Aş vrea să-l salut pe scumpul nostru Preşedinte Traian Băsescu, cu tradiţionalul Buenas noches, compañero! Şi pe voi toţi cu frumoasa Muzică a celor de Buena Vista Social Club, Candela:

Aţi auzit trompetele? Recitalul de trompetă de 2:07 până la 2:30 este unic! Da, am votat cu MG, normal, aşa m-a învăţat Preşedintele şi la referendum am zis pas, adică am refuzat cu dispreţ propunerea Plebeului de atentat la Aristocraţia Parlamentaristă… aşa am învăţat de la Adrian Năstase. Je suis un legitimiste…

Şi pentru că nu vreau să-l las necolindat pe Candidat, vreau să-i dedic şi tizului MG o piesă specială. Tot de la Buena Vista Social Club, Hasta Siempre Comandante… Ecce Candidatus!

Compay Segundo (November 18, 1907 – July 13, 2003), Cuban clarinetist, percussionist, and Buena Vista Social Club songwriter

Omara Portuondo será una de las presentadoras para la televisión en la entrega de premios Grammys Latinos, que serán trasmitidos para Estados Unidos desde Las Vegas a través de Univision, de acuerdo con un comunicado en la página oficial de los Grammys.

La “novia del filin”, ex miembro del Cuarteto las D’Aida, y la única mujer en el Buena Vista Social Club, es una de las nominadas a este premio con el disco Gracias, que compite en la categoría de Mejor Álbum Tropical Contemporáneo.

Omara es la primera artista de origen cubano que vive en Cuba y aparecerá en los Grammy Latinos. Durante años algunos de los más relevantes artistas cubanos que habían recibido nominaciones para el Premio, no recibieron visas para asistir a esta ceremonia, a pesar de que habían viajado en otras oportunidades a Estados Unidos.

Entre los nominados de los Grammys han estado la orquesta Los Van Van, la Charanga Habanera, los soneros Compay Segundo, Ibrahim Ferrer y Eliades Ochoa, los grupos Orishas, Muñequitos de Matanzas, el jazzista Chucho Valdés y Polo Montañez, entre otros a quienes se les impidió asistir.

El 3 de septiembre de 2003, cuando los premios se presentaron en Miami, ninguno de los nominados recibió la carta de invitación para asistir al evento, y a pesar de las solicitudes de visa presentadas ante la Sección de Intereses de los Estados Unidos en La Habana, estas no fueron concedidas.

Aunque los músicos cubanos siguieron siendo nominados para los Premios Grammys, el endurecimiento de las regulaciones del bloqueo contra Cuba les impidió conseguir visados.

Gabriel Abaroa, el presidente de la Academia Latina de los Grammys, dijo al Miami Herald que vio la oportunidad de incluir a Omara en el programa televisivo cuando se enteró que estaría en los Estados Unidos.

Aseguró que esta vez Univision no protestó. “Tenemos un contrato muy específico, y dice que todos los candidatos tienen derecho a aparecer”, dijo Abaroa.

“No olvidemos que es una diosa de la música, una leyenda, y ella tiene una visa: ¡Dios mío, teníamos que contar con ella!”, añadió Abaroa. “No me sorprendería si gana un Grammy Latino”, concluyó.

Omara, quien ofreció declaraciones al Miami Herald este jueves mientras visitaba en Miami a su hermana Haydée (también miembro del Cuarteto las D’Aida), parecía sorprendida de que su participación en la televisión ya se hubiera anunciado y agradeció el honor de ser nominada.

De acuerdo con el diario, lamentó que Chucho Valdés no estuviera presente en la premiación -también está nominado para el Premio de Jazz, por su álbum Juntos para siempre, dúo con su padre Bebo Valdés.

Este año las 37 categorías que tradicionalmente se entregan fuera de la premiación televisada -que en total concede gramófonos dorados en 49 rubros musicales-, se transmitirá por primera vez en el sitio www.latingrammy.com.

Omara Portuondo, is an amazing person, besides from being an amazing songstress.  Rich Spirit had the pleasure to work with the Popper Room at the Ethnomusicology Dept at UCLA.  Early this year, Rich Spirit coordinated/produced a lecture / music showcase with Peru’s Afro Peruvian Icon Eva Ayllon.

After the great success of the event, Rich reached out once again to UCLA LIVE into producing a lecture / music showcase with Omara Portuondo.  This phone call took place 7 days prior to the show.  The Ucla Live accepted Rich’s proposition in to producing the lecture / music demonstration.  All we need it was the agreement from Omara’s people.  We had to reach out to Omara’s eldest son, who happen to be also her manager.

The answer from the band took longer than we wanted.  But they accepted.  With out any compensation from the School, being that it was going to be a free event for Omara’s fans as well as the students.  Even thou this event was a short notice, the room “WAC MUSEUM” Gladys Kaufman Theater.  The room had approx 250 seats.  To our luck and good faith, the theater was entirely full. It was time for the lecture.  The Lecture was given by Prof. Paul De Castro, giving a very detail history about the “Feeling Movement”.

The Prof. took about 25 min. Then Omara came out from the side of the stage along with her two percussionist and guitarist.  It was a trio.  Due to “legal rights and copyrights” we could not take photos during the performance.  So we kept our integrity and did not. lol.  We met Omara back stage and had a nice conversation about her travels to Latin America…

“She IS an amazing voice and a down to earth lady” Renzo Revelli (Listen Recovery)

Ich gehe diesen Weg.

Einige kommen mir entgegen.

Erzählen davon,

wie es oben ist.

Ich möchte mir gerne

selber ein Bild machen.

Tanmoy Goswami presents a primer on the relationship between culture and memory.

