SARA GÓMEZ, composer, singer, musician.

Sara Rosa González Gómez.Compositora, Cuban singer and guitarist. Founder of the New Trova Movement. With exceptional vocal qualities earned the respect and admiration in Cuba and abroad.

Born in Marianao, Havana July 13, 1951. Her father was a cigar maker and seamstress mother; both had a strong sense of Cuban identity and a huge love for music and dancing, all those things were transmitted to little Sarah.

She began studying guitar with Rafael Enrizo (Nene); then in 1966 he joined the Amadeo Roldan Conservatory, where he studied until 1970, viola. In the early 70s he made forays into singing.

During her student days he met the young troubadour Silvio Rodriguez and Pablo Milanes, who along with Noel Nicola founded the Nueva Trova Movement, one of its leading exponents. Encouraged them to musicalize Simple Verses José Martí -his first album LP and hence born their links to this musical movement, within which has been characterized as the most representative female voice.

She studied at the National School of Art Instructors was a student of Leopoldina Núñez and Vicente Gonzalez Rubiera (Guyún); upon graduation he joined the faculty of this institution. He received lessons in composition, harmony and orchestration maestro Leo Brouwer while in Group Experimentation ICAIC Sonora (GES), which he joined in 1972, at this stage of his life he said:
Stay in Group taught me to work collectively. In addition, Leo taught us, elucidating conceptual problems and leading to the creation face from a defined criterion. In class we analyzed from the most popular to the most complicated. And no convention. Leo came and we summarized the basics of harmony in ten minutes. Indeed, the learning stage constituted almost a privilege as an artist, because not always match the support of an institution, such as instructor and those (…)

Artistic work

He joined an occasional duet with Pedro Luis Ferrer and later became part of The Dimos, Georgia Guerra and Jesus del Valle (Tatica), with whom she sang works by Silvio Rodriguez and Pablo Milanes. Sara also produced music for film, television and radio and participated in several collective albums with other figures of the New Trova Movement and the GES.

“Her voice is powerful, good timbre and wide coloratura.” As a creator, according to Victor Casaus, their songs took, “from the authenticity and talent, the challenge of instant communication and the exercise of the great epic historical events and everyday action. The poetry and music, in the service of half-the-movie that determined their subjects, out gracefully at the point of talent and authenticity, leaving for memory culture.

There probably lies the explanation for the wonder of this mystery, those songs were not meant to translate the story into another language, the art, but melted, with “blood from the heart and truth involved” in his words, to quote the Sara own essences of both expressions of human creativity, making a single, complex and intense, full of challenges, risks and searches […] “. But she has a peculiar way to express your way of doing and where it comes from: “I say that my roots are, and I propose devaluarme intending to bring Bach … to see if it can give guiro, congas, keys, bongos and inspiration in four voices. “In the CUBADISCO 2002, was nominated for his album Without going any further.

Accompanists

Sara Gonzalez shared the stage with Silvio Rodriguez, Pablo Milanes, Augustus White, Joan Manuel Serrat, Chico Buarque, Mercedes Sosa, Soledad Bravo, Daniel Viglietti, Pete Seeger, Roy Brown, Pedro Guerra, Beth Carvalho, Liuba María Hevia, Anabell López, Marta Campos and Heidi Igualada among other artists.

Death

Ashes songwriter Sara Gonzalez, were exhibited at the Cuban Institute of Music on February 2 to your friends, family and the Cuban people surrender her tribute.

Ashes songwriter Sara Gonzalez, were exhibited at the Cuban Institute of Music on February 2 to your friends, family and the Cuban people surrender her tribute.

After colon surgery performed in September 2011 at the Center for Surgical Research (CIMEQ), died in that center on February 1, 2012.

The day after his death his ashes were exhibited at the Cuban Institute of Music, between 9:00 am and 7:00 pm, for family, friends and the Cuban people surrender a fitting tribute to this popular Cuban singer .

After the popular tribute her ashes were thrown, by the will of Sarah, at the entrance of Havana Bay, and declared her faithful friend Diana Balboa.

Agencies / Various / Ecu / Wiki / InternetPhotos / youtube / thecubanhistory.com
The Cuban History, Hollywood.
Arnold Varona, Editor.

CUBA TODAY/HOY.

SARA GÓMEZ, compositor, cantante, músico.

