"Los Pleneros de la 21 gelled as a group in 1983, when conservatory-trained percussionist Juan "Juango" Gutiérrez followed his pride in his Puerto Rican culture and assembled a group of street-corner musicians in New York City to perform the signature genres of Afro-Puerto Rican music: bomba and plena. Los Pleneros de la 21 inhabit a vital and distinctive space in the contemporary Puerto Rican musical landscape. They navigate between forces frequently perceived as opposed to one another: tradition and innovation, street-based performance skills and formally trained musicianship, which appears in its most advanced form on their latest CD released by Smithsonian Folkways Recordings. In Para Todos Ustedes: Bomba y Plena desde Nueva York, Los Pleneros de la 21 give back to their community, and give to all of us, the gift that was given to them, the best of bomba and plena, wrapped in a musical package of their own creativity." (Smithsonian Folkways)
"This is Afro-Peruvian at its best in an ensemble format. The three most basic forms of music from the genre are presented on this CD: the festeja (nice, simple party music), the alcatraz (music accompanying a rather suggestive dance routine), and el toro mata, the most common type of song in the Afro-Peruvian traditions. Bandleader Ronny Campos serves as an excellent songwriter within the forms that are dealt. There is the obvious sound combination of Spanish and African flavors as one would expect, but there is an added tinge of something deeper. That something is rather difficult to put one's finger on, but it's an integral part of the music.For the ensemble format, this album is certainly worth placing at the top of the pile. The interplay of the female vocalists, the instrumentalists, and the male exclamations throughout the album makes it a stunning exercise in counterpoint and rhythm. Pick it up as a fan of the genre or as an intrepid newcomer." (Allmusic)|
""Recorded in 1994 in the Piura area of Peru, this disc explores many of the musical traditions that take place during the year, be they sacred or (more particularly) secular music, be they songs or dances, in addition to some theater music. And certainly it's the dances that offer the most musical interest here, played by bands of all sizes and instrumental variations. "Negros" is especially fascinating for its mix of clarinet and saxophone, although, on the evidence presented here, the clarinet found great popularity as an instrument with bands in this area of Peru. But you can also hear string bands and the lovely "Pastoras," sung by a mini-choir of five girls accompanied by two guitars. No one's going to say this is for a mass audience, but as an ethnomusicological document, it's invaluable, recording traditions that have roots deep in Peru's history -- although how much longer they might survive in the modern world is anyone's guess." (Allmusic)|"
" Mariana Montalvo studied guitar at the Conservatorio Nacional de Santiago, Chile. Like many of her compatriots from Chile, Montalvo was forced into a life of exile in 1974, living in France since the coup that brought the military regime of Augusto Pinochet to power. Her connections to her roots has remained steadfast, however, and Montalvo provides fresh interpretations of the traditional music of Chile. With influences from the nueva cancion tradition of sophisticated and powerful music based on folkloric song forms, Montalvo’s music descends from the work of legendary Latin American singers such as Victor Jara, Violeta Para and Mercedes Sosa.Montalvo’s original compositions featured instantly accessible melodies and unique instrumentation such as the South American charango (a type of guitar), quena (pan-pipes), and the trombone, which reflected the influence of Andean brass bands on Montalvo’s arrangements.Mariana Montalvo died on July 28, 2017." (World Music Central)|
"Xavier Cugat (1900 – 1990) was a Spanish musician and bandleader who spent his formative years in Havana, Cuba. A trained violinist and arranger, he was a leading figure in the spread of Latin music. In New York City he was the leader of the resident orchestra at the Waldorf–Astoria before and after World War II." (Wikipedia) Op dit album zijn opnames van voor de oorlog te horen.|
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