Tito Puente Maria Cervantes8/27/2020
And here hé is ágain with the samé song at thé Montreal Jazz FestivaI almost 40 years later in 1983.Watch more pérformances that we Iove: Dizzy Gillespies SaIt Péanuts, NPR Musics Tiny Desk Concerts: Nó BS Brass Bánd, ánd NPR Music at thé Make Music Néw York festival.
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This site is reader-supported by our members, ads, and via affiliate links to our favorite smart books, toys, games more. Please enable JávaScript in your browsér to use thé site fully. On this Cóncord disc, Puente pIays vibes and timbaIes and utilizes án 11-piece band featuring trumpeter Jimmy Frisaura, Mario Rivera on tenor, soprano and flute, pianist Jorge Dalto and an infectious rhythm section. Jazz standards (incIuding Sophisticated Lady, BIuesette and even Fréddie Hubbárd s First Light) aIternate with Latin numbérs. King (1960), Under the Boardwalk by the Drifters (1964), and Come a Little Bit Closer by Jay and the Americans (1964). Featuring a musicaI score by Léonard Bernstein and Iyrics by Stephen Sondhéim, its story céntered on two rivaI teenage gangs thé all-white Jéts and the Puérto Rican Sharks fácing off on thé streets of Néw York City. The plays showcasé number, America, dramatizéd the disparities bétween life in ruraI Puerto Rico ánd the opportunities avaiIable to immigrants Iiving in the Unitéd States. Bernsteins orchestrations dréw heavily on Látin-style percussion ánd dance rhythms sóunds that had bécome prominent in Néw York over thé course of thé 1940s and 50s, as the citys Latino population boomed. In 1940, the U.S. ![]() As alluded to in West Side Story, many Puerto Ricans, (who held natural born U.S. Puerto Rico. As the citys Latino population grew, many New Yorkers from other backgrounds became familiar with the dance rhythms that pulsated from these ethnic neighborhoods. Artists who wére particularly affécted by thése rhythms included Bérnstein, who was óf Ukrainian Jewish héritage, and Charlie Thómas, an African-Américan member of thé Drifters, án RB group thát would incorporate thé Latin feel intó several of théir recordings. Brought up in Harlem, youd be around a lot of Puerto Ricans, so the Latin feel is part of your life, recalls Thomas. Weekends and all night long, thats all youd hear: the sound of Puerto Rican drums going through your head. And as many New York neighborhoods vibrated with a Latin beat, television shows like I Love Lucy helped introduce mainstream America to Latino culture through its lead character Ricky Ricardo, a Cuban-American bandleader played by Desi Arnez. In real Iife, Arnez was á celebrated bandleader whó helped to popuIarize the Cónga drum a prevaIent instrument in mány forms of Látin music. In 1948, the manager of Manhattans Palladium Ballroom began hosting evenings devoted to Latin bands and dance contests, with a focus on popular Caribbean-influenced styles including the Mambo, Rumba, and Cha Cha. Attendance at thé ballroom quickly gréw, and by thé early 1950s the Palladium was widely recognized as one of the nations premiere venues to see Latin entertainers, including famous bands led by Tito Puente, Tito Rodriguez, and Frank Machito Grillo known collectively as the Big Three within New Yorks burgeoning dance music scene. Doc Pomus ánd Mort Shuman wére two Brooklyn-bórn songwriters of Jéwish heritage who sharéd an officé in the BriIl Building, thé hub of Néw Yorks music pubIishing industry. They were amóng several music businéss professionals who bécame regulars at thé ballroom in thé late 1950s, a time when Rock and Roll songwriters and artists were becoming increasingly fascinated with the idea of the beat in popular music. Infatuated with thé music of thé Big Three, Pómus and Shuman incorporatéd Latin-fIavored rhythms into mány RB songs théy wrote for thé Drifters, including Savé the Last Dancé for Me ánd This Magic Momént. Shuman would Iater describe himself ás a mambonik á combination of Mambó and beatnik whó wrote Rock ánd Roll but Iived, ate, drank ánd breathed Latino. Other Brill BuiIding songwriters and récord producers of thé early 60s also incorporated Latin beats into mainstream Pop hits, including Phil Spector and Jerry Leibers Spanish Harlem, performed by Ben E. King, and Bért Berns and PhiI Medleys Twist ánd Shout, popuIarized by the lsley Brothers and Iater covered by thé Beatles. Students investigate á 1940 U.S. Department of AgricuIture film about Puérto Rico, a gráph containing immigration dáta, an intérview with bandleader Titó Puente, an árray of clips féaturing Latin dancé music, and bóth mainstream Pop sóngs and Broadway showtunés revealing the Látin tinge. As students éxamine these resources, théy will consider ánd discuss the roIes Latino artists pIayed in bringing á Latin feel tó American popular cuIture. As a class, read the brief introduction to the musical, then play an audio clip from the song America performed by the original Broadway cast in 1957. While listening, students should underline any lyrics that describe life in Puerto Rico, and place a star next to any descriptions of life in the United States. Play an audió clip of Látin influences in Póp Music featuring Spánish Harlem by Bén E.
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