Can anyone recommend similar music, meaning piano bebop (probably)? All the bebop I find seems to be led by trumpet or sax, but there's just something different about the piano bebop that I like...
A musical dialog has existed between Afro-Cubano and African-American musicians pretty much since the beginning of the 20th century. Even prior to that Cubans had been an important part of the rich culture of New Orleans. But in 1898 when the United States invaded Cuba, for better and worse, those two nations and those two cultures have been connected, perhaps more than either would like to admit. The recording industry was born in the first decades of the 20th century, which brought recordings of a new African-American style called Jazz to Cuba, and brought recordings of a newly urbanized form of Afro-Cuban popular music called Son to the United States. One of the world's first true international hit songs was "El Manisero" by Moises Simón. But pretty soon jazz musicians like Louis Armstrong were recording their own versions of the song. The early music industry was centered in New York, which by then had also become the mecca of the Jazz world. Since at that time Cuba lacked good recording studios many Cuban bands came to New York to record. While there they got to interact with Jazz musicians in real time. Many of those Afro-Cuban musicians brought what they learned from their African-American brothers back to Cuba, where an Afro-Cuban Jazz scene began to form. And some of those Cuban musicians who had travelled to New York to record ended up staying there, either to immerse themselves in the Jazz scene, or for better economic opportunities, or for refuge from the brutal Machado dictatorship. One such musician was a young trumpet player named Mario Bauzá. In New York he was able to get a job in the big band of Cab Calloway, one of the best and most popular in the country. While playing in that trumpet section he convinced the bandleader to hire a young but promising trumpet player from North Carolina named Dizzy Gillespie. Mario Bauzá's interest in jazz was matched by Dizzy Gillespie's growing fascination with Afro-Cuban music. They came to be good friends, and spent much time together contemplating the artistic potentials for fusions of the two Afro-Diaspora musics. Mario Bauzá stayed in New York for the rest of his life. After Cab Calloway's band he went to work as musical director of the Chick Webb band, another of the top big bands. When Chick Webb informed him that he wanted to hire a female vocalist for the band, Bauzá went to an amateur night at the famed Apollo Theater in Harlem to scout around. There he found a 17 year-old Ella Fitzgerald, who had won the first prize in the theater's amateur contest. Mario Bauzá hired Ella Fitzgerald for Chick Webb's band, which she sang in front of for many years. Over the course of her career which lasted seven decades, Ella Fitzgerald became pretty much the most famous Jazz vocalist ever. Any history of Jazz that fails to shine a light on the impact that Mario Bauzá had in launching the career's of two of its most important stars is incomplete and skewed. Ultimately Mario Bauzá ended up working as the musical director for Machito y Sus Afrocubanos, which was one of the top three mambo bands in New York. Mario Bauzá wrote charts for the band combining big band jazz with mambo rhythm. The band frequently featured some of the most important exponents of the Bebop style of Jazz that had emerged during the 1940's, including Charlie Parker, Brew Moore, Dizzy Gillespie and Howard McGhee. After working together with Mario Bauzá in the 1930's, Dizzy Gillespie became one of the originators of a new style of Jazz that came to be known as Bebop. Bebop was the most harmonically complex and technically demanding version of Jazz up until that point. After leading small combos for several years, Dizzy Gillespie finally got enough money to put together a big band. A big band could do many things a small combo couldn't, including experimenting with some of those ideas for fusions of African American Jazz and Afro-Cuban music that he and Mario Bauzá used to discuss. So in 1947, when when Dizzy Gillespie was putting together his big band, he called his old friend Mario Bauzá and asked him who he could hire to help infuse his Jazz band with Afro-Cuban rhythm. Mario Bauzá sent him a famous drummer, composer and choreographer named Chano Pozo who had just arrived in New York from La Habana. Over the next two years Dizzy Gillespie and Chano Pozo collaborated in a musical fusion of Bebop and Afro-Cuban rhythms that formed the foundation for what today is known as "Latin Jazz." Although Chano Pozo was one of the greatest congueros of