Sara Rosa González Gómez. Compositora, cantante y guitarrista cubano. Fundador del Movimiento de la Nueva Trova. Con cualidades vocales excepcionales ganado el respeto y admiración en Cuba y en el extranjero.

Nacido en Marianao, La Habana 13 de julio de 1951. Su padre era un tabaquero y su madre costurera; ambos tenían un fuerte sentido de la identidad cubana y un gran amor por la música y el baile, todas esas cosas se transmitieron a la pequeña Sarah.

Ella comenzó a estudiar guitarra con Rafael Enrizo (Nene); a continuación, en 1966 ingresó en el Conservatorio Amadeo Roldán, donde estudió hasta 1970, viola. A principios de los años 70 hizo incursiones en el canto.

Durante sus días de estudiante conoció a la joven trovador Silvio Rodríguez y Pablo Milanés, quien junto a Noel Nicola fundó el Movimiento de la Nueva Trova, uno de sus principales exponentes. Les animó a musicalizar simple Versos José Martí -su primer disco LP y de ahí nació su vinculación a este movimiento musical, dentro del cual se ha caracterizado como la voz femenina más representativa.

Estudió en la Escuela Nacional de Instructores de Arte era un estudiante de Leopoldina Núñez y Vicente González Rubiera (Guyún); al graduarse se incorporó al cuerpo docente de esta institución. Recibió lecciones de composición, armonía y orquestación maestro Leo Brouwer, mientras que en el Grupo de Experimentación Sonora del ICAIC (GES), que se incorporó en 1972, en esta etapa de su vida, dijo:
Manténgase en grupo me enseñó a trabajar colectivamente. Además, Leo nos enseñó, la aclaración de problemas conceptuales y que conduce a la cara de la creación de un criterio definido. En la clase se analizaron desde los más populares hasta los más complicados. Y ninguna convención. Leo llegó y nos resume los conceptos básicos de la armonía en diez minutos. De hecho, la etapa de aprendizaje constituía casi un privilegio como artista, porque no siempre coincida con el apoyo de una institución, como instructor y los (…)

Trabajo artístico

Se unió a un dúo ocasional con Pedro Luis Ferrer y más tarde se convirtió en parte de la Dimos, Georgia Guerra y Jesús del Valle (Tatica), con quien cantó obras de Silvio Rodríguez y Pablo Milanés. Sara también produjo la música para cine, televisión y radio y participó en varios álbumes colectivos con otras figuras del Movimiento de la Nueva Trova y el GES.

“Su voz es potente, buen timbre y amplia coloratura.” Como creador, según Víctor Casaus, sus canciones tomaron, “de la autenticidad y el talento, el reto de la comunicación instantánea y el ejercicio de los grandes acontecimientos históricos épicos y la acción cotidiana. La poesía y la música, en el servicio de media-la -película que determinó sus súbditos, con gracia en el punto de talento y autenticidad, dejando para el cultivo de la memoria.

Probablemente se encuentra la explicación de la maravilla de este misterio, esas canciones no estaban destinados a traducir la historia en otro idioma, el arte, pero fundidos, con “la sangre del corazón y la verdad involucrada” en sus palabras, en palabras de la Sara propia esencias de ambas expresiones de la creatividad humana, por lo que una única, compleja e intensa, llena de retos, riesgos y búsquedas […] “Pero ella tiene una manera peculiar de expresar su manera de hacer y de dónde viene:”. Yo dicen que mis raíces, y yo propongo devaluarme intención de traer Bach … para ver si se puede dar güiro, congas, claves, bongos y la inspiración en cuatro voces. “En el CUBADISCO 2002, fue nominado por su álbum Sin ir más lejos.

Acompañantes

Sara González compartió el escenario con Silvio Rodríguez, Pablo Milanés, Augusto Blanca, Joan Manuel Serrat, Chico Buarque, Mercedes Sosa, Soledad Bravo, Daniel Viglietti, Pete Seeger, Roy Brown, Pedro Guerra, Beth Carvalho, Liuba María Hevia, Anabell López, Marta Campos y Heidi Igualada entre otros artistas.

Muerte

Cenizas compositor Sara González, fueron exhibidos en el Instituto Cubano de la Música, el 2 de febrero para sus amigos, familiares y el pueblo cubano se rinden su homenaje.