“The struggle of man against power is the struggle of memory against forgetting.” Thus spake Milan Kundera in The Book of Laughter and Forgetting. It is common currency that memory is the most powerful tool of cultural transmission in traditional societies that have undergone centuries of repression. Take the Caribbeans or Native Indians for instance. It is largely through generations of storytelling and oral mythmaking that these communities managed to keep alive a coherent sense of their past, free from the self-centred narratives of their colonial masters. For each Eurocentric version of their history, there is a voice like that of the Nobel Prize-winning poet Derek Walcott, which reclaims that history and creates room for it in the mainstream. Naturally, most of this tension is located in the arts, in a Guernica by Picasso or a Beloved by yet another Noble laureate, Toni Morrison.

The struggle between memory and forgetting, between transcendence and cultural erasure, is now finding alternative battlegrounds, and sadly, the battle is turning out to be rather lopsided. How else does one view the mass closure of single-screen theatres around the world? Why go around the world though? Mumbai, the capital of all things filmy in India, alone saw the decommissioning of 49 single-screens in the five years leading up to 2007. It did not help that while these dinosaurs of cinema reeled under a 44 per cent entertainment tax, a municipal tax based on the number of viewers, a 12 per cent education tax, a 15 per cent road tax and a variable property tax, the government serenaded investors in multiplexes by offering a slew of tax breaks.

The onslaught of modernity has not affected single-screen theaters alone. London’s iconic music venue, The Astoria, was sold in June 2006 for £23.75mn, allegedly to free up space for a complex of shops, flats and offices and to cash in on the real estate boom before the 2012 London Olympics. Opened as a cinema in 1927, The Astoria was converted into an exclusive concert hall in 1976 and hosted gigs by Nirvana, Radiohead, Rolling Stones, Pearl Jam and Oasis among a constellation of others. Part of London lore, The Astoria’s demise is a classic case of how a myopic agenda of development can deal a death blow to cultural memory. Savi Munjal, former lecturer at the Delhi University and current student resident at Leeds and London, says “I pass The Astoria quite often and there’s nothing but a scaffolding there. Many people who arrived in London after January 2009 (which is when the venue was finally shut down), myself included, have never seen a gig in it and will never know why the old-timers are so emotional about it.”
Back to Bollywood, Madhuri Dixit’s 2007 comeback film Aaja Nachle may not have busted the charts, but it did raise a meaningful point about a fictitious poor Indian cousin of The Astoria, the Ajanta Theatre in the small UP town of Shamli. To its credit, Aaja Nachle did not confine itself to exploring the angst of the theatre employees and patrons, but also made a case for public participation in cultural performances using the venue as a melting pot.  No matter how ‘comfortable’ our futuristic multiplexes are, they will never allow the kind of silly amateur stage-shows an Ajanta can effortlessly call its own, bringing people closer in the process.

So when Ry Cooder and Wim Wenders make a movie named after an obscure Cuban music club and resurrect a band of musicians hurled into oblivion by Fidel Castro’s regime, it resonates at a level that far exceeds its immediate cultural milieu. When Buena Vista Social Club (1999) opened to international acclaim, many an embittered soul was offended that it took two (white) Westerners to give Cuban  music its due. Isn’t that an utterly irrelevant question though in relation to what a movie like this manages to achieve? Michel Gondry would agree. After all, it took the ghost and a fake biography of the long-forgotten Black American Jazz performer, Fats Waller, to salvage community pride in the Western town of Passaic. For those on whom this reference is lost: Be Kind, Rewind.

Published in UTV Woeld Movies Magazine, Oct 09 issue (a companion piece to the cover feature on Buena Vista Social Club)

Last night was one of the most amazing experiences I’ve enjoyed for a very long time. Eight months after buying the tickets, I witnessed the phenomenon that is the Buena Vista Orchestra (also known as Orquestra Buena Vista & Buena Vista Social Club).

Many of the original stars from that special night in Carnegie Hall in 1998 have since passed on, but what remains is still a testament to the skill, passion and fun of Cuban musicians, many of whom have been formative in the creation of what we now know as Latin music.

Reflecting on why they were so special, I came up with several things that set them apart from other concerts and bands I have seen (and enjoyed):

1. A sense of history – Many of these people have helped to create the music synonymous with Cuba, the platform on which today’s musicians build. Age is no issue; it’s a strength and a valuable commodity. Experience is something we often overlook as we clamber to be new and different; often too insecure to learn from those who’ve gone before.
2. A sense of value and heritage – These people are firmly connected to their music and cultural roots. It’s not a problem; it’s a bonus. They are not afraid of their culture, nor to share that culture and history with their audience, most of whom have little or no connection to it (apart from music). It’s not about preaching; it’s about showing and sharing; inviting others on board … and judging by the response of the 2500 people at the concert, they were successful.
3. They connected with their audience – Many of us could learn a great deal from the members of Buena Vista Orchestra. They brought something that can be difficult to connect with if you’re not a part of that culture … and enabled us to connect with it. Even musicians often fail to connect with the complex rhythms, how the pieces fit together, how the melodies interweave. Others can’t handle the fluidity and movement in the music, music that doesn’t sit comfortably with a click track yet is devilishly tight. Yet, this wasn’t a problem for the audience as these masters of their art communicated with people’s hearts and souls, calling them on board to experience something new, even if they didn’t understand it. They felt it, were drawn in by it and stoked the fire for more … which they got!
4. They promoted each other – The musicians were clearly ‘old school’ in their playing, but that is what made it so great. There were no stars on stage; they were all stars and they created a platform for their colleagues to shine. Their playing was an expression of themselves but was for each other and the audience, not self-indulgent and about themselves … a lesson many of us could learn.
5. They exuded joy – Music wasn’t just something technical to be played; it wasn’t just an exercise in playing the correct notes; being safe or cerebral. The music they played was part of them; it was their soul; their passion; something to express who they are; from their hearts. It was something to enjoy and that enjoyment spurred each other on and fired the audience. Their enthusiasm and passion was infectious, drawing others in.
6. They were themselves – As we passed the stage door after the gig (and there was no-one else around … how rare is that?) the band emerged and were no different to how they were on stage; smiling, laughing and very willing to give time for a brief chat and sign tickets.

