Improvising sabor: Cuban dance music in New York
"Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium b...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Jackson
University Press of Mississippi
2021
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence"-- |
| Beschreibung: | 310 Seiten |
| ISBN: | 9781496832160 9781496832153 |
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| 520 | 3 | |a "Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence"-- | |
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS Notes and Abbreviations....................................................................... ix Foreword by Professor David Garcia.................................................... xi Preface................................................................................................. xiii Acknowledgments............................................................................. xix Introduction.............................................................................................3 1 Spaces and Places.................................................................................. 27 2 Los Tres Grandes: Redefining the Mambo Genre................................ 54 3 La Mecha: Belisario López, José Fajardo, and Rolando Lozano .... 77 Exile and Adaptation: Eddy Zervigón and Orquesta Broadway.... 91 5 Charanga or Pachanga?......................................................................125 6 Charanga Embalao: Charlie Palmieri and Johnny Pacheco..............144 7 Charanguead en Típico: Eddie Palmieri’s La Perfecta.........................169 8 “I Don’t Like It Like That”: The Latin Bugalú.................................... 189 9 La Charanga Moderna and the Modern Charanga........................... 207 Conclusion: Defining New York Sabor................................................221 Glossary...............................................................................................233 Notes....................................................................................................246
Bibliography........................................................................................ 269 Discography......................................................................................... 281 Index....................................................................................................292
|
| adam_txt |
CONTENTS Notes and Abbreviations. ix Foreword by Professor David Garcia. xi Preface. xiii Acknowledgments. xix Introduction.3 1 Spaces and Places. 27 2 Los Tres Grandes: Redefining the Mambo Genre. 54 3 La Mecha: Belisario López, José Fajardo, and Rolando Lozano . 77 Exile and Adaptation: Eddy Zervigón and Orquesta Broadway. 91 5 Charanga or Pachanga?.125 6 Charanga Embalao: Charlie Palmieri and Johnny Pacheco.144 7 Charanguead en Típico: Eddie Palmieri’s La Perfecta.169 8 “I Don’t Like It Like That”: The Latin Bugalú. 189 9 La Charanga Moderna and the Modern Charanga. 207 Conclusion: Defining New York Sabor.221 Glossary.233 Notes.246
Bibliography. 269 Discography. 281 Index.292 |
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| spelling | Miller, Sue 1966- Verfasser (DE-588)1046715127 aut Improvising sabor Cuban dance music in New York Jackson University Press of Mississippi 2021 310 Seiten txt rdacontent n rdamedia nc rdacarrier "Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence"-- Geschichte 1959-1970 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Charanga (DE-588)1049456130 gnd rswk-swf Tanzmusik (DE-588)4140677-1 gnd rswk-swf New York, NY (DE-588)4042011-5 gnd rswk-swf Kuba (DE-588)4033340-1 gnd rswk-swf New York, NY (DE-588)4042011-5 g Rezeption (DE-588)4049716-1 s Kuba (DE-588)4033340-1 g Tanzmusik (DE-588)4140677-1 s Charanga (DE-588)1049456130 s Geschichte 1959-1970 z DE-604 Erscheint auch als Online-Ausgabe, E-pub single 978-1-4968-3217-7 Erscheint auch als Online-Ausgabe, E-pub institutional 978-1-4968-3218-4 Erscheint auch als Online-Ausgabe, PDF single 978-1-4968-3219-1 Erscheint auch als Online-Ausgabe, PDF institutional 978-1-4968-3220-7 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032616677&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Miller, Sue 1966- Improvising sabor Cuban dance music in New York Rezeption (DE-588)4049716-1 gnd Charanga (DE-588)1049456130 gnd Tanzmusik (DE-588)4140677-1 gnd |
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| title | Improvising sabor Cuban dance music in New York |
| title_auth | Improvising sabor Cuban dance music in New York |
| title_exact_search | Improvising sabor Cuban dance music in New York |
| title_exact_search_txtP | Improvising sabor Cuban dance music in New York |
| title_full | Improvising sabor Cuban dance music in New York |
| title_fullStr | Improvising sabor Cuban dance music in New York |
| title_full_unstemmed | Improvising sabor Cuban dance music in New York |
| title_short | Improvising sabor |
| title_sort | improvising sabor cuban dance music in new york |
| title_sub | Cuban dance music in New York |
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| topic_facet | Rezeption Charanga Tanzmusik New York, NY Kuba |
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