Charanguea’o En TÍpico

2021 ◽  
pp. 169-188
Author(s):  
Sue Miller

This chapter looks at flute player George Castro’s improvisational style in this ‘trombanga’ [trombones and flute] line-up. This combines charanga and conjunto elements, providing the template for the New York ‘salsa dura’ [hard salsa] sound later developed by the likes of Willie Colón. Here Castro’s típico 5-key soloing style is compared to La Perfecta II’s 21st-century versions by Eddy Zervigón and Dave Valentín to further explore manifestations of cubanía, sabor, Latinidad, jazz inflection, and freer forms of extemporization. The legacy of Eddie Palmieri’s experimental approach is also evaluated here.

1973 ◽  
Vol 39 (8) ◽  
pp. 611-618 ◽  
Author(s):  
Richard G. Hehir

This article describes an experimental approach undertaken by New York State whereby deaf students from state supported schools for the deaf were integrated for occupational education on a half day basis in a regional public school agency called the Board of Cooperative Educational Services. The problems faced and the results obtained during 2 years of experience with two different schools for the deaf are reported. The success of the integrated program has been demonstrated with additional schools for the deaf being included subsequently.


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