Indice - Table of contents
Giras: Noro y 1ra Clase
Giras: Maykel Blanco y Salsa Mayor
Giras: Manolito y Su Trabuco
Giras: Mayimbe, Barbaro Fines y su Orq...
Giras: Charanga Habanera
Giras: Azúcar Negra
Reportes: From The St... : Cubadisco 2...
Giras: Calle Real
Giras: Aisar y El Expresso de Cuba
Fotos: Tom Ehrlich : 2017 SF Rueda Fest II...
Timbapedia: 08. Timba Nightc... : Subrosa
Timbapedia: 08. Timba Nightc... : El Floridita
Timbapedia: 08. Timba Nightc... : Yoshi's San Fran...
Fotos Del Día [hide]
The Roots of Timba, Pt I - 1946-Dame un cachito pa' huele
notes: This one strongly marks the clave -- it contains 3 of the 5 strokes of clave, plus the all-important downbeat of the 2-side.
The solo is by pianist/arranger Lilí Martínez, who played with Arsenio from 1946 to 1951 and continued on with Chappottín after Arsenio left for la Yuma. In addition to having as beautiful a tone and touch as any Cuban pianist I've ever heard, Lilí was literally decades ahead of his time in terms of rhythm and harmony. The collaboration of Arsenio and Lilí created a Lennon & McCartney-esque whole that was greater than the sum of the parts, as would later be the case with Paulito and Ceruto, Issac, Alain and Melón, Manolín and Luis Bu, Calzado and Juan Carlos Gonzáelz, Calzado and Tirso Duarte, and so on. If I've learned one thing in my years of studying Cuban music, it's that the lifestyle in Havana creates an environment in which it's easy for several creative musicians to collaborate in a way that's very rare outside of the island, and often results in the most extraordinary music.