Orquesta Revé
El Ritmo Changüí
1994
1994
Tracks:
01. Yo soy el changüi
02. Yateras changüi
03. Changüi morena
04. Juaniquita
05. La betea changüi
06. Pulmeron
07. Mi ritmo changüi
08. Conel diablilo
09. Sama
10. Rigodon
11. Changüi esta en la calle
12. Los Reve del changüi lamas
02. Yateras changüi
03. Changüi morena
04. Juaniquita
05. La betea changüi
06. Pulmeron
07. Mi ritmo changüi
08. Conel diablilo
09. Sama
10. Rigodon
11. Changüi esta en la calle
12. Los Reve del changüi lamas
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫
.ღ•:*´♥`*:•ღ.
♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
.ღ•:*´♥`*:•ღ.
♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
Elio Revé founder of Orquesta Revé and the one who re-invented changüi says:
“I play son-changüi: they call me the father of changüi – although changüi has been around far longer than I have. Changüi is a very old and traditional form… The son left the eastern provinces and, via Havana, went around the world; but changüi has just stayed at home until I took it to town and dressed it up.”
“I play son-changüi: they call me the father of changüi – although changüi has been around far longer than I have. Changüi is a very old and traditional form… The son left the eastern provinces and, via Havana, went around the world; but changüi has just stayed at home until I took it to town and dressed it up.”
Elio Revé Matos
***
Talking of Orquesta Revé, it’s talking of Changüi, a rhythm and a musical genre coming from the so musical Oriente of Cuba.
Changüi is Celebration, Party, Country Feast, an encounter where music and dances are celebrating happiness and friendship.
The guantanamera province is the birthplace of this genuine festive expression of country music.
It is possible to indicate very precisely its birthplace in the areas of Yateras, El Salvador, Manuel Tames and in the very famous guantanamero district of the Loma Del Chivo.
Some improvised groups were gathering spontaneously in these places to play the primitive forms of Changüi with rudimental instrumentation.
During the genesis of this musical form, that according to musicologist sources goes back to 1860, were combined Hispanic-European, African and also afro-French elements, maybe the most fertile ones, due to the Haitian presence in that region.
The original core of instruments used to play Changüi was composed of the Tres, the Guayo and the Bongo De Monte, different from the traditional Bongo.
Over the years other instruments were added such as the Botjia, the Marimbula and the Maracas but the Tres and Bongo continued being the main protagonists.
This is the constant dialogue between the Tres and the Bongo that makes the originality and the rhythmic-harmonic wealth of this musical form that turns out to be much more syncopated than the Son.
In other words Changüi is a precursor of the Son with which it combined itself to become nowadays considered as one variant in the generic complex of the Son.
The first expressions of Changüi were nothing more than a ditty song reiterative that, like some other ancestors of the Son such as the Nengon, the Regina, the Kiriba, present itself like a Montuno built on the elementary Tumbao of the Tres and its dialogue with the Bongo.
The singing of the lead singer who begins expressing himself using quatrains or decimas, is then followed by the traditional scheme of call and response, between the soloist and the coro.
In the history two different ways to play Changuì can be identified: the traditional Changuì (played by Conjunto bands) and the orchestral Changuì (played by Charanga ensemble). Among musicians and groups that represent the traditional style, one can highlight “Changuì de Guantanamo”, group founded on 1945 with legendary figures like Pedro Speck, Cambron, Arthur and Chito Latamblèt and “Estrellas Campesinas of Yateras”, founded on 1952 in Yateras and directed by Eduardo Goulet (Pipi).
The other changuisera variant is represented by the work of the brilliant guantanamero Elio Revé who was able to innovate deeply this musical gene, dressing it with new colors.
The traditional Changüi under the direction of Revé, even if it have been maintaining its typical characteristics, does no longer sound the same due to the change of orchestral format. Revé brought numerous innovations to the Changüi in its execution, in the instruments used, opening Changüi to other national and foreign rhythms and more recent expressions of the Son (Salsa and Timba).
