salzfaas wrote:very nice quality recordings great playing thank you
roberthelpus wrote:I like that whole playlist. I have shared it with different folks to give them an idea of what a Rumba is like in it's natural setting.
Quinto Governor II wrote:This video has rumba clave superimposed over the recording at the beginning for about 1 bar then son clave is heard the rest of the recording. It hard to say what was played originally as this has been edited a lot. I love this song.
http://www.youtube.com/watch?v=yTVl293RViY
jorge wrote:
No, the rumba clave is the main clave played through the entire song by one of the group members. That is the first clave that starts the song and has a low pitch almost identical with the cata so you don't hear it clearly once the cata starts. Someone else, not a group member, is playing along on a high pitched clave, mistakenly playing son clave. It is off time (sloppy not crossed) and doesn't fit, sticks out like a sore thumb. The guy is probably a foreigner with money. You can see the guilty dude at 3:44 in the blue shirt in front of the green and yellow drum.
guarachon63 wrote:jorge wrote:
No, the rumba clave is the main clave played through the entire song by one of the group members. That is the first clave that starts the song and has a low pitch almost identical with the cata so you don't hear it clearly once the cata starts. Someone else, not a group member, is playing along on a high pitched clave, mistakenly playing son clave. It is off time (sloppy not crossed) and doesn't fit, sticks out like a sore thumb. The guy is probably a foreigner with money. You can see the guilty dude at 3:44 in the blue shirt in front of the green and yellow drum.
I once had the opportunity to ask Amado Dedeu (Director of Clave y Guaguancó) about this recording that uses both "son" and "rumba" clave simultaneously.
This track "Solavalla" is the last track of a (long-time) forthcoming CD of theirs which recounts the songs used in the historic "battles" between the two coros de clave "Los Roncos" (led by Ignacio Piñeiro) from Pueblo Nuevo and "El Paso Franco" from Carraguao/Pilar founded by Elías Arosteguí, which took place some time in the 1920's I suppose. The groups would compose songs that made fun of, challenged, and provoked the other (aka "puyas"). Amado learned these songs from his mentor Santos Ramírez ("El Niño") himself, who was a member of El Paso Franco and also led the re-formation of the comparsa "El Alacrán" in the late 1930's. Many songs that are popular in the rumba repertoire today come out of this phenomenon, from "Los Beodos" (Not composed by Lorenzo Martínez); "Cuando tu, tu desengaño veas" (which contains the line, "y a ti, te digo no te atrevas/a provocar más nunca la ira de los Roncos..."; and "Si a la hora de cantar la rumba no hay...".
After a while, the "battle" apparently had gotten out of control and started to cause problems, so this song "Solavaya" was written as a declaration of truce:
Dos pensamientos, dos coros distintos
¿quién plagio?
Una vez yo dije
que si para poderme divertir
tenía que armarme
como si fuera para la guerra
era preferible señores
no rumbear más
Pues no queremos llevar
a nuestro hogar tristezas
Ni que la prensa mercenaria escriba
con rótulos crecidos:
"En una fiesta de gente de color,
muertos y heridos."
Ni soy la morralla
ni tienes que huirme
Ni tienes que decirme que solavaya
Aquí quien se porte mal que pa' su casa se vaya
(Coro:) Ay Díos, ay Díos, ¡solavaya, solavaya!
As I recall, throughout the CD one "group" plays cajon and uses "son" clave (as rumba was originally played) and the other uses tumbadoras and "rumba" clave. For this final song of reconciliation Amado had both "groups" sing and both styles of clave are used, to represent the reunion. (I can't really get used to it either but hey, artistic license, don't try this at home! )
I think that segment you point out at 3:44 is actually just edited in from another rumba, the audio in this video is what was recorded for the CD, and I suppose the video in the studio was shot during the recording of same.
saludos
Barry
guarachon63 wrote:I once had the opportunity to ask Amado Dedeu (Director of Clave y Guaguancó) about this recording that uses both "son" and "rumba" clave simultaneously.
As I recall, throughout the CD one "group" plays cajon and uses "son" clave (as rumba was originally played) and the other uses tumbadoras and "rumba" clave. For this final song of reconciliation Amado had both "groups" sing and both styles of clave are used, to represent the reunion. (I can't really get used to it either but hey, artistic license, don't try this at home! )
I think that segment you point out at 3:44 is actually just edited in from another rumba, the audio in this video is what was recorded for the CD, and I suppose the video in the studio was shot during the recording of same.
saludos
Barry
jorge wrote:
By the way you have a really sharp ear/mind for the lyrics, you got a lot of the words I couldn't make out even with headphones on. Amazing.
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