Cenizas compositor Sara González, fueron exhibidos en el Instituto Cubano de la Música, el 2 de febrero para sus amigos, familiares y el pueblo cubano se rinden su homenaje.

Después de la cirugía de colon realizado en septiembre de 2011 en el Centro de Investigaciones Quirúrgicas (CIMEQ), murió en ese centro el 1 de febrero de 2012.

El día después de su muerte sus cenizas fueron exhibidos en el Instituto Cubano de la Música de 9:00 am y 7:00 pm, para la familia, los amigos y el pueblo cubano rinde un merecido homenaje a este cantante popular cubano.

Tras el homenaje populares fueron arrojadas sus cenizas, por la voluntad de Sarah, a la entrada de la Bahía de La Habana, y declararon su fiel amiga Diana Balboa.

Agencias / Varios / ECU / Wiki / InternetPhotos / youtube / thecubanhistory.com
La Historia de Cuba, de Hollywood.
Arnold Varona, Editor.

Arturo “Chico” O’Farrill (October 28, 1921 – June 27, 2001) was a Cuban composer, arranger, and conductor, best known for his work in the Latin idiom, specifically Afro-Cuban jazz or “Cubop,” although he also composed traditional jazz pieces and even symphonic works.

O’Farrill was born in Havana, Cuba on October 28, 1921. He was raised to follow family tradition and enter into law practice, though before he could, he became enamored with jazz music and pursued that instead. He discovered big band jazz when he attended military boarding school in Florida, where he first learned to play the trumpet, and after returning to Havana began studying classical music under Felix Guerrero at the Havana Conservatory and playing in local nightclubs alongside figures like Isidro Perez and Armando Romeu. In 1948, he relocated to New York City, where he continued his classical music studies under Stefan Wolpe, Bernard Wagenaar, and others at the Juilliard School, and began to pursue the jazz scene in his free time.

Born to an Irish father and a German mother, he played the trumpet early in his career. He composed works for Machito (Afro-Cuban suite with Charlie Parker, 1950) and Benny Goodman’s Bebop Orchestra (Undercurrent Blues), and arranged for Dizzy Gillespie and Stan Kenton, among others.

Soon after moving to New York City, he began working as an arranger for Benny Goodman, and wrote ‘’Undercurrent Blues’’. It was at this point his nickname was born: Goodman had trouble pronouncing his name, and began referring to him as “Chico” instead. During this period, he also worked as an arranger with Stan Kenton (Cuban Episode), Count Basie, Art Farmer, and Machito (the Afro-Cuban Jazz Suite), and contributed to several Afro-Cuban jazz works by Charlie Parker and Dizzy Gillespie (The Manteca Suite). He also started his own band, the Afro-Cuban Jazz Orchestra, during this time, which toured the country, recorded, and played weekly gigs at the Birdland jazz club. In 1957 he moved to Mexico and lived with his wife, singer Lupe Valero, until 1965; while there he wrote a suite for Art Farmer in 1959 and performed concerts in Mexico City.

In 1965 he returned to New York City, where he worked as an arranger and music director for CBS on their TV program “The CBS Festival of Lively Arts for Young People.” He also wrote arrangements of pop songs for Count Basie in 1965 and 1966, and recorded Spanish Rice, an album of his Afro-Cuban jazz compositions, with Clark Terry in 1966.

In the 1990s O’Farrill led a big band that took up residence at New York’s famous Birdland nightclub. Chico’s son, pianist Arturo O’Farrill, eventually took over the band.

From the 1970s through the mid-1990s, O’Farrill was largely absent from the jazz scene: he was technically active during this period, but the work he released diminished further and further. He wrote scores for Stan Kenton and Art Barbieri during the early part of this inactive period, as well as some for Machito and Dizzy Gillespie’s jazz orchestra.

O’Farrill did, however, make a comeback as a band leader in the jazz world with the 1995 release of the Grammy-nominated album Pure Emotion, which marked the first time he’d recorded as a leader in nearly 30 years—though he did lead a 17-piece Afro-Cuban orchestra at the Blue Note Jazz Club in New York City a year before, and arranged several songs for David Bowie’s jazz-inspired 1993 album Black Tie White Noise, predicting his return. He was also commissioned to write a trumpet concerto for Wynton Marsalis at this time. From 1995 though his retirement in March 2001 shortly before his death, his band, which included his son Arturo O’Farrill as pianist and, later, de facto leader, recorded two more albums (The Heart of a Legend in 1999 and Carambola in 2000) for Milestone Records, and returned to playing weekly at Birdland. After his retirement, his son continued to lead the band, releasing albums such as Noche Inolvidable in 2005 and Song for Chico in 2008.

