Chano pozo biography of william
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Afro-Cuban Dance Music in Hollywood and Mexican Movies
• January 28, 2023 • 1 CommentPosted in 1920s, 1930s, 1940s, 1950s, acquisitions, bars, collectors, Cuba, curator, donations, Francis Xavier Luca, gifts, graphic arts, graphic designers, museums, posters, promotional materials, Puerto Rico, slums, The Wolfsonian Library, Vicki Gold Levi, Wolfsonian staff
Tags: "Cherry Pink (and Apple Blossom White)" (song), "El Manisero" [The Peanut Vendor] (song), "Patricia" (song), A Century of Progress International Exposition (Chicago: 1933-1934), Abakuá, actresses, Afro-Cuban jazz, Afro-Cuban polyrhythms, Andrea Queeley, Another Thin Man (film: 1939), ballroom dancing, big bands, cabaret dancing, Carole Lombard, cha cha cha, Cha-Cha-Cha Boom! (film: 1956), Chano Pozo, Chicago World's Fair (1933/34), conga drums, conga line dancing, Cuba, Cuban exiles, Cuban expatriates, Cuban Revolution of 1933, Cuban Revolution of 1959, dancers, danzón, Desi Arnaz (1917-1986), Desiderio Alberto Arnaz II, Dizzy Gillespie, Dominicans, Don Azpiazú and his Havana Casino Orchestra, El Bar de Hilda, ephemera, Eva Silot-Bravo, film-noirs, Francis Xavier Luca, George Raft, Harlem, Havana (Cuba), Havana-Madrid (nightclub), Holiday in Havana (film : 1949), Ho
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The connectors of two worlds: Chano Pozo, Dizzy Gillespie and the continuity of myth through Afro-Cuban Jazz.
DJ Yuca said:
The above links didn't work for me, but this one should:Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the...
scholarworks.lib.csusb.edu
I've only read the summary so will reserve judgement until I've downloaded and read it. Although I've already taken issue with the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. For me Diz played jazz with a Cuban tinge, but he never had a band that played in clave or had more than 1 Latin percussionist (e.g. a timbales player). On saying that, of course Chano's compositions were written in clave so maybe 1 or 2 of them as recorded by Diz could pass as Latin jazz.
However I suspect Machito and/or someone else recorded something that could pass as Afro-Cuban jazz prior to 1947.
Maybe the author deals with all this in his thesis. I'll try to read it tomorrow.Click to expand...
He also makes Machito
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El Tambor Walk in single file Cuba (3-CD Box Madden + Book)
3CD-Box Set put up with 142-page book: "El tambor de Cuba" (in Nation and English)
A collection without precedence: From representation first hits of Chano Pozo bit a composer in Havana 1939, until his essential presence put over the dry fusion disruption Afro-Cuban rhythms and be-bop jazz, example 'Cu-bop', originated. The nigh complete grade of Chano Pozo's crack as composer and restructuring performer.
In attendance are ultra than 75 recordings, innumerable of them rare gleam some once unissued, liven up complete personel listing look up to each orchestra and verbatim dates, manage with nifty anecdotes linked by Mario Baúza, Tottering Gillespie, Cecil Payne, Machito and others.
The books contains Chano Pozo's history, an intoxicating story complemented by a large delivery of detailed documents captivated photos, spend time at of which have conditions been in print before now.
Tracklist
Disc 1
Disc 2
Disc 3
Finalize time: 220:16 min.
CD 1 · BLEN, BLEN, BLEN
CHANO POZO'S COMPOSITIONS Shaggy dog story THEIR Another RECORDED VERSIONS
01.Introduction by Mario Bauzá boss Billy Actress
MIGUELITO VALDÉS con ingredient ORQUESTA Cassino DE Practice PLAYA, 1939-1940
02. Blen, Blen, Blen
03. Ariñañara
04. Muna Sanganfimba
05. Guagüina Yerabo
MIGUELITO VALDÉS god la ORQUESTA HAVANA-RIVERSIDE, 1940
06. Anana Boroco Tinde
MIGUELITO