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Password: [ hidden ]. Help We're more than happy to have a friendly chat with you about any problems or queries you may have, record related or otherwise. Where are my records?
Its been ages, I think my records are lost in the post — what now? UK — 15 working days. Overseas — 28 working days. Do you have a particular record in stock? The third famous concert of the summer of '78 was very different - consisting entirely of classical music hybrids feasturing guitarist Leo Brouwer:.
Go figure. Also note that the black and white photos seem to be from the July concert. There were at least two studio sessions in -- the last two before Paquito's departure in May of April, - New York. The one on the left is missing Gira gira, and is paired with better sounding transfers of 7 of the 8 studio tracks from LD leaving out the studio version of Juana The seventh track was the first studio version of one of Irakere's main live vehicles of the time, a steaming dance track called Por romper el coco.
The New York version comes in at and features a trombone solo by Sandoval. An studio version titled simply El coco was recorded in August of in Japan. There's also a live version on the 23 y 12 concert. May June 1, - Havana. It contains the following six tracks:. August, Album), - Tokyo. In addition to the long studio verion of El coco already mentioned, this 5-track vinyl LP has two eclectric tracks not found elsewhere: Las Añung Añunga - Irakere - 2 (Vinyl de Anaco, a jazz-samba hybrid, and Zanaith, a jazz ballad, LP.
But, just as you begin to think that searching for the "roots of timba" in Irakereland is like searching for a needle in a haystack From a timba-centric point of view, this might the most important Irakere track since Bacalao con pan.
Irakere recorded another minute version of Ese atrevimiento the next year in Cuba, but perhaps the most exciting version is from the " Venezuela - " video, which had to have been from late or earlyas can be deduced from the personnel changes listed below.
The video has Velazco and Sandoval, but not El Tosco. May Trabuco Live in Caracas - Integra label. This is a different concert recording from Venezuela. The personnel list of these various concerts and albums helps us narrow down the personnel chronology.
August, Arturo Sandoval was still present on the studio album El coco. Instead, it was licensed to the Tierrazo label. If you can, please send us a photo of the back, or of the record label itself. Los caramelos is one of the Album) examples of the super-fast Santiago carnaval-based, merengue-like groove that's since been used steadily by many groups also including Issac.
December, Tierrazo Concert in Puerto Rico. This concert video from Puerto Rico is priceless - live Irakere at its best, with three of their best tracks. Here are the Irakere tracks:. But just when one's timba-centric attention span starts to run out, along comes El tatasource - Vol.
VII is currently unavailablediscussed in the previous section, to remind us how deeply indebted timba is to Irakere. This album has no dance tracks and no obvious connection to the development of timba but it's interesting to hear Irakere with a symphony orchestra. As you can see from the label, we're getting closer and closer to NG La Banda. Tosco's Mejicanita sounds like a medium tempo timba groove. It's interesting to note how much Tosco's NG vocalizing sounds like Oscar.
Ruta 43 is a solid dance track, but the standout, once it gets going, is Santiaguera with its timba breakdowns and coro inflections. The announcer mentions that Irakere had played there several times before, but we think this is the first one that was recorded. There may also be a recording and there's definitely one from From a "roots of timba" perspective, these concerts are quite tame compared to the highpoints of the previously mentioned shows from the late 70s and early 80s.
The Rest of The Story Their most outstanding performance outside of Cuba was during the Polish Jazz Festival, where the Cubans were heard and praised for the first time by renowned jazz artists like Dave Brubeck and Gerry Mulligan. After having become the most brilliant and solid group within the new stream in Cuban music, they met, during the one and only Jazz Cruise's stay in Havana insuch luminaries as Stan Getz, who had come to Cuba often during the fifties, and Dizzy Gillespie, who Añung Añunga - Irakere - 2 (Vinyl had never visited the country of his collaborator, Chano Pozo.
Has it anything to do with "salsa"? LP the group be classified as "Latin-jazz-rock'' or as ''Latin-fusion'' or ''salsa-fusion"? The truth is that although the majority of the IRAKERE musicians have played jazz for many years, they have more experience and more solid roots in Cuban music. And the presence of Cuba in IRAKERE is not only in its percussion, it is also in its way of playing: in the phrasing, in the attack and sense of rhythm of the soloists, as well as in whole passages.