his era, his contribution to the history of this music wasn't limited to his virtuoso drumming. Chang Pozo helped to compose many of that band's most famous compositions, which continue to be played to this very day, both here in the United States, in Cuba, and indeed, around the world. While all of this was happening in New York. much had been happening in La Habana. During the era of Prohibition North American tourists had discovered that Cuba was a nearby destination where they could drink as well as indulge their thirsts for a variety of other sins such as gambling and all manners of sexual deviation, far away from the prying eyes of their own communities. The birth of the international airline industry during the middle of the century made it that much easier for North Americans to get to Cuba. This helped to spawn a huge entertainment and nightlife industry in La Habana, which was already home to hundreds of great musicians, and some of their greatest composers of all time. During this era many of the most famous jazz bands from the US performed in La Habana. It wasn't uncommon for these bands to hire local talent while they were in Cuba. Neither was it uncommon for the African-American Jazz musicians and their local Afro-Cuban brothers to jam together after-hours. This was one more important era in which the musical/cultural dialog between African-American Jazz musicians and Afro-Cuban musicians flourished. And then in 1959 many things changed. That entire entertainment industry in La Habana was shut down by the revolutionary government, because it was wholly run and controlled by the mafia. Political tensions between the United States and the new Cuban government ultimately led to a complete travel embargo, which ended the easy back and forth travel that had existed between the US and Cuba for so long. In Cuba, the new government struggled to end the hegemonic relationship that had existed between the US and Cuba since 1898. The new government radically restructured the nations economy, health system and education system. The government began to promote Afro-Cuban culture, both ideologically and materially. An unfortunate by-product of this new political era is that music from North American such as Jazz was shunned as being emblematic of the cultural imperialism that had pervaded the United States' hegemonic relationship with Cuba. But the seeds of Jazz had already established deep roots in Cuba by 1959. The revolutionary government was able to suppress Jazz only through its authority and its state power. It was never able to suppress Jazz in the minds of Afro-Cuban musicians who continued to be fascinated by it. In 1979, during a brief moment during the Carter administration, a cultural exchange was organized between the United States and Cuba in an attempt to thaw political tensions that had existed by then for twenty years. That summer, at the Newport Jazz Festival (which was being held in New York at the time), concert attendees were shocked an amazed by an Afro-Cuban band called Irakere, which combined bebop lines played at impossibly break-neck tempos, combined with rhythms and songs from the deep well of Afro-Cuban culture. Some of the standout soloists in that band included saxophonist Paquito D'Rivera, trumpet player Arturo Sandoval, and pianist (and bandleader) Chuco Valdés. All three ultimately established extremely successful international performing and recording careers. That defining concert by Irakere in New York in 1979, surprised many people like you Claudia Armah, who had never heard of any Afro-Cuban musicians who were also into bebop. The truth is that there are hundreds, if not thousands of Afro-Cuban musicians who have completely assimilated Jazz. And each year more and more great young Afro-Cuban Jazz musicians graduate from Cuba's great musical conservatories. In this reformed political era many of those young Afro-Cuban jazz musicians are performing internationally, and their recordings are available internationally on the airwaves, through the internet as well as hard copies on CD. Honestly, with this long history, and in this day and age, if you've never heard of Afro-Cubans playing bebop Claudia Armah, you're just not listening hard enough.
@Claudia Armah To give you some context, the characters on that scene are both in the US in that scene, so it wouldn't be weird if he ended up liking and playing bebop. Also, read the comment over me, it's pretty interesting
채린양 피아노 보고온사람~~!!
나나나
우왕 그 분 버전이랑 느낌이 다르네용 !
채린양이 치기도 훨씬 전부터 이곡을 알고있었는데 그분계기로 더 알려지게 되는거 보니 좋네요 ㅎㅎ
유리잔 부딪히는 소리 넘 좋아
shockingly amazing
La realidad, supera la aparente ficción!! Respecto a la película, es hermosa única excepcional!! ❤
Perfect clip
Bud lives!!!
