FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2070949181> ?p ?o ?g. }

• W2070949181 endingPage "319" @default.
• W2070949181 startingPage "314" @default.
• W2070949181 abstract "Reviewed by: From Afro-Cuban Rhythms to Latin Jazz Ted A. Henken Raúl A. Fernández. 2006. From Afro-Cuban Rhythms to Latin Jazz. Berkeley/Chicago: University of California Press/ Center for Black Music Research, Columbia College. ISBN: 978-0-520-24708-6. Consider this. In 1967, Nuyorican salsero and trombone virtuoso Willy Colón (then just seventeen!) released his debut album on the famed Fania label entitled, “El Malo,” featuring the cut Borinquen. Unsurprisingly, the song pays musical homage to the island of Puerto Rico, from where the song’s vocalist, Héctor Lavoe (but not its composer, Colón) hailed (Colón, the grandson of Puerto Rican migrants, was born in the Bronx). Before descending into an intricate call-and-response montuno section where the sonero announces over and over again his desire to return to the beautiful island of Borinquen, the opening lyric tells listeners something quite strange for such a presumably nostalgic, nationalistic song about the island of Puerto Rico. “Borinquen, a tí yo te dedico/ Este guaguancó/ Porque ese ritmo cubano/ y lo bailan los hispanos/ y te lo dedico yo” (Borinquen, to you I dedicate/ This guaguancó/ Because this Cuban rhythm/ Is danced by Hispanics/ And I dedicate it to you). What are a group of Puerto Rican and Nuyorican musicians doing taking a Cuban rumba rhythm, the guaguancó, and using it to express their pride in and connection to Puerto Rico? Moreover, why are a bunch of “hispanos” (many of whom are not even Puerto Rican) going crazy [End Page 314] dancing to such a rhythm? And why are they doing all this in New York City and not back in the Caribbean? Well, the simple answer is what I always tell people who ask me to define salsa: “Cuban music, played by Puerto Ricans, in New York City.” For a more sustained, complex, and properly footnoted answer, you’d be hard pressed to find a better guide than Raúl A. Fernández’s concise yet penetrating volume, From Afro-Cuban Rhythms to Latin Jazz (If you also want glossy and historical photos, hard-to-find sheet music, classic album covers, and a companion CD, you should seek out Fernandez’s bilingual, coffee-table book, Latin Jazz: The Perfect Combination / La Combinación Perfecta, published in 2002 by Chronicle Books, in association with the Smithsonian Institution’s Traveling Exhibition on Latin Jazz, which toured 12 U.S. cities between 2002 and 2006). While admittedly only a “first step” (p. 161) in the ongoing task of exploring, analyzing, explaining, and enjoying the popular dance rhythms of Cuba and its diaspora, Fernández’s new volume establishes a sound conceptual foundation for such an enterprise. “In this work,” the author tells us in the preface, “I hope to contribute to a historical, biographical, and theoretical platform on Cuban music that may serve others who wish to establish richer comparisons between different national forms and eventually develop a more encompassing regional aesthetics” (p. xii). Specifically, Fernández highlights four aspects of Cuban music that make it one of “the most complex and exciting rhythms on the planet” (p. viii). First is its ability to readily absorb elements from other styles of music resulting in a plethora of “fertile mixtures” and the “high quality of resulting hybrids” (p. viii)—from son, to salsa, to Afro-Cuban or Latin jazz. Second, Cuban popular music exhibits a “broad similarity to other musics of the Caribbean” (p. viii) allowing it to easily spread throughout the region, planting itself in other lands, cultures, and traditions as if it were a native, national genre. For example, many Colombians think of son as a Colombian invention, just as Mexicans often think the danzón came from Veracruz, as do Puerto Ricans and Nuyoricans of salsa. Even the Argentine tango…, well, I won’t even go there. Third, Cuban music is popular music in the true sense of the term. It is a “people’s music” which, much like the blues, has been developed and enjoyed by working class musicians with lyrics that grow out of and comment on everyday concerns—work, play, love, and despair. Finally, Cuban music is irrepressibly and..." @default.
• W2070949181 created "2016-06-24" @default.
• W2070949181 creator A5045129759 @default.
