I would like to dedicate my piano performance in this CD "Sones y Tradiciones," to my good friend, Maestro Israel Lopez "Cachao" as a humble token for his devotion to performing the best Cuban music since the early 1930's. His excellent guidance and musical advice was paramount in preserving the key elements of this music for the appreciation of future generation. In addition, I would like to express my profound gratitude to his beloved wife, Esther, who was truly an inspiration during this effort. To her, we dedicate the boleros "Veinte Anos, Juramento and Aquella Boca." Thanks to both and may God bless you always. We hope that all of you enjoy it! Sincerely, Enrique Chia ********************************************** Israel Lopez "Cachao" Maestro Cachao is one of the great masters of the contrabass or acoustic bass. He has become well-known throughout the world for his interpretations of traditional Cuban music and Latin jazz since the 1930's. Cachao was born in Havana, Cuba, in the same house where the great Cuban patriot of the independence was from Spain, Jose Marti was born. The house still exists at 102 Paula Street, Old Havana. Cachao was one of the many musicians in the Lopez family, showing signs of becoming a virtuoso on the bass since he was a child. Later on, he became a member of the Havana Philharmonic Orchestra and played with several orchestras of the time, which performed the original Cuban "danzones" and "sones." One of these orchestras was "Arcano y Sus Maravillas," where he developed with his brother Orestes Lopez high tempo "montunos" or "mambos" played within the structure of the "danzon." Cachao is a multiple Grammy Award winner and has received many honors, including a star on "Hollywood Boulevard." ********************************************** The "Son" The "son" in considered to be one of the oldest and most genuine genres of Cuban traditional music rhythms. It is believed that it dates back to the first days of Cuban musical history, (circa 1580), when Teodora Gines accompanied herself on a "bandola" (old type of guitar) singing original "sones" in Baracoa, province of Oriente, Cuba. She wrote "Ma Teodora," the first known written "son." Musicologist Eduardo Sanchez de Fuentes always maintained that the "son oriental" started in Baracoa. He believed that the "son" had the influence of the "Areitos," which were what the Taino and Siboney indians sang and danced when Columbus first reached Cuba. It evolved as it was sung by "guarachos (groups of 3 or 4 amateur players who entertained at local gatherings and parties. These "guaracheros" were named after the music genre "guaracha," the predecessor and basis for today's "salsa." The original "son" was played using the "tres," a type of guitar with 3 pairs of strings, played on the Cuban countryside. Usually one "tresero" would play the melody (the primo), and a second one (the segundo) would accompany with the rhythm of the bongos. The bongos were made by tying together two small drums that were played by placing them between the knees. The maracas consisted of a dried, hard and hollow fruit, filled with corn or seeds for a raspy sound. The bass was usually played using the "botijuela" a large jug blown to produce low tones or sounds. The "marimbula" was sometimes used to complement the "tres," The marimbula was a wooden box with a hole in the center where small steel plates of different lengths were placed and vibrated when strummed with the fingertips. This instrument was homemade and its name was a degeneration of the name "marimba." As the years passed, the "son" found its way into Havana in the 1920's where it was refined by substituting the "botijuela" for the contrabass or acoustic bass. The "claves" (wooden sticks) were added to complement the sound of the bongos and produced a strongly marked sound to the typical "son-beat." However, the most significant change was perhaps the introduction of the trumpet to the group, usually played with the typical "mute" which is so characteristic of the "sones" of yesteryear. The "son" is composed of a mixture of elements from Spanish and African music fused to create a unique style. There are various melodic and rhythmic lines and an important characteristic is the anticipated beat or syncopation played by the bass. The structure of the "son" consists of a primary theme that is sung, followed by the response of a chorus with rhythmic instruments as background. A soloist improvises short lines and the chorus responds, repeating this interchange indefinitely until the singers and dancers are fulfilled. The first "Son National Contest" in Cuba took place in May of 1925, where "Tres Lindas Cubanas" by guitarist Guillermo Castillo was the winner. Years