It took me a long time to fall asleep last night. I was full of the gig and my mind raced over and over through the tunes and why I’d enjoyed the evening so much.

Now all I need to do is apply some of what I’ve learnt and hopefully those I meet will benefit.

Thank you Orquestra Buena Vista. Long may you continue to inspire those who have the privilege and pleasure of witnessing your concerts (and your music).

Last night was one of the most amazing experiences I’ve enjoyed for a very long time.  Eight months after buying the tickets, I witnessed the phenomenon that is the Buena Vista Orchestra (also known as Orquestra Buena Vista & Buena Vista Social Club).

Many of the original stars from that special night in Carnegie Hall in 1998 have since passed on, but what remains is still a testament to the skill, passion and fun of Cuban musicians, many of whom have been formative in the creation of what we now know as Latin music.

Reflecting on why they were so special, I came up with several things that set them apart from other concerts and bands I have seen (and enjoyed):

1. A sense of history - Many of these people have helped to create the music synonymous with Cuba, the platform on which today’s musicians build.  Age is no issue; it’s a strength and a valuable commodity.  Experience is something we often overlook as we clamber to be new and different; often too insecure to learn from those who’ve gone before.
2. A sense of value and heritage – These people are firmly connected to their music and cultural roots. It’s not a problem; it’s a bonus.  They are not afraid of their culture, nor to share that culture and history with their audience, most of whom have little or no connection to it (apart from music).  It’s not about preaching; it’s about showing and sharing; inviting others on board … and judging by the response of the 2500 people at the concert, they were successful.
3. They connected with their audience – Many of us could learn a great deal from the members of Buena Vista Orchestra. They brought something that can be difficult to connect with if you’re not a part of that culture … and enabled us to connect with it. Even musicians often fail to connect with the complex rhythms, how the pieces fit together, how the melodies interweave. Others can’t handle the fluidity and movement in the music, music that doesn’t sit comfortably with a click track yet is devilishly tight. Yet, this wasn’t a problem for the audience as these masters of their art communicated with people’s hearts and souls, calling them on board to experience something new, even if they didn’t understand it.  They felt it, were drawn in by it and stoked the fire for more … which they got!
4. They promoted each other – The musicians were clearly ‘old school’ in their playing, but that is what made it so great.  There were no stars on stage; they were all stars and they created a platform for their colleagues to shine. Their playing was an expression of themselves but was for each other and the audience, not self-indulgent and about themselves … a lesson many of us could learn.
5. They exuded joy – Music wasn’t just something technical to be played; it wasn’t just an exercise in playing the correct notes; being safe or cerebral.  The music they played was part of them; it was their soul; their passion; something to express who they are; from their hearts.  It was something to enjoy and that enjoyment spurred each other on and fired the audience.  Their enthusiasm and passion was infectious, drawing others in.
6. They were themselves – As we passed the stage door after the gig (and there was no-one else around … how rare is that?) the band emerged and were no different to how they were on stage; smiling, laughing and very willing to give time for a brief chat and sign tickets.

It took me a long time to fall asleep last night.  I was full of the gig and my mind raced over and over through the tunes and why I’d enjoyed the evening so much.

Now all I need to do is apply some of what I’ve learnt and hopefully those I meet will benefit. 

Thank you Orquestra Buena Vista.  Long may you continue to inspire those who have the privilege and pleasure of witnessing your concerts (and your music).

Early life and career

Omara Portuondo was born one of three sisters; her mother came from a wealthy Spanish family, and had created a scandal by running off with and marrying a black professional baseball player. Omara joined the dance group of the Cabaret Tropicana in 1950, following her elder sister, Haydee. She also danced in the Mulatas de Fuego in the theatre Radiocentro, and in other dance groups. The two sisters also used to sing for family and friends, and in 1947 joined the Loquibambia Swing, a group formed by the blind pianist Frank Emilio Flynn.

From 1952–1953 she sang for the Orquesta Anacaona, and later in 1953 both sisters joined (together with Elena Burke and Moraima Secada) the singing group Cuarteto d’Aida, formed and directed by pianist Aida Diestro.  The group had considerable success, touring the United States, performing with Nat King Cole at the Tropicana, and recording an album for RCA Victor. In 1957 the sisters recorded an album with the quartet.  In 1959 Portuondo recorded a solo album, Magia Negra, involving both jazz and Cuban music. Haydee left the Cuarteto d’Aida in 1961 in order to live in the U.S.A. and Omara continued singing with the quartet until 1967.
1967–1996

In 1967 Portuondo embarked on a solo career, and in the same year represented Cuba at the Sopot Festival in Poland, singing Juanito Marquez’ “Como un Milagro”. Alongside her solo work, in the 1970s she sang with the charanga Orquesta Aragon, and toured with them abroad.

In 1974 she recorded, with guitarist Martin Rojas, an album in which she lauds Salvador Allende and the people of Chile a year after the military coup led by General Augusto Pinochet. Among other hits from the album, she sang Carlos Puebla’s beautiful “Hasta Siempre Comandante”, which refers to Ché Guevara.

During the 1970s and 1980s Portuondo enjoyed success at home and abroad, with tours, albums (including one of her most lauded recordings in 1984 with Adalberto Alvarez), film roles, and her own television series.

Buena Vista Social Club and since
Portuondo sang (duetting with Ibrahim Ferrer) on the album Buena Vista Social Club in 1996. This led not only to more touring (including playing at Carnegie Hall with the Buena Vista troupe) and her appearance in Wim Wenders’ film The Buena Vista Social Club, but to two further albums for the World Circuit label: Buena Vista Social Club Presents Omara Portuondo (2000) and Flor de Amor (2004). In July 2005 she presented a symphonic concert of her most important repertoire at the Berlin Festival Classic Open Air am Gendarmenmarkt for an audience of 7,000. The entire program was specially orchestrated by Roberto Sánchez Ferrer, a conductor/pianist with whom she had worked during her early years at Havana’s Tropicana Club. Scott Lawton conducted the Deutsches Filmorchester Babelsberg.

