cantar
11
Popourri
7:51
no engraso los ejes, si a mi me gusta que seunen
12
Matanzas Que Linda Eres
3:55
que si tu eres la cuna gloriosa de la poesía y el arte
13
Tiembla La Tierra
3:56
cuando yo canto una rumba, son cosas de mi cajón
First release from this Cuban percussion group known as a staple of the famous "Rumba Alley" (El Callejón de Hamel) in Havana. While very intense, their style of rumba music has a soothing and meditative quality. This album bears the name of "Ecué Tumba" (tumbador friend) because it was recorded with just four members playing two tumbadoras, one box, one bongo and one catá.
English: Cuba is a inexhaustible source of percussionists and the "rumba" is its essential expression. This musical movement was born in the slave cabins and the marginal districts between Matanzas and La Havana. In the 'Vedado' district of Havana we find Angel González Vila, a rumba "ecué" (friend), surrounded in drums, bongo, batá and brazilian instruments, inclusive with instruments invented by himself. He passed his life without a lot of ambitions, loyal to his drums: "my task is go and play for anyone who called, I'm living amidst the drums since my childhood. I'm comfortable playing in a carnival, with a big star or in a Latin Jazz setting. It's all the same to me."
Angelito was born in October 8th, 1949 in Cerro district, an aristocratic zone before it became a shelter for marginal people and "rumberos". He belonged to several "comparsas" as Los Componedores de Batea or La Jardinera, among others. In 1970 he became a memeber of the musical group 'Orchestra Keleyá'.
Before the end of the decade, in 1976, Angelito joined the Conjunto Folklorica Nacional and Obdulio Morale's Orchestra until 1988 when Sergio Vitier created the group Oru in which Angelito participated until 1998. "The Experience with the Oru crowd -Angelito remembers- was very nice because the music became more contemporary. He has performed with big stars as Rogelio Martínez Furé and Orlando López (Cachaíto). The idea was make a tribute to the lengendary "rumbero" Jesús Pérez. The name Oru means game and the music is a game of sounds. I substituted Tata Guines in this crew.
Musicians on "Buenavista En Guaguanco" By Ecue Tumba:
Pedro Celestino Fariñas
Voz Solista y Clave
Gilberto Crespo
Cajón, Tumba y Coros
Angel Gonzalez
Quinto y Coros
Alfredo Lafita
Guagua y Coros
Angelito has worked with Marceditas Valdés, the little "Ache" who came from the Fernando Ortíz's confraternity. She always hired veteran musicians. Also Angelito was playing in the Orchestra Varona (Varona had performed with Benny Moré and Los Irakere), with Orchestra's Nicolás Reinoso, and playing contemporary sounds with Gonzalito Rubalcaba in the jam-sessions in the Festival of Jazz Plaza.
Angelito explains: "I reconognize that I have some passion for the Latin Jazz, and I did some stuff with musicians like Changuito, Miguel Angá, Enrique Lazaga and Frank Emilio". This was the reason he joined the Canadian jazz-man Jane Bunnet with whom he traveled across USA during 1966, in the middle of salsa explosion.
Angelito had accompanied a lot of very valuable voices, such as Xiomara, or the great Beatriz Márquez, well-known as "La Musicalísimá", but he doesn't have a problem performing for anyone, anywhere, as for him it's the same to play in a carnival or to play in a wake. Angelito is almost a luthier, an inventor or percussion instruments, for example a drum using -in stead of a membrane- a piece of wood. "I invented it in 1988 due to necessity, to economize on the skins because they are too expensive". Angel also gives lessons to the foreigners who are looking for the essence of rhythm.
This album bears the name of "Ecué Tumba" (tumbador friend) because it was recorded with just four members playing two tumbadoras, one box, one bongo and one catá. The singer is Pedro Fariñas from 'Los Muñequitos de Matanzas' (reknown folkloric musical group). On percussion we find Gilberto Crespo "El Chato, he is a teacher from the Mariano Caturla's Music school. The other percussionist is Alfredo Lafita, who also manufactures musical instruments, as Angelito does, and has an extensive mjusical career. -- by Rafael Lam de Envidia - Camaján
English: Cuba is a inexhaustible source of percussionists and the "rumba" is its essential expression. This musical movement was born in the slave cabins and the marginal districts between Matanzas and La Havana. In the 'Vedado' district of Havana we find Angel González Vila, a rumba "ecué" (friend), surrounded in drums, bongo, batá and brazilian instruments, inclusive with instruments invented by himself. He passed his life without a lot of ambitions, loyal to his drums: "my task is go and play for anyone who called, I'm living amidst the drums since my childhood. I'm comfortable playing in a carnival, with a big star or in a Latin Jazz setting. It's all the same to me."
Angelito had accompanied a lot of very valuable voices, such as Xiomara, or the great Beatriz Márquez, well-known as "La Musicalísimá", but he doesn't have a problem performing for anyone, anywhere, as for him it's the same to play in a carnival or to play in a wake. Angelito is almost a luthier, an inventor or percussion instruments, for example a drum using -in stead of a membrane- a piece of wood. "I invented it in 1988 due to necessity, to economize on the skins because they are too expensive". Angel also gives lessons to the foreigners who are looking for the essence of rhythm.
