Afro Blue - Музыка
Afro Blue by Mongo Santamaria
Mongo Santamaria
Биография артиста Mongo Santamaria
Nicknamed By His Father With The Senegalese Word For 'tribal Chief' Mongo Santamaria Began His Musical Training On The Violin But Switched To Drums And Percussion While Still In His Teens. Having Dropped Out Of School To Pursue The Life Of A Professional Musician In Havana Mongo Relocated To Mexico As Part Of A Dance Troupe Before Emigrating To New York In 1950 Where He Worked With Leading Latin Ensembles Such As Those Of Perez Prado And Tito Puente. He Stayed With Puente's Band For Over Six Years Building A Reputation For Himself Through His Energetic Drum Duels With The Bandleader. During This Period He Recorded The Album Changó Which Mongo Would Later Regard As One Of His Best Efforts. After A Disagreement With Puente In 1957 Santamaria Joined Up With Vibraphonist Cal Tjader For The Next Three Years Relocating To California Where The Band Recorded A Series Of Albums For Fantasy Records. While Still Working With Tjader Sanatamaria Continued His Own Recording Career Through The Same Label. The Second Of These Albums 1959's Mongo Included Afro-Blue A Song That Would Become Not Only One Of His Most Popular Compositions But A Jazz Standard As Well. After Making The Journey In 1960 To Record Our Man In Havana In Cuba With Local Musicians He Left Tjader And Formed His Own Cuban-Jazz Ensemble Its First Recorded Offering Sabroso! Being Released In 1962. Santamaria Returned To New York Shortly Afterwards Assembling Another Group And Signing With Riverside Records. The Following Year He Released Watermelon Man A Song Presented To Him By Pianist Herbie Hancock While He Was Sitting In On One Of Santamaria's Shows In The Bronx The Single Subsequently Climbed To Number Ten In The Popular Charts. Fueled By The Record's Success The Percussionist Continued To Explore Its Blend Of Latin Jazz And Pop Music Well Into The 1970s. A More Lucrative Contract With Columbia Was Landed In 1965 But It Was With The Vaya Label That The Percussionist Would Win His First Grammy Award For The 1977 Album Amancer . In The 1980s A Stronger Jazz Element Become Evident In Santamaria's Music With Notable Jazz Musicians Such As Dizzy Gillespie Occasionally Appearing With His Band. He Remained An Active Performer Into The 1990s And Continued To Record After His Retirement From Live Work -- Even Releasing Another Album With His Former Label Fantasy In 1995. In 2003 He Died Of A Stroke In A Miami Hospital.
Frogtoon Музыка - Информация о песне: Afro Blue
Mongo-Santamaria - Afro Roots
Mongo Santamaria Recorded His Composition "Afro Blue" In 1959 When Playing With The Cal Tjader Sextet. The First Recorded Performance Was On April 20 1959 At The Sunset Auditorium In Carmel California With Santamaría On Percussion. "Afro Blue" Was The First Jazz Standard Built On A Typical African 3 2 Cross-Rhythm Or Hemiola. The Song Begins With The Bass Repeatedly Playing Six Cross-Beats Per Measure Of 12 8 Or Six Cross-Beats Per Four Main Beats—6 4 Two Cells Of 3 2 . The Following Example Shows The Ostinato "Afro Blue" Bass Line. The Cross Noteheads Indicate The Main Beats Not Bass Notes . While The Bass Sounds The Six Secondary Beats Paul Horn's Flute Solo And Emil Richards' Marimba Solo Emphasize The Four Primary Beats. Francisco Aguabella Takes The Conga Drum Solo On The First Recording Quoting Phrases From The Vocabulary Of The Abakuá Bonkó Drum. Using Brushes Willie Bobo Plays An Abakuá Bell Pattern On A Snare Drum. This Cross-Rhythmic Figure Divides The Twelve-Pulse Cycle Into Three Sets Of Four Pulses. Since The Main Beats Are Grouped As Four Sets Of Three Pulses Dotted Quarter-Notes In The Top Example The Bell Pattern Significantly Contradicts The Meter. Bobo Played This Same Pattern And Instrumentation On The Herbie Hancock Jazz-Descarga "Succotash." The Harmonic Structure Of Santamaria's Version Is A Simple B Pentatonic Blues.