In 2007 she is performing the title role to sold out audiences in Lizt Alfonso’s dance musical “Vida”, the story of modern Cuba through the eyes and with the memories of an old woman. In this same year, her performance at the Montreal Jazz Festival was released on DVD. She recorded in 2008 a duets album with Brazilian singer Maria Bethania, named Maria Bethania e Omara Portuondo. In 2008 she recorded the Album Gracias as a tribute to the 60th anniversary of her singing career.

http://www.youtube.com/watch?v=6VzsT5OswHk

w/ MARIA BETHANIA

]]> http://thebeankielbon.wordpress.com/2009/10/16/this-post-is-only-good-for-wasting-time-on-a-cold-overcast-grilled-cheese-and-tomato-soup-kind-of-day/ Fri, 16 Oct 2009 00:32:32 +0000 thebeankielbon http://thebeankielbon.wordpress.com/2009/10/16/this-post-is-only-good-for-wasting-time-on-a-cold-overcast-grilled-cheese-and-tomato-soup-kind-of-day/

1)  This is one of my favorite ways to waste time.  DarkRoastedBlend has some great links to crazy stuff which has served only to distract and amaze me. Some of my favorite things have been links to crazy modern furniture designs, crazy science stories, and strange maps (just to name a few).  My favorite part of DRB is the Link Latte – it is a deep, deep well of random and often useless information, but damn does it make for good trivia knowledge!

 

 

 

 

(photo credit: http://www.darkroastedblend.com/2007/03/world-imbalances-shown-on-unique-maps.html)

 

2) Another great way to waste time is by visiting this little gem of a site: http://www.engrish.com/.  Now, please don’t think that I am being offensive – believe me I have done my fair share of spelling things wrong in Spanish and saying things the wrong way!  I usually just shrug my shoulders and chalk it up to one of those “oops-moments,” laugh, then move on with attempting to communicate.  We all have to admit that some of these mistranslations are pretty hilarious though!  I think one of my favorites is one of a pencil case with polar bears on it.  There’s just too much about it that makes me laugh!

3) If you’re into good movies, or are like me and just never know what new movies are coming out, itunes movie trailers are perfect for staying in touch with the cinematic world.  B-T-Dubs, the new Wes Anderson film, Fantastic Mr. Fox, looks…fantastic (?).  First of all, pretty much every movie he has directed has quickly become one of my favorite movies.  Second, it’s a stop-animation style which is also one of my favorites!  I may be predisposed to liking the film, but that’s fine with me.  Which leads me to the next great way to waste some time…

4) Stuff White People Like!  The first time I saw this website I was so ashamed to catch myself saying, “oh I love that!” after every thing on the list.  Preeeeetty funny if you ask me.  Wes Anderson is definitely on this list. 

5) If wasting time really isn’t something you do, or if homework (or work work) just beckons too strongly for true time-wasting, at least try to have something somewhat enjoyable to brighten up the overcastiness (yes I made up a word).  Good music is really going to be essential here.   Thus, here are my top five playlists or albums for getting work done on a not-so-good-looking day. 

         I. “To Travels and Trunks” – Hey Marseilles

                      This album is great for listening to at work.  I mean seriously.  It would also make a really epic roadtrip album.  It’s the kind of music that would make you feel like you were in some indie movie, with the road methodically passing by you and the sun setting behind majestic, red rock formations, and the warm wind tousling your hair while the windows are down.   And, they’re local (Seattle)!

     II. The Darjeeling Limited Soundtrack

                  I love Wes Anderson films (as I already mentioned), and the music chosen for his movies is partly the reason why.  This soundtrack is great for doing work, and for getting a lot of attention.  People give me some questioning looks, andI don’t think they understand why I am listening to Indian music.  I’m sure they are just jealous of my unique indie taste in music.  Probably not.  Anyway – great music.  I think this would be great for a road trip too.  (apparently ‘roadtrip-worthy’ is one of my good-music qualifiers). 

      III. Horse Feathers – any of it.  It’s all good. 

                 Now before I go any further, I need to admit something about myself.  I tend to exaggerate a litte.  In my older, wiser, post-grad existence I have seriouly cut down on this bad habbit.  Now hear this – I do not exaggerate at all when I speak of my love for this band.  I speak only truth when I say that Horse Feathers easily falls into my top three favorite bands of ever.  And I don’t think that simply listening to their albums would really offer up a good explanation as to why: don’t get me wrong, I love them, but seeing them play live is a must if you want to really appreciate what they’ve got going on.  Which is a lot.  They will be playing at the Empyrean in Spokane on November 9th (and you bet your ass I am going to be there fawning over their musical magic!), and highly recommend seeing them if you can get down there. 

      IV. Buena Vista Social Club – Pandora station

 I don’t care who you are…that’s just some good shit.  Everytime I listen to this station I feel like I should be the lead girl in “Dirty Dancing: Havana Nights,” dancing with Diego Luna (cutie!) in the midst of the Cuban Revolution.  Just listen to it.  You’ll fall in love.  All the artists that pop up on the station are also great, and it gives a good mix of tunes to keep you awake on a gloomy day.  [If you  like this kind of music, I also highly recommend Ozomatli.  They're coming to Spokane in November]. 

       V.  “Zee Avi” – Zee Avi

I catch myself humming a lot when I listen to this.  I love Blues, and this is a more laid-back, “Nora Jones-y” style of blues, but I still love it.  Zee Avi is upbeat enough that I don’t fall alseep, and is indie enough that I don’t feel like some old Michael Buble listener (sorry to those Buble fans that I have offended.  It just makes me feel like an old person when I listen to his music).  My favorite song on this album is “Honey Bee” – it has affirmed for me the desire to get a honey bee tattoo (there are deeper reasons than just this song, obviously). 

