Mambo Moto Moto. Music in Tanzania Today:Intercultural Music Studies. 1., Auflage
Mambo Kingdon: Latin Music in New York: Max Salazar
(ACE) 30 Tracks (74:02) mit 20 Seiten Booklet. Ein zweiter Band der seltenen 1950er Jahre Doo Wop erfreut sich an den bisher unerschlossenen Gewölben von Music City Records (California), mit dem Fokus nun auf den Uptempo-Seiten dieses Bay Area Imprints. Die meisten Tracks sind bisher unveröffentlicht!*****
(Ace) 30 Tracks (74:02) mit 20 Seiten Booklet.Ein zweiter Band der seltenen 1950er Jahre Doo Wop erfreut sich an den bisher unerschlossenen Gewölben von Music City Records (California),mit dem Fokus nun auf den Uptempo-Seiten dieses Bay Area Imprints
Mambo MaderasMambo Maderas combines the chachacha and the classical mambo with a touch of jazz. It should be played slightly faster than a chachacha and somewhat slower than a mambo. Maderas means wooden, since the piece - aside from the use of percussion - is exlusively performed by woodwind instruments. The choice and number of percussion instruments employed is variable: The composition can either played without any percussion or by using one, two, three or four percussion instruments.Nombre de pages :44
(Jasmine) 63 Tracks - The Mambo craze swept through the U.s. popular music culture during most of 1954 and into 1955, competing (surprisingly enough) with the emerging ´Swingin´ Saddlemen´ - Bill Haley, the endless ´Annie´ vocal group spin-offs, the
(Jasmine) 63 Tracks - The Mambo craze swept through the U.S. popular music culture during most of 1954 and into 1955, competing (surprisingly enough) with the emerging ´Swingin´ Saddlemen´ - Bill Haley, the endless ´Annie´ vocal group spin-offs, the widespread smash of the Chords´ ´Sh-boom´ and a welter of cute, flower-bower ballads and novelties crooned by the likes of Eddie Fisher, Perry Como and Teresa Brewer. Mambo Americano offers us a comprehensive 63-song collection of Mambo-inspired charts stretching from the sax-blasting of Chuck Higgins to the cool harmonies of the Robins and Harptones, from Cal Tjader to Georgia Gibbs. A wacky Mambo voyage kicking off with Wynonie Harris´ suggestive ´All She Wants To Do Is Mambo´ then weaving through a labyrinth of quirky jazz and bluesy interpretations ending with the close-to-authentic ´Leeward Island Mambo´ from Big Shell Steel Band of Antigua.
In 1949 - when the dance rage is the mambo - two young Cuban musicians, recent immigrants, make their way up to the grand stage of New York. The Castillo brothers, workers by day, become night stars of the dance halls, where their orchestra plays the lush, sensuous, pulsing music that earns them the title of Mambo Kings. Oscar Hijuelos’ marvelous portrait of the Castillo brothers, their families, their fellow musicians and lovers, their triumphs and tragedies, brings to life the sights and sounds of an era in music and an unsung moment in American life. 1. Language: English. Narrator: E. G. Marshall. Audio sample: http://samples.audible.de/bk/pnix/000501/bk_pnix_000501_sample.mp3. Digital audiobook in aax.
The composer says:Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee’s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ´´In fact, if you can´t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.” Over the last couple of years I moved back to Jelly Roll Morton’s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman’s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ´´conversation with the gods” in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao’s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950’s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo’s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece’s characteristics and title for this piece: Mambo for MO.As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles’ Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don’t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach’s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya!Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare’s Twelfth Night, and played incidental music for their production of Bertold Brecht’s The Good Woman of Sichuan. He has performed Carulli’s Guitar Concerto in A, Leonard Bernstein’s West Side Story and Marvin Hamlish’s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in...