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The Roots of Timba - Part II - Ritmo Oriental's Answer to Songo
 
 
 
1970? Ritmo Oriental - Sabroseao            con la Ritmo (EPA-6233)            
 (Juan Crespo Maza)
 xx0x 0xxx 0xx0 xxx0 2-3 rumba clave
 0xx0 x0x0 xxx0 x0x0
  0xx0 x0x0 xxx0 x0x0 audio -- MIDI            example
 bass: Humberto Perera
 source: write            EGREM
notes: There's only one bass tumbao in this song and it's very much in keeping with the style we've encountered in Los Van Van's 1969 recordings -- a strong downbeat followed by a melodic, clave-aligned series of offbeats and upbeats. Its only unusual feature is that, like Los momis, it has no ponche (xxxx xx0x). In fact, Sabroseao is rhythmically equivalent to Los momis except for the addition of the downbeat.
0xx0 x0x0 xxx0 x0x0  Sabroseao            con la Ritmo 
 xxx0 x0x0 xxx0 x0x0  Los            momis
The tempo, which reaches 111 bpm, is also in keeping with Los Van Van's first songo tracks -- significantly faster than charanga, although not quite as fast as Los Van Van's faster 1969 recordings, and only hinting at the breakneck speeds that all three of our groups would reach by the mid-70s.
59            bpm - slow son montuno - Arsenio Rodríguez - Yo            no engaño a las neñas
 62            bpm - chachachá - Orquesta Aragón - Noche            de farra
 66            bpm - medium son montuno -            Arsenio - Esa china tiene cohimbre
 86            bpm - conjunto style "guaguancó" - Arsenio            - La gente de Cayo Hueso
 97            bpm - fast charanga - Orquesta Aragón - Quién            sabe, sabe
 107            bpm - 1971 Ritmo Oriental - Sabroseao con la Ritmo
 117            bpm - 1969 Los Van Van - La lucha
 120 bpm - 1972 Irakere - Bacalao con pan
 124            bpm - mozambique - Pello el Afrokán - María            Caracoles
 146            bpm - guaguancó - Los Muñequitos de Matanzas            - Óyelos de nuevo
Timba's most common tempo range is from the high 80s to the low 100s.
So, in many ways, Sabroseao con la Ritmo could be thought of as the application of some of the stylistic innovations of Los Van Van and Pello el Afrokán to a genre perfected by Fajardo and Aragón.
Ah, but there's so much more to it than that. It's not simply that Ritmo Oriental used faster tempos that its predecessors -- it also used multiple tempos in the same song and switched between them in extraordinarily sophisticated ways. We'll be spending a lot of time studying this practice, which the bandmembers called "con efecto", but first we need to explore la Ritmo's reinvention of one of Arsenio Rodríguez' favorite devices: the bloque.
