Ok, I hope the “good for nothing” post was entertaining for a least a couple of you out there!  If it wasn’t, don’t tell me.  I don’t want to know that an hour of my time was wasted, and that you wasted your time not enjoying something.  That would be useless to all of us. 

“He nacido en la Argentina; no es un secreto para nadie. Soy cubano y también soy argentino y, si no se ofenden las ilustrísimas señorías de Latinoamérica, me siento tan patriota de Latinoamérica, de cualquier país de Latinoamérica, como el que más y, en el momento en que fuera necesario, estaría dispuesto a entregar mi vida por la liberación de cualquiera de los países de Latinoamérica, sin pedirle nada a nadie, sin exigir nada, sin explotar a nadie” (Fragmento de su intervención en la Asamblea General de las Naciones Unidas en uso del derecho de réplica. 11 de diciembre de 1964).

El Che Guevara: un símbolo, un icono, un ejemplo a seguir, lo es y seguirá siendo para muchas culturas, para mucha gente, para muchos que aún no han perdido la esperanza de encontrarse en un mundo más igualitario y más justo para todos. Es el Che Guevara, pese a las opiniones en contra, un ejemplo de lucha y de modelo a seguir, y hasta el sol de hoy, no ha habido ningún guerrero como él, fiel en sus batallas por una América libre de opresión. Seguirá su imagen y sus enseñanzas en muchos poemas, en muchas esculturas, en mucha ropa también y por supuesto, en muchas canciones, porque el Che Guevara fue y seguirá siendo un combatiente de todos los pueblos latinoamericanos.

Y como en este blog, es música lo que sobra y música lo que llena nuestros días, voy a dejar una canción original de Carlos Puebla. Su canción más conocida fue justamente “Hasta siempre, comandante” del año 1965 dedicada a Ernesto Che Guevara. Esta canción ha tenido una aceptación mundial, siendo traducida en muchísimos idiomas, y siendo versionada por muchísimos cantantes y bandas. Desde adaptaciones hechas por grupos tan famosos como Buena Vista Social Club, pasando por Soledad Bravo, hasta grupos más actuales y juveniles como la versión del grupo español de punk comunista, “Boikot”. Y es este grupo el que también muestro a continuación.

Carlos Puebla, “Hasta siempre, Comandante”

Boikot, “Hasta siempre comandante” (versión)

K.

Buena Vista Social Club playing Live at the Royal Albert Hall on the 13th of October 2009 at 19:30.

Featuring trumpeter Guajiro Mirabal, trombonist Jesús ‘Aguaje’ Ramos, guitarist, pianist and organist Manual Galbán and laud player Barbarito Torres. An extraordinary line-up of Buena Vista Social Club stalwarts, together in an 11 piece band direct from Havana, Cuba, to present some of the finest Cuban music ever made.

This special concert takes audiences on a musical excursion from the original Buena Vista Social Club recordings in 1996 up to the present day. Each of these artists has an individual take on the gamut of Cuban Music and they’ve each put their own stamp on son montunos, danzón, cha cha cha, boleros and Cuban jazz. After eleven years as the backbone of the Buena Vista Social Club, as Ibrahim Ferrer’s live band and recording Grammy winning albums, this esteemed group gets the chance to show their skills and their passion for music on the Royal Albert Hall stage.

Buy tickets at TicketMaster

Dupa cum poate a-ti mai auzit vara asta, Buena Vista Social Club a avut vreo 3 concerte in Romania. Normal ca au aparut si concursurile odata cu biletele,asa ca pe timpul verii castigase Ivo la concert invitatie de 2 persoane a mers cu Florin, eu dornica de salsa as fi vrut si eu dar eram spre Medgidia, asa ca imediat ce am auzit ca tocmai cei de la Adevarul au pus bilete la bataie, a caror castigatoare fidela sunt m-am hotarat sa sun imediat. Fiind de data asta invitatii de o singura persoana, a sunat si Ivo si Florin, l-am pus sa sune pana si pe tata. Am castigat iar tot familionul, asa ca aveam 4 invitatii. Am ajuns la concluzia, asta fiind al al 3lea concert la care merg pe bilete castigate, ca e greu sa faci rost si de persoana sa vina sa te insoteasca, d-apoi sa mai pretinzi sa te mai si joace. Asa ca la Sala Palatului, ne-am prezentat pana la urma eu Ivonica, Florin si Irina. Dupa concert pot spune cu tarie ca nici macar unul din cati erau in sala, si cati ar fi putut veni la concert, nu s-a simtit in stare sa ma danseze.

Din ce am citit pe net, biletele au fost cam scumpe, asa ca nu s-a ingramadit lumea cine stie ce, dar totusi nici sala goala nu a fost. In deschidere a cantat Analia Selis & Band. Nu  stiu, telenovelele nu mi-au placut niciodata, spaniola dupa experienta din liceu nu mi-e la suflet deloc, dar cand aud melodii in spaniola, argentiniana, melodii din zona latino-americana imi merg direct la suflet. Asa s-a intamplat si de data aceasta. O sa urmeze researchul ca dupa fiecare concert, si imi voi innoi lista cu melodii adaugand din repertoriul Analiei si ai celor de la Buena Vista Social Club.

Dupa pauza de rigoare dupa introducerea facuta de Analia, au inceput in forta Buena Vista, cei ce au pornit de la Clubul Havana, din Cuba. Cuba, o tara care as vrea sa o vizitez, si imi aduc aminte de o emisiune de la Travel and living, cu cocktailuri…mmmh.