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Biography - Mongo Santamaria
Nicknamed By His Father With The Senegalese Word For 'tribal Chief' Mongo Santamaria Began His Musical Training On The Violin But Switched To Drums And Percussion While Still In His Teens. Having Dropped Out Of School To Pursue The Life Of A Professional Musician In Havana Mongo Relocated To Mexico As Part Of A Dance Troupe Before Emigrating To New York In 1950 Where He Worked With Leading Latin Ensembles Such As Those Of Perez Prado And Tito Puente. He Stayed With Puente's Band For Over Six Years Building A Reputation For Himself Through His Energetic Drum Duels With The Bandleader. During This Period He Recorded The Album Changó Which Mongo Would Later Regard As One Of His Best Efforts. After A Disagreement With Puente In 1957 Santamaria Joined Up With Vibraphonist Cal Tjader For The Next Three Years Relocating To California Where The Band Recorded A Series Of Albums For Fantasy Records. While Still Working With Tjader Sanatamaria Continued His Own Recording Career Through The Same Label. The Second Of These Albums 1959's Mongo Included Afro-Blue A Song That Would Become Not Only One Of His Most Popular Compositions But A Jazz Standard As Well. After Making The Journey In 1960 To Record Our Man In Havana In Cuba With Local Musicians He Left Tjader And Formed His Own Cuban-Jazz Ensemble Its First Recorded Offering Sabroso! Being Released In 1962. Santamaria Returned To New York Shortly Afterwards Assembling Another Group And Signing With Riverside Records. The Following Year He Released Watermelon Man A Song Presented To Him By Pianist Herbie Hancock While He Was Sitting In On One Of Santamaria's Shows In The Bronx The Single Subsequently Climbed To Number Ten In The Popular Charts. Fueled By The Record's Success The Percussionist Continued To Explore Its Blend Of Latin Jazz And Pop Music Well Into The 1970s. A More Lucrative Contract With Columbia Was Landed In 1965 But It Was With The Vaya Label That The Percussionist Would Win His First Grammy Award For The 1977 Album Amancer . In The 1980s A Stronger Jazz Element Become Evident In Santamaria's Music With Notable Jazz Musicians Such As Dizzy Gillespie Occasionally Appearing With His Band. He Remained An Active Performer Into The 1990s And Continued To Record After His Retirement From Live Work -- Even Releasing Another Album With His Former Label Fantasy In 1995. In 2003 He Died Of A Stroke In A Miami Hospital.
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16 исполнителей, похожих на Mongo Santamaria - Frogtoon Музыка
Mongo Santamaría Ray Barretto Eddie Palmieri Willie Bobo Tito Puente Cal Tjader Poncho Sanchez Deodato Cachao Fania All Stars Joe Cuba Sextet Chucho Valdés Charlie Palmieri Joe Bataan Machito Irakere.
Mongo Santamaria recorded his composition "Afro Blue" in 1959 when playing with the Cal Tjader Sextet. The first recorded performance was on April 20, 1959, at the Sunset Auditorium in Carmel, California, with Santamaría on percussion. "Afro Blue" was the first jazz standard built on a typical African 3:2 cross-rhythm, or hemiola. The song begins with the bass repeatedly playing six cross-beats per measure of 12:8 or six cross-beats per four main beats—6:4 (two cells of 3:2). The following example shows the ostinato "Afro Blue" bass line. The cross noteheads indicate the main beats (not bass notes). While the bass sounds the six secondary beats, Paul Horn's flute solo and Emil Richards' marimba solo emphasize the four primary beats. Francisco Aguabella takes the conga drum solo on the first recording, quoting phrases from the vocabulary of the abakuá bonkó drum. Using brushes, Willie Bobo plays an abakuá bell pattern on a snare drum. This cross-rhythmic figure divides the twelve-pulse cycle into three sets of four pulses. Since the main beats are grouped as four sets of three pulses (dotted quarter-notes in the top example), the bell pattern significantly contradicts the meter. Bobo played this same pattern and instrumentation on the Herbie Hancock jazz-descarga "Succotash." The harmonic structure of Santamaria's version is a simple B♭ pentatonic blues. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.