"This book is dedicated to Eddy Zervigon, charanga flute player and bandleader of Orquesta Broadway since 1962."--Page vii. Includes bibliographical references (pages 281-280), discography (pages 281-291) and index.
Contents:
Spaces and places -- Los tres grandes : redefining the mambo genre -- La mecha : Belisario Lopez, Jose Fajardo, and Rolando Lozano -- Exile and adaptation : Eddy Zervigon and Orquesta Broadway -- Charanga or pachanga? -- Charanga embalao : Charlie Palmieri and Johnny Pacheco -- Charanguea'o en tipico : Eddie Palmieri's La perfecta -- "I don't like it like that" : the Latin bugalu -- La charanga moderna and the modern charanga -- Conclusion : Defining New York sabor.
Summary:
The first thorough exploration of the innovative, flute-driven Cuban dance music of New York, charanga. "Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as Jose Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigon dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachacha and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalu's development in the late 1960s with little mention of the chachacha and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.