Sa revenim la salsa si la Buena Vista, normal ca daca in casa sunt in stare sa dansez singura, la Sala Palatului de ce nu as fi fost?! Asa ca nu am fost singura, dar totusi printre putinii care s-au ridicat si s-au pus in miscare in dreptul scaunului, cu toate ca telul  meu pentru seara aia era sa ajung pe scena hihi. Tot cu ocazie concertului am inaugurat si eu bluzita cu franjuri de salsa, rosie ca focul, care emana la fel de multa energie ca si mine, deja abia astept sa mai dansez o data.

Un concert la care vroiam sa ajung de mult timp si la care m-am simtit foarte bine, fiind la asorte cu cei de pe scena (rosu). Un concert salsa, ce se va continu normal cu un curs de dans la clubul Dance Time, despre care voi scrie mai multe intr-un alt blog, dupa ce voi strange impresiile necesare. Curs castigat tot pe internet de data aceasta nu cu tragere la sorti ci cu blogul “Doina Dobrogei” scris de mine.

De retinut melodiile: Chan Chan, si Candela;

Omara Portuondo, la diva del Buena Vista Social Club, regresará a los escenarios de Estados Unidos luego de seis años de ausencia, por la negativa de visa de las autoridades norteamericanas.

Ahora llevará “pura música cubana”, un “medicamento” que ella asegura “sana por encima de cualquier disputa política”.

Es bueno poder compartir la cultura, que es el alma de un pueblo, expresó Portuondo en entrevista con AP, después de darse a conocer la noticia de que finalmente las autoridades norteamericanas habían autorizado su visa.

La intérprete tiene previsto presentarse en el Festival de Jazz de San Francisco el 20 de octubre y 23 del mismo mes realizar un concierto en un campus universitario de la misma ciudad.

Durante esos días se convertirá en una embajadora de buena voluntad entre ambos países, dijo.

Ocurrente, de palabra fácil, la cantante insistió: Me da gusto saber que vamos a volver a Estados Unidos; en realidad país que visitó incontables veces en medio siglo de carrera artística y al cual se le impedió ir debido a la política de bloqueo.

Recordó incluso su paso por San Francisco con el Buena Vista Social Club, tras ganar el Grammy en 1997.

Claro que conozco San Francisco! Fui con el Buena Vista, que tuvo un éxito muy ansiado y tan merecido porque muestra nuestra cultura que es grande y (en el mundo) la disfrutan”, agregó la mujer.

Ahora con su propio grupo, la Portuondo tendrá oportunidad de volver a conquistar al público y en esta ocasión llevará al pianista Harold López Nusa, un destacado jazzista isleño.

Vamos a presentar este disco que tenemos nominado para el Grammy Latino que se llama ‘Gracias’ y con el cual estoy dándole precisamente las gracias a tanto público de tantas partes del mundo, a tantos productores y músicos que me han apoyado en esta carrera de 60 años, manifestó la artista.

Nacida el 29 de octubre de 1930, hija de un beisbolista negro y una mujer blanca en una época de fuertes prejuicios raciales, la pequeña Omara aprendió a enfrentar desafíos.

Siendo una jovencita fue invitada como bailarina del Cabaret Tropicana, pero en su tiempo libre ella y su hermana Haydee solían cantar jazz y bossa nova y se divertían con sus amigos músicos: César Portillo de la Luz, José Antonio Méndez y el pianista Frank Emilio Flynn, los creadores del filin.

El vocablo es la cubanización de la palabra inglesa feeling (sentimiento), y designó una robusta corriente musical que mezcló esos ritmos con un toque tropical y renovó por completo la tradición en la isla, mientras le dio vigor al bolero.

A lo largo de esos años, la Portuondo conoció o compartió escenario con Edith Piaf, Nat King Cole, Libertad Lamarque, María Félix, Agustín Lara, Niní Marshall, Ernesto Lecuona, Bola de Nieve, Rita Montaner o Benny Moré.

En 1959, al triunfo de la revolución, Portuondo ya tenía un nombre en la música cubana y a diferencia de otros prefirió quedarse en la isla y jamás ocultó su afinidad con el proceso revolucionario.

Cuando parecía que su vida artística había llegado a su clímax, el destino le deparó la sorpresa de un relanzamiento junto al Buena Vista en 1997.

Ahora, postulada a un Latin Grammy al mejor álbum tropical contemporáneo, se muestra entusiasmada como una jovencita por el éxito de Gracias.

Ya con estar nominado una se siente feliz, además son tremendas competencias. Es que en el mundo entero hay muy buena música y por suerte nosotros estamos en ese grupo, expresó la artista. (La ceremonia de premiación es el 5 de noviembre en Las Vegas).

Mientras tanto la sedosa voz de la novia del filin se paseará en las semanas venideras por México y también le dará sonido a la ópera prima que filman en Cuba los actores Jorge Perugorría y Vladimir Cruz, con música de Silvio Rodríguez, de la que se abstuvo de adelantar detalles.

Cuando se le pregunta por el secreto de la música isleña que parece generar talentos a montones y no cesar de sorprender, la Portuondo se pone pensativa.

Hay algo que se transmite… la alegría del cubano, una gracia que le cae bien a las personas, reflexionó.

Hay gente que conocimos que la primera vez que escucharon el Buena Vista estaban apagadas y una vez que oyeron (la música) se sanaron. Es un fenómeno muy especial, comentó.    Y agregó: la música cubana es el mejor medicamento.

Entrevista de AP, editada por Cubasí

Buena Vista Social Club; o som da ilha

A Ilha de Fidel foi remexida por um americano. Era o ano de 1996, quando o produtor Ry Cooder foi à Cuba resgatar a velha guarda da música daquele país. Nomes como Ibrain Ferrer, Omara Portuondo e Compay Segundo já estavam esquecidos e, depois de uma ‘arrumada na casa’, voltaram com tudo e tocaram, inclusive, no Carnegie Hall, em Nova Iorque.

