Latin Beat Magazine
Dic-En. 1996
Elio's Problem: DEFINING THE PERFECT DANCING MUSIC
In his "Cuban Music Dictionary", musicologist Helio Orovio defines Charanga as follows:
"Type of musical group also called french (charanga). It appears in the early years of the XX century, as a derivation of the orquesta tipica or brass band. Plays mainly danzones, although with the advent of chachacha (1951) is the right vehicle for this new genre. Originally it consisted of flute, violin, piano, bass, timbal o paila criolla, and guiro; later conga drums, two additional violins, and three vocals were added."
The influential role of charanga in international music is quite an interesting phenomenon, particularly in the case of New York and other American cities. For starters, it can be pointed out that the flute crossed over from the charanga format to jazz, although the spell of the charanga formation results from the playful display of the string section, evidencing that a violin can create as much swing as a saxophone.
Another indisputable fact is that charanga has never lost its pleasant sound, without distinction of interpretative application or instrumental transformation. Charanga's inherent sweetness shows equally in a the sensuality of a chachacha, than in the sublime elegance of a danzon, or in the rhytmic cadance of a songo.
As far as the special relationship between charanga and the dancers, Cienfuengo's flute player Rolando Lozano (former member of La Orquesta Aragon) has pointed out that (charanga) is the perfect music to dance to because 'you can enjoy, both the music and the dance simultaneously', contrary to other situations where the music is designed to motivate dancing, but it is not particularly pleasant to listen to'.
...I bet you never thought the flute and the violin could be so much fun!!!
El Lío De Elio: DEFINIENDO LA PERFECTA MUSICA BAILABLE
En su "Diccionario de la Música Cubana," el musicólogo Helio Orovio ha identificado a la charanga de la siguiente manera:
El papel influyente de la charanga a nivel internacional es un fenómeno sumamente interesante, particularmente en el caso de Nueva York y otras ciudades estadounidenses. Se puede empezar señalando que la flauta cruzó de la charanga al jazz, aunque el embrujo del formato charanguero se debe también al despliegue de una retozona sección de cuerdas, demostrando que un violín puede crear tanto swing como un saxofón.
Otro hecho indiscutible es que la charanga nunca ha perdido su sonido grato y placentero, sin distinción de aplicación interpretativa o transformación instrumental. Esa dulzura intrínsica se manifiesta lo mismo en la sensualidad de un chachachá que en la elegancia sublime de un danzón o en la acometida rítmica de un songo.
...seguro que nunca pensaron que se pudiera gozar tanto con la flauta y el violin!!!
En Esta Edicion / In This Edition:
- Orquesta Maravilla de Florida (Cuba) - Tema de Presentacion
- Orquesta Aragon (Cuba) - Suavecito
- Sensacion (Cuba) - En Guantanamo de 1920
- Tipica Ideal (New York) - El Tiburon
- La Original de Manzanillo (Cuba) - Medley de Exitos Cubanos
- Orquesta Melodias del 40 (Cuba) - Camino de Venezuela
- Orquesta de Orestes Lopez (Cuba) - Llegaron Los Millonarios
- Orquesta America del 55 (Cuba) - Galletana
- Cachao (Cuba) - El Progreso
- Orquesta Aragon (Cuba) - Que Camello, Que Salchicha
- Orquesta Broadway (New York) - Yo Bailo Con Ella
- Orquesta Estrellas Cubanas` (Cuba) - El Barco Velero
- Tipica 73 (New York) - Yo No Camino
Haz Click Para Escuchar / Click To Play
Video Extra
::Orquesta Melodias Del 40 En Un Patio De La Habana::
::Eddie Palmieri, Eddie Zervigon, Orquesta Aragon - Jam At Birdland (New York City)::