later, Antonio Maria Romeu borrowed the main theme of this "son" for this famous danzon version. In the 1950's a new adaptation of this theme was made into a cha cha, which became very popular. One of the most famous composers/performers of sones was Miguel Matamoros. His trio was invited in 1928 to record at RCA in New York City. Their first released record included "El que siembra su maiz" on one side and "Olvido" on the flip side. It was a big hit, selling over 64,000 copies in Cuba in a period of 90 days. "El que siembra su maiz" tells the true story of a street vendor of "pastelitos" (pastries) whose last name was Mayor, but was nicknamed "Huye." He had mysteriously disappeared from the streets and the town's people wondered what had happened to him. The word "pinol" refers to toasted, sweetened corn meal. Ignacio Pineiro and his Sexteto Nacional were chosen to represent Cuba at the Sevilla Iberoamerican Exposition of 1929. They were acclaimed for their exotic sound and received various prizes. The son "Suavecito" was such a big hit, that the group was nicknamed "Los Suavecitos." They were also invited to perform in Chicago in 1932. Another "son" by Pineiro, "Echale salsita," praised the "butifarras" (sausages) made by a man nicknamed "El Congo." His establishment was the usual stop made by those traveling from Havana to Matanzas. When George Gershwin visited Cuba in 1932, he met Pineiro at a local radio station. Gershwin was so impressed by Pineiro's music that he asked him if he could borrow a few measures from one of his songs. This is how the main theme of "Echale salsita," became a part of Gershwin's "Cuban Overture." The "Danzon" The "danzon" (pronounced dance-on) originated and was first introduced in the city of Matanzas, Cuba in 1879. The first danzon was "Alturas de Simpson" by Miguel Failde, and was played by his orchestra for the first time at the "Liceo de Matanzas," a social club. The danzon is a direct descendant of the "danza," popular in Europe in the 1700's and of the "contradanza" of the early 1800's. The danzon added the timbales, claves and guiro as percussion instruments, providing a very distinctive sound. This sound was complemented by the violin and flute playing the melodic lines. In time, the danzon became an accepted genre by Cuban society, even though it incorporated various African elements. The danzon was written in 2/4 time and its characteristic temp was called "cinquillo," which came from teh 5 beats in a special sequence characterized by Cuban music. The "danzon" usually had an introduction, which was repeated many times as a way to separate melodies. The "paseo" (a ride or stroll) was a beautifully melodic part played by the violin which strong emotion. The danzon was marked by the "montuno," which was played at a faster tempo and was announced by the "abanico" (fan of timbales roll.) It was this faster part that sounded and was played like the "son" after the 1920's. Maestro Cachao and his brother Orestes Lopez played the danzon in various famous orchestras starting in the 1930's. They added a contagious rhythm to the "montuno" part, which they called the "mambo" This type of rhythm later developed into the world famous mambo dance. We have chosen two of the most beautiful danzones of all time. "Tres Lindas Cubanas" and "Isora Club," the latter written by Maestro Cachao and his sister Coralia Lopez. Congas The word "conga" is of African origin but its true meaning of significance is not known. It was created by the slaves who danced to the beat of the drums during their time off from their daily duties. Once a year, during the "Fiesta de Reyes" on January 6th, they were allowed to organize into "cabildos" and parade dancing down the streets playing different kinds of drums, maracas, guiros, bells, horns and whistles. Later on, the conga became the main dance of the groups that took to to the streets during the famous carnivals that took place in the different cities of the island right before Lent. The "comparsas" rehearsed their elaborate dancing routines following a precise rhythm. Two of the most famous comparsas: "Las Jardineras" and "El Alacran" not only had members of African origin, but included dancers of Spanish origin as well. They dressed in lavish costumes which they showcased as they performed in the streets. The conga is characterized by the strong beat of the "conga drums" which kept the tempo and was aided by other percussion instruments. The percussion sound was complemented by the syncopated beat of a "bombo" (bass drum) and the "sartenes," (iron frying pans upside down hanging from the neck and played with sticks.) It is this combination of instruments that has made the "conga beat" well known throughout the world.