Além do disco, lançado em 96, Buena Vista Social Club virou um belíssimo documentário, dirigido pelo alemão Wim Wenders, que filmou apresentações do grupo na Holanda e nos Estados Unidos. O material, também, foi acompanhado de entrevistas feitas em Havana com todos os músicos que participaram do projeto.

Buena Vista Social Club, o filme, foi aclamado pela crítica, sendo indicado ao Oscar – na categoria ‘Melhor Documentário’- e ganhou o European Film Awards.

Buena Vista, o clube, era um lugar de dança e atividades musicais na capital cubana. Na década de 40, esse era o local onde os músicos se encontravam para tocar, beber muito rum e fumar os puros. Entre eles: Manuel “Puntillita” Licea, Compay Segundo, Rubén González, Ibrahim Ferrer, Pío Leyva, Anga Díaz. Ao longo dos anos novos membros entraram no grupo.

Em 2006, foi lançado ‘Rhythms del Mundo’, um ábum com as estrelas do Buena Vista e da música. Ibrahim Ferrer (em sua última gravação antes de morrer em 2005) e Omara Portuondo cantaram com artistas como: U2, Coldplay, Sting, Jack Johnson, Maroon 5, Arctic Monkeys, Franz Ferdinand e Kaiser Chiefs. (Com informações da Wikipédia)

Como adoro o Buena Vista, vou postar dois vídeos destes monstros sagrados da música. O primeiro é um registro da emocionante canção – que, às vezes, me faz chorar – ‘Y tu, que has hecho’. O segundo, o clássico ‘Chan Chan’. Uma obra prima gravada no palco, imponente, do Carnegie Hall (neste vídeo, confira cenas de Havana, retiradas do documentário de Wim Wenders).

“Y tu, que has hecho”

“Chan Chan”

]]> http://slagartop.wordpress.com/2009/09/30/analia-selis-mandinga-incing-atmosfera-pentru-buena-vista-social-club/ Wed, 30 Sep 2009 12:19:07 +0000 slagartop http://slagartop.wordpress.com/2009/09/30/analia-selis-mandinga-incing-atmosfera-pentru-buena-vista-social-club/

La inceputul luni octombrie, Eliades Ochoa aduce Buena Vista Social Club in Romania. Pe data de 4 octombrie, Eliades Ochoa va sustine un concert la Sala Sporturilor din CLUJ, eveniment organizat de Diesel Club. Trupa Mandinga a fost aleasa pentru a deschide acest concert. Toti fanii lor dar si cei care vor sa participe la un eveniment deosebit sunt asteptati la Sala Sporturilor “Horia Demian” din Cluj incepand cu ora 19.00. Pe 5 octombrie, Eliades Ochoa va fi prezent pe scena Salii Palatului din BUCURESTI. In deschidere, Analia Selis&Band vor incalzi atmosfera, incepand cu ora 20.00. Biletele la Cluj costa intre 50 lei si 200 lei si pot fi gasite la Diesel Club. La Bucuresti biletele costa intre 75 si 250 lei si pot fi gasite pe www.blt.ro, www.bilete.ro, www.eventim.ro, www.ticketpoint.ro si la magazinele Diverta, Germanos, Muzica, Carturesti si la Sala Palatului.

Eliades Ochoa este singurul artist adevarat marca BUENA VISTA SOCIAL CLUB ce va concerta anul acesta in Romania. Acesta revine dupa ce, in urma cu cativa ani, a sustinut 3 concerte sold out (la Bucuresti, Cluj si Timisoara) si a participat la alte 2 evenimente aniversare ale unor mari corporatii internationale care au reprezentanta si in tara noastra.

Nu ratati o seara 100% cubaneza alaturi de un brand recunoscut international: Buena Vista Social Club!

Sursa: Fundatia Phoenix, 30 septembrie 2009

A collection of dance reviews, news and feature articles that I wrote for The West Australian newspaper from 4 October, 2008. Most files in pdf format (download Adobe Reader).

Feature Articles

_____The Eternal Lucette (19/08/2009)

This article is based on an interview with former prima ballerina Lucette Aldous and her winning of the lifetime achievement award at the 2009 Australian Dance Awards.

_____Stepping Out With The Bard (01/07/2009) [online version]

Profile piece on celebrated choreographer Youri Vamos and the restaging of his Romeo & Juliet for West Australian Ballet.

_____Fabled Firebird (22/04/2009)

An article covering ABC2’s simulcast of Graeme Murphy’s Firebird in the Australian Ballet’s Firebird And Other Legends program. The article focuses on Perth-born dancer Kevin Jackson, who plays the male lead in Firebird alongside Lana Jones.

_____Fire In The Belly (04/04/2009)

Marking Bangarra Dance Theatre’s 20th anniversary and their tour of WA, this West Magazine feature article is based on an interview with the company’s artistic director Stephen Page.

_____STRUT Puts Film In The Mix (4/10/2008)

Article for The West’s TV magazine section about STRUT Dance’s Short Cuts season, which included dance works by Claudia Alessi, Cass Mortimer Eipper and Sue Peacock.

Reviews

_____Dance Review: Genesis (18/08/2009) [online]
_____Be Careful What You Wish For Is Genie’s Message (15/07/09)
_____In Pursuit Of Love (06/07/2009)
_____Hits And Misses In Indian Dance, Both Old And New (23/06/2009)
_____Disjointed Impact (12/05/2009)
_____Skilfully Armed To Move And Amuse While Mute (nd/2009)
_____Blitzing The Ballroom (02/07/2009)
_____Talented Dancers Embody Culture (02/06/09)
_____Ample Scope For Improvement (21/04/2009)
_____Creative Forces Step On Toes Of Female Stereotypes (07/04/2009)
_____They Barely Put A Foot Wrong (07/04/2009)
_____Menacing Steps Tap Anxiety Of The Outback (27/03/2009)
_____Giselle Has Sex, Violence — And The Odd Dance (02/03/2009)
_____Precise Steps Keep To The Pointe (19/02/2009)
_____Quarry Sets The Stage (13/02/2008)
_____Answers Mislaid In The Dance Moves (09/02/2009)
_____Contrasting Styles Of Today (10/11/2008)
_____Talent Shines Through In New Dance Works (05/11/2008)

Previews

_____Dancer’s Right Steps (13/09/2009)
_____Sweet Nothings (nd/2009)

A preview article about WAAPA’s student dance programs Zilch and Global Nomads, appearing in The West Australian’s The City Of Perth Winter Arts Season magazine supplement.