Revé was also the great ambassador of the Changüi that made it well-know worldwide.
Although Orquesta Revé represents Changüi’s most outstanding protagonist, today like yesterday, many musicians remain Changui’s best admirers and perpetuate its tradition in the Cuban musical panorama.
Even the great Benny Moré recorded in 1958 the track " Maracaibo oriental" that is perhaps the most famous Changüi song of history.
Also the Salsa movement explored the Changuì in several occasions leaving behind recordings of famous figures like Ray Barreto and Celia Cross.
In Cuba Los Van Van, Issac Delgado, Sierra Maestra, Felix Baloy, Pancho Amat, and last but not least, Oderquis Revé, the brother of Elio Revé and ex- member of the Charangon, have developed and continue cultivating the Changüi.
Changüi is Celebration, Party, Country Feast, an encounter where music and dances are celebrating happiness and friendship.
The guantanamera province is the birthplace of this genuine festive expression of country music.
It is possible to indicate very precisely its birthplace in the areas of Yateras, El Salvador, Manuel Tames and in the very famous guantanamero district of the Loma Del Chivo.
Some improvised groups were gathering spontaneously in these places to play the primitive forms of Changüi with rudimental instrumentation.
During the genesis of this musical form, that according to musicologist sources goes back to 1860, were combined Hispanic-European, African and also afro-French elements, maybe the most fertile ones, due to the Haitian presence in that region.
The original core of instruments used to play Changüi was composed of the Tres, the Guayo and the Bongo De Monte, different from the traditional Bongo.
Over the years other instruments were added such as the Botjia, the Marimbula and the Maracas but the Tres and Bongo continued being the main protagonists.
This is the constant dialogue between the Tres and the Bongo that makes the originality and the rhythmic-harmonic wealth of this musical form that turns out to be much more syncopated than the Son.
In other words Changüi is a precursor of the Son with which it combined itself to become nowadays considered as one variant in the generic complex of the Son.
The first expressions of Changüi were nothing more than a ditty song reiterative that, like some other ancestors of the Son such as the Nengon, the Regina, the Kiriba, present itself like a Montuno built on the elementary Tumbao of the Tres and its dialogue with the Bongo.
The singing of the lead singer who begins expressing himself using quatrains or decimas, is then followed by the traditional scheme of call and response, between the soloist and the coro.
In the history two different ways to play Changuì can be identified: the traditional Changuì (played by Conjunto bands) and the orchestral Changuì (played by Charanga ensemble). Among musicians and groups that represent the traditional style, one can highlight “Changuì de Guantanamo”, group founded on 1945 with legendary figures like Pedro Speck, Cambron, Arthur and Chito Latamblèt and “Estrellas Campesinas of Yateras”, founded on 1952 in Yateras and directed by Eduardo Goulet (Pipi).
The other changuisera variant is represented by the work of the brilliant guantanamero Elio Revé who was able to innovate deeply this musical gene, dressing it with new colors.
The traditional Changüi under the direction of Revé, even if it have been maintaining its typical characteristics, does no longer sound the same due to the change of orchestral format. Revé brought numerous innovations to the Changüi in its execution, in the instruments used, opening Changüi to other national and foreign rhythms and more recent expressions of the Son (Salsa and Timba).
Revé was also the great ambassador of the Changüi that made it well-know worldwide.
Although Orquesta Revé represents Changüi’s most outstanding protagonist, today like yesterday, many musicians remain Changui’s best admirers and perpetuate its tradition in the Cuban musical panorama.
Even the great Benny Moré recorded in 1958 the track " Maracaibo oriental" that is perhaps the most famous Changüi song of history.
Also the Salsa movement explored the Changuì in several occasions leaving behind recordings of famous figures like Ray Barreto and Celia Cross.
In Cuba Los Van Van, Issac Delgado, Sierra Maestra, Felix Baloy, Pancho Amat, and last but not least, Oderquis Revé, the brother of Elio Revé and ex- member of the Charangon, have developed and continue cultivating the Changüi.
♥
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