I love it!!!1
Thank you very much!!!
Montazia: What is the name of the piece being played here?
Celia - Champian Fulton
:D
Merci O. Ma Chérie Y pour le partage
Can anyone recommend similar music, meaning piano bebop (probably)? All the bebop I find seems to be led by trumpet or sax, but there's just something different about the piano bebop that I like...
Been looking for that myself, need suggestions!
Never heard of any African Cuban musician who is also into Bebop music which is the music genre created by African American musicians.
Nicely said Claudia
Self Healing God Thanks no problem. I just like to add information with facts.
A musical dialog has existed between Afro-Cubano and African-American musicians pretty much since the beginning of the 20th century. Even prior to that Cubans had been an important part of the rich culture of New Orleans. But in 1898 when the United States invaded Cuba, for better and worse, those two nations and those two cultures have been connected, perhaps more than either would like to admit.
The recording industry was born in the first decades of the 20th century, which brought recordings of a new African-American style called Jazz to Cuba, and brought recordings of a newly urbanized form of Afro-Cuban popular music called Son to the United States. One of the world's first true international hit songs was "El Manisero" by Moises Simón. But pretty soon jazz musicians like Louis Armstrong were recording their own versions of the song.
The early music industry was centered in New York, which by then had also become the mecca of the Jazz world. Since at that time Cuba lacked good recording studios many Cuban bands came to New York to record. While there they got to interact with Jazz musicians in real time. Many of those Afro-Cuban musicians brought what they learned from their African-American brothers back to Cuba, where an Afro-Cuban Jazz scene began to form. And some of those Cuban musicians who had travelled to New York to record ended up staying there, either to immerse themselves in the Jazz scene, or for better economic opportunities, or for refuge from the brutal Machado dictatorship.
One such musician was a young trumpet player named Mario Bauzá. In New York he was able to get a job in the big band of Cab Calloway, one of the best and most popular in the country. While playing in that trumpet section he convinced the bandleader to hire a young but promising trumpet player from North Carolina named Dizzy Gillespie. Mario Bauzá's interest in jazz was matched by Dizzy Gillespie's growing fascination with Afro-Cuban music. They came to be good friends, and spent much time together contemplating the artistic potentials for fusions of the two Afro-Diaspora musics.
Mario Bauzá stayed in New York for the rest of his life. After Cab Calloway's band he went to work as musical director of the Chick Webb band, another of the top big bands. When Chick Webb informed him that he wanted to hire a female vocalist for the band, Bauzá went to an amateur night at the famed Apollo Theater in Harlem to scout around. There he found a 17 year-old Ella Fitzgerald, who had won the first prize in the theater's amateur contest. Mario Bauzá hired Ella Fitzgerald for Chick Webb's band, which she sang in front of for many years. Over the course of her career which lasted seven decades, Ella Fitzgerald became pretty much the most famous Jazz vocalist ever. Any history of Jazz that fails to shine a light on the impact that Mario Bauzá had in launching the career's of two of its most important stars is incomplete and skewed. Ultimately Mario Bauzá ended up working as the musical director for Machito y Sus Afrocubanos, which was one of the top three mambo bands in New York. Mario Bauzá wrote charts for the band combining big band jazz with mambo rhythm. The band frequently featured some of the most important exponents of the Bebop style of Jazz that had emerged during the 1940's, including Charlie Parker, Brew Moore, Dizzy Gillespie and Howard McGhee.
