Los Tres Grandes

2021 ◽  
pp. 54-76
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Dance Music ◽  
Music Venues ◽  
Music Recordings

This chapter examines the different manifestations of mambo in Havana and New York to demonstrate the musical connections between the big bands, son conjuntos, and charangas across three decades of regular Cuban dance music performance. The Palladium, in addition to the music venues in the Bronx, provided various opportunities for New York-based musicians to create their own versions of Cuban dance music. Recordings by mambo big bands are analyzed alongside Arsenio Rodríguez’s mambo diablos and Antonio Arcaño’s charanga composition “Mambo” to outline the historic connections between these formats.

Improvising Sabor

2021 ◽  
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Music Performance ◽  
Music History ◽  
Dance Music ◽  
Performance Practices ◽  
Performance Culture ◽  
The Usa ◽  
Latin Music ◽  
The Rich

The term ‘salsa’ has come to stand for a particular standardized set of performance practices and the dominant narrative of its origins, particularly through the lens of the Fania Records story, has tended to over-simplify Latin music history in the USA. This book documents an understudied period of Latin music history across the divide of the Cuban Revolution of 1959 to demonstrate a wider narrative which includes the history of the influential charanga orquestas of 1960s New York. A típico aesthetic is shown to be an important one with the combination of charanga and conjunto stylings giving rise to a plurality of ensemble types, each with a distinctive sabor and varying degrees of cubanía. In this book Miller thus examines the New York contexts for Cuban dance music performance in the first part of the twentieth century before considering the mid twentieth-century developments. The text makes its argument for a distinctive New York sabor through interviews with performers and through the sensitive transcription and analysis of recordings by Orquesta Broadway, Pacheco y su Charanga, Charlie Palmieri’s Charanga Duboney, Eddie Palmieri’s La Perfecta, and Ray Barretto’s Charanga Moderna, amongst others. Analytical transcriptions of improvisations, in dialogue with musicians’ own perspectives, highlight a specific Latin music performance aesthetic or sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York.

Conclusion

2021 ◽  
pp. 221-232
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Dance Music ◽  
Future Studies ◽  
History Of ◽  
Research Findings ◽  
Latin Music

In this final chapter research findings are summarized, defining a variety of distinctive New York performance aesthetics and sounds that go beyond the usual description of New York-based Latin music as being simply loud, gritty, and aggressive. Conclusions are drawn here which have implications for future studies on the history of clave-based Latin dance music, performance aesthetics, and improvisational creativity.

Introduction

2021 ◽  
pp. 3-26
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Musical Analysis ◽  
Dance Music ◽  
And Performance ◽  
Musical Arrangement

This chapter offers an overview of the book’s content, terms, and the author’s methods of research and analysis. Central to this research is an examination of “Latin” performance aesthetics using the Cuban charanga format (flute, violins, timbales, congas, güiro, piano, bass, and vocals), as the main case study. Here the concept of sabor in performance is explored and interrogated and the book’s main themes are therefore sabor, cubanía, and Cuban dance music performance aesthetics in the context of New York. The introduction concludes with a chapter outline. Some chapters in the book provide historical and ethnographic detail and a focus on musical arrangement, style, and performance aesthetics; others draw on these contextual and stylistic matters to inform more detailed musical analysis of improvised solos.

"You Better Work!" Underground Dance Music in New York City

2001 ◽  
Vol 33 (2) ◽  
pp. 138
Author(s):  
Tim Lawrence ◽  
Kai Fikentscher
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Dance Music

La Charanga Moderna and the Modern Charanga

2021 ◽  
pp. 207-220
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Puerto Rican ◽  
Dance Music ◽  
The Us ◽  
Professional Field ◽  
Male Dominated ◽  
The City

This chapter profiles the work of another key figure in Cuban dance music in New York, Puerto Rican conga player, bandleader, and arranger, Ray Barretto. Like Eddie Palmieri, Barretto embraced charanga and conjunto aesthetics, combining Cuban forms with jazz, soul, and blues inflection. Flute player José/Joe Canoura’s soloing style with Barretto’s Charanga Moderna is evaluated here. An evaluation of the US-based charangas and their respective flute soloists is then undertaken looking at the various current manifestations of the típico charanga sound in New York. The voices of female musicians are more in evidence here although the professional field remains male-dominated. Charanga flute players active on the New York scene today such as Karen Joseph, Joe de Jesus, and Connie Grossman contribute their perspectives on charanga performance past and present in the city.

scholarly journals Differential Risk for Drug Use by Sexual Minority Status among Electronic Dance Music Party Attendees in New York City

2019 ◽  
Vol 55 (2) ◽  
pp. 230-240 ◽  
Author(s):  
Marybec Griffin ◽  
Denton Callander ◽  
Dustin T. Duncan ◽  
Joseph J. Palamar
Keyword(s):  
New York ◽  
New York City ◽  
Drug Use ◽  
Sexual Minority ◽  
York City ◽  
Minority Status ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Differential Risk
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