Formell y Los Van Van - 2017 U.S.A. Tour - Direct from Cuba with visas secured - For bookings contact Searock Music at 917.617.5708 & 917.687.2486
Beyond Salsa Piano is a history and anthology of the role of the piano in the Cuban rhythm section – from its first appearance to the present. In a broader sense, it’s a study of the tumbao – the art of creating music from layers of repeating rhythmic and melodic phrases. Whether these syncopated figures are called tumbaos, guajeos, montunos, riffs or vamps, this Afro-Cuban concept lies at the heart of nearly every popular music genre from salsa to rock , funk, R&B, hiphop and jazz.

While presented as a set of method books, the series doubles as a history course and record collecting guide for listeners, dancers, and players of instruments other than the piano.

Perhaps the most important goal of the series is to provide a comprehensive understanding of how tumbaos are constructed, their central role in the texture of Latin music of all eras, and the endless possibilities they provide for creative composing and arranging.
Spacer

Pa que se entere La Habana

Artist:   Charanga Habanera

Style Released Album Tracks Charts
Timba 1995 10 0
Buy_now

$10.99

© 1995 Caribe Productions. All rights reserved.
Audio album download includes album tracks, liner notes and cover art.
All audio tracks in MP3-VBR format. About LPM album downloads.
Spacer
# Name Play Time Info
01  Nube pasajera 5:32 Sergio David Calzado Almanares - Director
02  Amor de subasta 3:50 Mario Jiménez Sánchez, Michel Maza Márquez - Voz
03  Super turistica 5:13 Juan Calzado, Juan Carlos González - Piano, Teclado
04  Dime A 4:01 Pedro Pablo Gutiérrez - Bajo
05  El temba 6:01 Eduardo Lazaga Salgado - Paila
06  Yuya La Charanguera 4:51 Victor Sagarra Álvarez - Conga, Percusión
07  Que te lleve otro 5:51 Orlando Leiva Saavedra - Bongó, Percusión
08  A mi me gustan todas 3:41 Jorge Emilio Baza - Saxo, Flauta
09  Homenaje a los Cabilleros 6:13 Osmil Monzón Díaz, Pedro Leonel Polledo - Trompeta
10  Siempre estaras en mi 3:58 Victoriano Patterson - Trompeta
Spacer
"Pa' Que Se Entere La Habana" would be an indispensable Timba classic if it contained only "Nube Pasajera", but as well as marking the emergence of the individual members as composers, each of the other nine tracks is full of musical and lyrical creativity. "Yuya" and "Homenaje" are the last two pieces in the euphoric style of the early CH; "La Temba", and "Que Te Lleve Otro" point the way to the drastically different world of "Tremendo Delirio" and the rest of the tracks, as well as being fascinating chronicles of mid-90's Havana culture and dialect, have a subtle and satisfying musical flavor unique among CH's many stellar albums.

By 1995 Charanga Habanera and their second album, "Hey You Loca", had become a major sensation in Havana. Their concerts were packed with young "Charangueros" who danced and dressed as they did and knew all of their songs, each of which became, in rapid succession, a huge radio hit.

With the band's popularity reaching "mania" proportions, singer Leo Vera left without warning to join Chucho Valdés' legendary Irakere. Leo had sung half of the band's hits and when he departed, his version of "Mi Estrella" was the #1 hit in the country. It was a major blow but David Calzado, as he continues to do today, landed on his feet by relying on his uncanny ability to find and quickly mold new talent. To replace the mature and virtuosic Vera, he shocked everyone by choosing a 16-year old boy with a much lower range, forcing Sombrilla to take over most of Leo's songs. That 16-year old turned out to be none other that Michel Maza, who was an immediate success and remains to this day one of the biggest stars in Cuba.

The drastic musical changes brought about by the Timba revolution were accompanied by equally drastic changes to the inner workings of the Havana music scene. Musicians were allowed to earn dollars from their performances and a convoluted quasi-capitalistic economic substructure began to develop. Those with musical talent became highly motivated to become Timba musicians and the fierce competition forced them to higher and higher levels of virtuosity and creativity.

Meanwhile a whole industry of "jineteros" grew up around the club scene, with attractive young Cubans of both sexes seeking out foreigners for everything from cigar sales, to "romance based on finance", to outright prostitution. It was the "end of the innocence" for La Habana and La Charanga Habanera and the societal upheaval provided irresistibly fascinating material for lyrics. Following in the footsteps of Juan Formell and Los Van Van, the charangueros became chroniclers of pop culture and language. From their vantage point as the superstars of Timba, they began to write lyrics about the scene and their own role in it. For the first time, the bandmembers themselves wrote the bulk of the songs, rather than applying their innovative arranging ideas to the work of established songwriters Limonta, Piloto and Manolín.

The new lyrics used freshly-invented jargon, humor, and heaping doses of double-entendre to paint an irreverent and at times brutally honest portrait of the Havana of the mid-90's. They also began to change their musical ideas, catering to the wild new sexual dancing styles and incorporating a kind of Cuban rap into their coros that drove their crowds to a frenzy. And they did it all brilliantly, with intense musical precision and creativity. "Pa' Que Se Entere La Habana" was a key turning point, with one foot in the bright, euphoric world of "Me Sube la Fiebre" and "Hey You, Loca" and the other striding forcefully towards the dark, powerful and aptly-title "Tremendo Delirio", the fourth and final album before the band splintered into three pieces in 1997 and 1998.

--review by Kevin Moore of www.TIMBA.com