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LA TIMBA LA TRAIGO YO - Nuevo Disco de Robert Armas y los Conquistadores de la Salsa
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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.
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Irosso Obba

Home Base Established Albums Charts PTracks
Mercado de Carlos III, Cuba 1999 1 0 0
This artist has albums available.
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Album Name Preview Style Price
El Rey De Las Profundidades
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Afro-Cuban $12.99 Buy_now
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Irosso Obbá "El rey de las profundidades", "Si tu pasas por mi casa y tu ves a mi mujer tu le dices que hoy no me espere que yo pa' Pueblo Nuevo me voy a echar un pie".

Español Así dice una conga que cantaba Pío Leyva en la década del 50, justamente en la época en que esta zona era famosa por la congas y rumbas, el Mercado de Carlos III. Por aquí estaban instalados prostíbulos de alto standing ; era una zona muy folklórica. De ahí procede el grupo rumbero Irosso Obbá.

El piquete rumbero lo dirige Gabriel Torres Hernández (Guicho); con la dirección musical de Jorge Enrique Salazar y, como asesor antes de su fallecimiento - contó con la guía de Rolando Rodríguez Olivia (Malagan) "Timbero Mayo".

Irosso Obbá surge el 4 de abril de 1999 con un concepto distinto: es un traslado de voces de baladas a rumba; utilizando la poliritmia del guarapachangueo, combinado con los cajones y tumbadoras. Algunos de sus músicos de origen haitiano aportan su matiz de cajón haitiano.

La formación musical está compuesta por 6 tumbadoras, 3 cajones maletas, un catá, clave, campana y chequeré. Además de una pareja de bailarines.

Voces: La voces están arregladas a la manera de las misas antiguas espirituales. La voz líder es interpretada por el director musical Jorge Enrique Salazar, con una tesitura de coro salsero, con el matiz contemporáneo muy familiar en el post - modernismo tímbrico de nuestro tiempo.

La Segunda voz la interpreta Gabriel Torres (Guicho), director general que sigue la vieja usanza. También canta Jorge Armando Sarría, con una tesitura de rumbero nato de solar callejero. Y Amada Izquierdo quien es una solista de timbre fuerte.

Obras: Irosso Obbá cuenta con obras muy originales, especialmente de la autoría de su director musical Jorge Enrique Salazar con una ópera llamada "En Defensa de las Gallinas". Se trata de un homenaje a Malagan en Pueblo Nuevo. Malagan falleció siendo asesor de Irosso Obbá, también ayudó a los grupos de Clave y Guaguancó, tocó con Chappottín y sus Estrellas y Melodías del 40.

Sede: La sede musical de Irosso Obbá es el recinto del callejón de Hamel. Este callejón histórico, donde se gestó y desarrolló el movimiento del feeling, con los trovadores César Portillo de la Luz, José Antonio Méndez y muchos compositores y pianistas. Desde 1994, el callejón ahora en el área entre Aramburu y Hospital se ha convertido en un espacio de atracción turística: engalanado y pintando de manera un tanto surrealista. Los domingos a las 12 del mediodía comienzan el rumbón con la presencia de muchos turistas y amantes de la rumba bonita.

También Irosso Obbá se presentaban los sábados a las 5p.m. en los "Sábado de Rumba", en la calle 4 y Calzada en El Vedado (sede del Conjunto Folklórico Nacional. Este espacio fue creado desde el 31 de enero de 1983, para demostrar que la rumba es un hecho cultural que va por encima de la marginalidad donde nació en bateyes, solares, arrabales cubanos. Ciertamente la rumba , según define el investigador Argeliers León, en una fiesta, una música para divertirse y entretenerse en colectividad de negros estrallados (la tralla era un instrumento para golpear a los negros) que después integró a blancos y a las raíces hispanas que convergieron en ese ajiaco típicamente cubano.

En la etapa de la colonia, no se hacían grabaciones de rumba, el especialista del disco José Reyes Fortín estima que "se debe a lo rudimentario de los procesos de grabación que entonces impedían la "entrada" en las máquinas grabadoras del sonido de esas masas corales o por la reserva de los técnicos de la Edison para frecuentar los "tenebrosos" barrios donde se localizaban in situ las expresiones musicales netamente populares.

English: Irosso Obbá "El rey de las profundidades", "If you pass my door, and you see my woman, tell her that she should betta not wait from me, coz I go to Pueblo Nuevo to dance the beat" - Those were the lyrics of a conga that Pío Leyva sang on the 50's, that was also the time when that side of the city was famous for its congas and rumbas at the Carlos III market. That was either an area of high standing brothels: and a very folkloric zone. There is where the rumba band Irosso Obbá came from.

The rumba team is conducted by Gabriel Torres Hernández (Guicho); under the musical conduction of Jorge Enrique Salazar and as assessor before his disease they counted on Rolando Rodriguez Olive (Malanga) "Major Timbero".

Irosso Obbá was created with the idea of a different concept on April 4th in 1999: a transposition of ballad voices to rumba; using the polyrhythmic "guarapachangueo", combined with the cajones and tumbadoras. Some of its musicians that are native from Haiti give a contribution of Haitian cajon shades. The band is instrumentally composed by six tumbadoras, three cajones maletas, one catá, some claves, one bell and chequeré. Besides a couple of professional dancers.

Voices: Voices arranges are made according to the cut of the ancient spiritual masses. The voice leader is performed by the musical conductor Jorge Enrique Salazar, whose tessitura is the same as a salsa choir, with the contemporary shade that is familiar tot he post-modern sounds of our current times.

The second voice is performed by Gabriel Torres (Guicho), general director, keeps the ancient tradition. On the third voice we have Jorge Armando Sarría, with a tessitura of rumba singer typically shaped on the street. And a feminine soloist whose name is Amada Izquierdo owning a strong voice.

Work: Irosso Obbá has very original works, specially the ones composed by Jorge Enrique Salazar for example: "En Defensa de las Gallinas". It is about a homage dedicated to Malanga and Pueblo Nuevo. Malanga diseased being assessor of Irosso Obbá, he also helped the bands of Clave and Guaguancó, he played with Chappottín y sus Estrellas and Melodías del 40.

Headquarters: The headquarters of Irosso Obbá is the enclosure of the Hamel Street. A historical street where was created and developed the "feeling" movement of, with the troubadours César Portillo de la Luz, José Antonio Méndez and many composers and piano players.

Since 1994, the street which is now surrounding the area between Aramburu and Hospital, has been turned in a tourist attraction: decorated and painted a bit surrealistic. Every Sunday at 12 m starts the "rumbón" with the presence of many tourist and rumba lovers. Irosso Obbá also performed every Saturday at 5p.m. at "Saturday of Rumba", at 4th Street and Calzada at El Vedado (head quarter of Cojunto Folklórico Nacional). This space was created since January 31 in 1983, to demonstrate that rumba is a cultural movement with higher level miles ahead of the marginality where it was born on those poor streets called bateyes, solares, and Cuban suburbs.

As define by the investigator Argeliers León, it's a party, a music to enjoy and entertain with the collectivity of black (black people use to consulate their suffering after being struck by the white men on those celebrations) which later introduced also white people and Hispanic roots which converged into these typically Cuban "ajiaco".

At the Colonial age, there was not made rumba recordings, the specialist José Reyes Fortí says that "it was due tot he rudimentary recording processes which on that moment did not allow the "entrance" the sound of those choir masses into the recording machines. Or for the afraid technicians that never wanted to go to those "dark" neighbour hoods where were localized in sito the popular musical expressions.