_____Makeover For Masterpiece (nd/2009)

A preview article for Youri Vamos’ Romeo & Juliet, appearing in The West Australian’s The City Of Perth Winter Arts Season magazine supplement.

_____Reggae Fan Dances To Own Tune (23/04/2009)
_____End Of The Road (21/03/09)
_____Question Time (24/01/2009)
_____Perth Dance Surge Heralds A New Era (29/10/2008)

News

_____Ballet Legend Gets Lifetime Award (27/05/2009)

Buena Vista Social Club

• CLUJ. Sala Sporturilor. duminică 4 octombrie. deschidere: Mandinga
• BUCUREŞTI. Sala Palatului. luni 5 octombrie. deschidere: Analia Selis
  

…

Buena Vista Social Club a fost un club exclusiv din Havana, unde se organizau petreceri, baluri şi concerte, devenind un loc de întâlnire a celor mai buni muzicieni din Cuba în anii 1940. La jumătate de secol după ce clubul respectiv s-a închis, în anii 90, chitaristul american Ry Cooder s-a întâlnit cu muzicianul cubanez Juan de Marcos Gonzalez. Povestea clubului a fost inspiraţia unei piese care a avut mare succes în vest. …

Astfel, ansamblul a fost încurajat să se regrupeze la Amsterdam în 1998. Regizorul german Wim Wenders a filmat acest concert, după care s-a hotărât să continue filmările cu o serie de interviuri cu artiştii despre viaţa lor din Cuba. Astfel s-a conturat filmul documentar cu acelaşi nume, Buena Vista Social Club, care a câştigat o serie de premii.

…

Succesul albumului, împreună cu succesul cărţii, a reaprins interesul internaţional pentru muzica tradiţională cubaneză şi muzica latino-americană, la finalul anilor 90.

…

Unii dintre artiştii din grupul Buena Vista Social Club au lansat ulterior albume pe cont propriu şi au colaborat cu artişti de renume internaţional din diverse genuri muzicale. Buena Vista Social Club a devenit un termen generic pentru a descrie genul spectacolelor şi lansărilor, fiind un termen echivalent cu Epoca de aur a muzicii cubaneze dintre anii 1930 şi 1950. Cei mai cunoscuţi artişti din ansamblu au fost Compay Segundo (d. 2003, la 95 de ani), Ruben Gonzalez (d. 2003, la 84 de ani) şi Ibrahim Ferrer (d. 2005, la 78 de ani).

…

Concerte 2009. România

Eliades Ochoa – singurul artist adevarat marca Buena Vista Social Club ce va concerta anul acesta în România – revine, după ce, în urmă cu câţiva ani, a susţinut 3 concerte cu casa închisă (la Bucureşti, Cluj şi Timişoara).

…

Eliades Ochoa

• CLUJ, duminică 4 octombrie, Sala Sporturilor, deschidere: Mandinga
• BUCUREŞTI luni 5 octombrie, Sala Palatului, deschidere: Analia Selis & Band

Eliades Ochoa este considerat unul dintre cei mai importanţi muzicieni cubanezi din toate timpurile, un remarcabil pastrator al muzicii cubaneze tradiţionale.

Eliades Ochoa a participat la toate marile turnee mondiale ale super-starurilor cubaneze, împreună cu Ibrahim Ferrer, Compay Segundo, Ruben Gonzalez, Cachaito Lopez sau Omara Portuondo.

…

Clubul

Clubul exclusiv Buena Vista Social Club era localizat în cartierul aglomerat Marianao din capitala cubaneză, Havana. Când Ry Cooder s-a dus cu Compay Segundo şi o echipă de filmare să încerce să identifice locaţia fostului club, nu s-a putut identifica clădirea exactă deşi Juan Cruz ţine minte adresa ca fiind pe Strada Calle 46 sau 48. Clubul acesta era condus pe principiile colonialismului spaniol, care a introdus această instituţie acolo. Populaţia de origine africană era discriminată. În schimb, şi Afro-cubanezii aveau cluburile sau fraternităţile lor. Societatea din Caraibe, la modul general şi chiar şi la New Orleans, era organizată în cluburi sau fraternităţi. În Cuba existau cluburile celor care înveleau ţigările, cluburile jucătorilor de diverse sporturi, etc, iar acestea aveau şi mascote. La Buena Vista Social Club se adunau artiştii, precum într-o uniune a muzicienilor. Se întâlneau consecvent (nu se absenta) şi organizau mereu spectacole şi baluri.

…

Artiştii cubanezi

Cachao Lopez (basistul) şi liderul formaţiei, Arsenio Rodriguez sunt probabil cei mai renumiţi artişti ai genului din anii 1930-1940. Se câştiga foarte puţin din muzică, ceea ce însemna că se cânta din plăcere şi pentru arta genului.

În epoca respectivă se naşte genul Mambo (influenţat de Jazz), genul Charanga, genul Rumba, genul Son şi dansurile Pachanga şi Cha-Cha-Cha.

…

Genul Son este descris ca fiind cărămida de temelie a muzicii cubaneze, care a influenţat cel mai mult muzica latino-americană a secolului 20, având totodată un impact deosebit şi pe muzica pop americană la începutul secolului 20. Zilele astea adaugăm Son la lista Genurilor muzicale.