Musical Style.

While O’Farrill is primarily known as a prominent figure in the creation and propagation of Afro-Cuban jazz, he was much more preoccupied with jazz than the actual melodic content of Cuban music. As quoted by Bob Blumenthal in the liner notes to Pure Emotion: “It was never my primary interest to preserve the authenticity of Cuban melody and harmonies just for the sake of preservation. When I started my career in the Forties, a lot of Cuban music was very simplistic. I was always more interested in jazz; and when I got to New York, I naturally gravitated to Dizzy and other bebop artists, that fusion of Cuban music with the jazz techniques of harmonic richness and orchestration. Of course, I have been determined to preserve Cuban rhythms, and I always have the rhythm section in mind when I write. You have to write horn parts that don’t collide with the rhythmic concept.”[6] This is indicative of O’Farrill’s general compositional style: he is heavily associated with the Latin idiom in jazz, but his works are typically closer to more mainstream American big band jazz in melody and harmony, and mostly incorporate Cuban music in the rhythms. In fact, it is Chico O’Farrill who is credited with first introducing the clave to jazz band rhythm sections.

Owing to his strict conservatory education, first at the Havana Conservatory and then the Juilliard School, O’Farrill composed in a highly strict, tightly-organized fashion. His pieces are constructed down to minute details, and while improvisation is a hallmark of many jazz styles, his works use a minimum of it; Ben Ratliff, writing for the New York Times, describes his work as “cinematic,” saying that the music is “complicated and leaves little to chance.”

O’Farrill’s style is best described as a fusion of the Cuban music he heard growing up, the jazz music that he became enamored with in school, and the European classical music he studied in conservatories, and it is best summarized in his Afro-Cuban Jazz Suite. Even just the title alludes to the inclusion of these three elements, and several movements are inspired by music of a Latin idiom (Canción, Mambo, Rhumba Abierta), while others are more jazz-inspired, and all are brought together under the orderly form of a European suite. O’Farrill states about this piece, “I was never an expert on Cuban music. What I did, for example, in that suite was purely instinctive […] They asked me, ‘write a suite, Chico,’ I just wrote according to my best understanding, letting my jazz sensibility to guide me most of the time.”

Discography.

Verve Records
Note: some recordings are credited to Clef Records or Norgran Records, both of which later became Verve Records.
“Music from South America” (1956)
“Mambo/Latino Dances” (1956)
“Jazz North of the Border and South of the Border” (1957)
Impulse! Records
Spanish Rice with Clark Terry (1966)
Nine Flags (1966)
Milestone Records
“Pure Emotion” (1995)
“The Heart of a Legend” (1999)
“Carambola” (2000)

Critical Reception.

Todd Barkan, O’Farrill’s manager and record producer from his 90s comeback on, notes in his obituary that O’Farrill “felt a good measure of appreciation for his contributions. The interest that surrounded his work when he returned to recording in the ’90s exceeded everything that he had experienced up until that point.”[5] Two of the three albums released after his 1990s return were nominated for Grammy awards, and he was featured in the Latin jazz film Calle 54. In a review of Pure Emotion, Paul Verna writes for Billboard, “The return of veteran composer/arranger Chico O’Farrill should earn an enthusiastic welcome for devotees of swinging, straight-ahead Latin jazz.”

Few glowing records exist of O’Farrill’s works from before the 1990s, but Peter Watrous, writing a review of a 1998 Afro-Cuban jazz concert featuring O’Farrill’s older work (specifically, the Manteca Suite composed for Dizzy Gillespie and the Afro-Cuban Jazz Suite) for the New York Times, calls O’Farrill “a gifted musician who stands as one of jazz’s great cultural translators,” lauding the concert as “[making] the case for [his] brilliance.” While he was an important behind-the-scenes figure in earlier life in composing and arranging for more notable names, his band did not achieve significant fame until this period.

Agencies/Various/Wiki/InternetPhotos/youtube/thecubanhistory.com
The Cuban History, Hollywood.
Arnoldo Varona, Editor.