• W2070949181 date "2009-01-01" @default.
• W2070949181 modified "2023-09-24" @default.
• W2070949181 title "<i>From Afro-Cuban Rhythms to Latin Jazz</i> (review)" @default.
• W2070949181 doi "https://doi.org/10.1353/crb.0.0113" @default.
• W2070949181 hasPublicationYear "2009" @default.
• W2070949181 type Work @default.
• W2070949181 sameAs 2070949181 @default.
• W2070949181 citedByCount "1" @default.
• W2070949181 countsByYear W20709491812018 @default.
• W2070949181 crossrefType "journal-article" @default.
• W2070949181 hasAuthorship W2070949181A5045129759 @default.
• W2070949181 hasConcept C107038049 @default.
• W2070949181 hasConcept C124952713 @default.
• W2070949181 hasConcept C135343436 @default.
• W2070949181 hasConcept C138885662 @default.
• W2070949181 hasConcept C142362112 @default.
• W2070949181 hasConcept C15708023 @default.
• W2070949181 hasConcept C158886217 @default.
• W2070949181 hasConcept C162324750 @default.
• W2070949181 hasConcept C187736073 @default.
• W2070949181 hasConcept C2549261 @default.
• W2070949181 hasConcept C27206212 @default.
• W2070949181 hasConcept C2779728303 @default.
• W2070949181 hasConcept C2980749 @default.
• W2070949181 hasConcept C3018241854 @default.
• W2070949181 hasConcept C41895202 @default.
• W2070949181 hasConcept C44819458 @default.
• W2070949181 hasConcept C52119013 @default.
• W2070949181 hasConcept C558565934 @default.
• W2070949181 hasConcept C95457728 @default.
• W2070949181 hasConceptScore W2070949181C107038049 @default.
• W2070949181 hasConceptScore W2070949181C124952713 @default.
• W2070949181 hasConceptScore W2070949181C135343436 @default.
• W2070949181 hasConceptScore W2070949181C138885662 @default.
• W2070949181 hasConceptScore W2070949181C142362112 @default.
• W2070949181 hasConceptScore W2070949181C15708023 @default.
• W2070949181 hasConceptScore W2070949181C158886217 @default.
• W2070949181 hasConceptScore W2070949181C162324750 @default.
• W2070949181 hasConceptScore W2070949181C187736073 @default.
• W2070949181 hasConceptScore W2070949181C2549261 @default.
• W2070949181 hasConceptScore W2070949181C27206212 @default.
• W2070949181 hasConceptScore W2070949181C2779728303 @default.
• W2070949181 hasConceptScore W2070949181C2980749 @default.
• W2070949181 hasConceptScore W2070949181C3018241854 @default.
• W2070949181 hasConceptScore W2070949181C41895202 @default.
• W2070949181 hasConceptScore W2070949181C44819458 @default.
• W2070949181 hasConceptScore W2070949181C52119013 @default.
• W2070949181 hasConceptScore W2070949181C558565934 @default.
• W2070949181 hasConceptScore W2070949181C95457728 @default.
• W2070949181 hasIssue "1" @default.
• W2070949181 hasLocation W20709491811 @default.
• W2070949181 hasOpenAccess W2070949181 @default.
• W2070949181 hasPrimaryLocation W20709491811 @default.
• W2070949181 hasRelatedWork W2007124082 @default.
• W2070949181 hasRelatedWork W2089693686 @default.
• W2070949181 hasRelatedWork W2172781347 @default.
• W2070949181 hasRelatedWork W2558695990 @default.
• W2070949181 hasRelatedWork W2748952813 @default.
• W2070949181 hasRelatedWork W2767612213 @default.
• W2070949181 hasRelatedWork W2987111374 @default.
• W2070949181 hasRelatedWork W300082267 @default.
• W2070949181 hasRelatedWork W3005291799 @default.
• W2070949181 hasRelatedWork W3127063469 @default.
• W2070949181 hasVolume "37" @default.
• W2070949181 isParatext "false" @default.
• W2070949181 isRetracted "false" @default.
• W2070949181 magId "2070949181" @default.
• W2070949181 workType "article" @default.