After working together with Mario Bauzá in the 1930's, Dizzy Gillespie became one of the originators of a new style of Jazz that came to be known as Bebop. Bebop was the most harmonically complex and technically demanding version of Jazz up until that point. After leading small combos for several years, Dizzy Gillespie finally got enough money to put together a big band. A big band could do many things a small combo couldn't, including experimenting with some of those ideas for fusions of African American Jazz and Afro-Cuban music that he and Mario Bauzá used to discuss. So in 1947, when when Dizzy Gillespie was putting together his big band, he called his old friend Mario Bauzá and asked him who he could hire to help infuse his Jazz band with Afro-Cuban rhythm. Mario Bauzá sent him a famous drummer, composer and choreographer named Chano Pozo who had just arrived in New York from La Habana. Over the next two years Dizzy Gillespie and Chano Pozo collaborated in a musical fusion of Bebop and Afro-Cuban rhythms that formed the foundation for what today is known as "Latin Jazz." Although Chano Pozo was one of the greatest congueros of his era, his contribution to the history of this music wasn't limited to his virtuoso drumming. Chang Pozo helped to compose many of that band's most famous compositions, which continue to be played to this very day, both here in the United States, in Cuba, and indeed, around the world.
While all of this was happening in New York. much had been happening in La Habana. During the era of Prohibition North American tourists had discovered that Cuba was a nearby destination where they could drink as well as indulge their thirsts for a variety of other sins such as gambling and all manners of sexual deviation, far away from the prying eyes of their own communities. The birth of the international airline industry during the middle of the century made it that much easier for North Americans to get to Cuba. This helped to spawn a huge entertainment and nightlife industry in La Habana, which was already home to hundreds of great musicians, and some of their greatest composers of all time. During this era many of the most famous jazz bands from the US performed in La Habana. It wasn't uncommon for these bands to hire local talent while they were in Cuba. Neither was it uncommon for the African-American Jazz musicians and their local Afro-Cuban brothers to jam together after-hours. This was one more important era in which the musical/cultural dialog between African-American Jazz musicians and Afro-Cuban musicians flourished.
And then in 1959 many things changed. That entire entertainment industry in La Habana was shut down by the revolutionary government, because it was wholly run and controlled by the mafia. Political tensions between the United States and the new Cuban government ultimately led to a complete travel embargo, which ended the easy back and forth travel that had existed between the US and Cuba for so long. In Cuba, the new government struggled to end the hegemonic relationship that had existed between the US and Cuba since 1898. The new government radically restructured the nations economy, health system and education system. The government began to promote Afro-Cuban culture, both ideologically and materially. An unfortunate by-product of this new political era is that music from North American such as Jazz was shunned as being emblematic of the cultural imperialism that had pervaded the United States' hegemonic relationship with Cuba.
But the seeds of Jazz had already established deep roots in Cuba by 1959. The revolutionary government was able to suppress Jazz only through its authority and its state power. It was never able to suppress Jazz in the minds of Afro-Cuban musicians who continued to be fascinated by it. In 1979, during a brief moment during the Carter administration, a cultural exchange was organized between the United States and Cuba in an attempt to thaw political tensions that had existed by then for twenty years. That summer, at the Newport Jazz Festival (which was being held in New York at the time), concert attendees were shocked an amazed by an Afro-Cuban band called Irakere, which combined bebop lines played at impossibly break-neck tempos, combined with rhythms and songs from the deep well of Afro-Cuban culture. Some of the standout soloists in that band included saxophonist Paquito D'Rivera, trumpet player Arturo Sandoval, and pianist (and bandleader) Chuco Valdés. All three ultimately established extremely successful international performing and recording careers.
That defining concert by Irakere in New York in 1979, surprised many people like you Claudia Armah, who had never heard of any Afro-Cuban musicians who were also into bebop. The truth is that there are hundreds, if not thousands of Afro-Cuban musicians who have completely assimilated Jazz. And each year more and more great young Afro-Cuban Jazz musicians graduate from Cuba's great musical conservatories. In this reformed political era many of those young Afro-Cuban jazz musicians are performing internationally, and their recordings are available internationally on the airwaves, through the internet as well as hard copies on CD. Honestly, with this long history, and in this day and age, if you've never heard of Afro-Cubans playing bebop Claudia Armah, you're just not listening hard enough.
@Claudia Armah To give you some context, the characters on that scene are both in the US in that scene, so it wouldn't be weird if he ended up liking and playing bebop. Also, read the comment over me, it's pretty interesting