Our novelist, Alejo Carpentier, who is also a renowned authority on music, has said that Cuban popular music is "the only music that can be compared with 'Jazz in the 20th century. Their affinity comes from before the existence of jazz as such. We know all about the history of the beginnings of jazz, but we don't always associate it with the ending of slavery in Cuba, between andand the massive immigration of black Cubans, free but jobless, to places like New Orleans.
Neither is it unusual that along with French and English names, one finds among the first jazz musicians names that show their Spanish roots Lorenzo Tio, Luis Tio, Manuel Perez, Willy Marrero, Paul Domingueznor that Jelly Roll Morton, when asked about where jazz came from, included Cuba among its places of origin. More well known are the international influences of the habanera and the rumba, until we come to the s and s, the Cubop era.
The "fusion'' between elements of jazz and Cuban music has a long history having nothing to do with the more recent merging of jazz and rock, which sometimes adds certain so-called ''Latin'' elements which are in reality, Afro Cuban or Afro-Caribbean.
As far as salsa is concerned, it is 99 percent Cuban music of the '40s and '50s. At times we here reminiscences of Art Tatum in some passages, yet the other side of Chucho's style is given by his mastery of Cuban classical piano: Cervantes and Samuell in the 19th century and Lecuona in the 20th, and in a more popular vein, Antonio Maria Romeu.
Going down this road, who knows if, with the coming of IRAKERE onto the musical scene, we are getting to the roots and to the redevelopment, with a newer viewpoint, of practically inexhaustible materials. Chucho's compositions, as well as those of other members of the group, reflect a receptiveness; to what is going on internationally, including free jazz and the so-called European musical vanguard.
They put these to work as a form of personal expression, underlined by the knowledgeable use of rhythms that have African origins and which are mixed and renovated with great originality.
One of the contributions has been to incorporate, into a musical context that once only accepted Congo and Dahomeyan elements, the intricate and vigorous Yoruba and Carabali rhythms which have been well known in Cuba but which had not been "integrated'' into the mainstream of our music.
Another characteristic of these compositions are the frequent changes in time and atmosphere, a typical element in Yoruba music. As to the individual contribution by each soloist, we must let them speak for themselves. In Paquito's explosive sense of humor, the fierce intensity of Arturo, and Chucho's controlled lyricism, we find very personal facets in their playing.
Irakere - - Seleccion De Exitos Volumen 1. Continuing chronologically, we arrive at the extremely busy and fruitful summer of First came Irakere's famous tour of US and Europe. Recordings from early June at the Newport and Montreux jazz festivals were combined for a Grammy-winning release on the Columbia label that really put Irakere the map.
The next month, on July 28,Irakere recorded another searing concert, this time in Cuba at the Teatro 23 y 12 for the occasion of the Festival de la Juventud y los Estudiantes. A terrific live disc consisting largely of new material; by now, the blend of Afro-Cuban and European elements is smoother, more organic: On "La Comparsa," a driving funk riff provides the basis for a wild, almost free-jazz Sandoval solo.
Irakere - - Grupo Irakere. Using multiple covers for the same album is one of EGREM's favorite tricks, but in this case they outdid themselves, releasing two albums, at least 2 years apart, with different numbers LD and LDthe same covers, and different tracklists. To further complicate matters, this same series of tracks was released time and time again on a variety of foreign labels, with conflicting dates of course, and many of the tracks are also released on live albums from the same time period, as well as on studio albums entitled "En vivo"!
It's based on a legendary Charlie Parker be-bop composition called Billie's Bounce. Almost every phrase of the Parker song can be found in Chekere-son but it's all jumbled together in a very clever and compelling way. So much of what I've read about this band focuses on their Grammy-winning North American breakthrough, as if the first time North Americans heard this music was the first time it was really vital and worth listening to.
And I do understand that distribution was a different beast in the '70s, but still, it's a little rich to tell everyone that the first album Columbia released by this band is their "best.
Anyway, I bring this up because, in searching for their North American debut, I found, instead, this gem, their second release. Their North American debut was either their 4th or their 7th, depending on which discography you consult.
This is awesome stuff. I recently listened to Azymuth, a Brazilian band doing a similar thing combining local music with contemporary jazz and was sorely disappointed. Maybe it's me, but this music is far more alive, more more alive and far more "jazz" than that. I don't mean to spend this whole thing bashing Azymuth, I just think of them as a useful comparison, given their fame.
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