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THE SALSA REVOLUTION

This documentary traces the rise of Latin and Afro-Cuban Jazz and the explosion of the Mambo and the Cha Cha Cha as they sweep the US from East to West. Latin Music infiltrates R&B and Rock and Roll through the 1960s.

Starting in the USA with Latin Jazz and Mambo madness, Latin sounds spread to R&B and Rock. See the rise of Latin jazz with the great Machito and the explosion of the mambo with Pérez Prado. Watch as Latin music infiltrates R&B and rock throughout the 1960s, from the Drifters to Santana and beyond.

Please, support PBS by purchasing the DVD here:
http://www.shoppbs.org/product/index....
This documentary is also available on their website:
http://video.pbs.org/video/1293753375/
El titulo de las canciones que aparecen en el documental se pueden ver aqui:
http://www.pbs.org/wgbh/latinmusicusa...
Explora el nacimiento y evolucion del Afro-Cuban Latin Jazz:
http://www.pbs.org/wgbh/latinmusicusa...

From its birth in New Orleans to its heyday in New York, Jazz has been deeply influenced by Latino musicians, especially those playing Afro-Cuban rhythms. It's impossible to imagine Jazz without this Latin influence, or as Jazz great Jelly Roll Morton called it, the "Spanish tinge". Latin Jazz emerged as a separate genre in the New York clubs of the 1940s, where orchestras like Machito & His Afro-Cubans held court. This new sound was built on an Afro-Cuban rhythmic core, but added Jazz arrangements and improvisation on top. It wasn't long before non-Latino Jazz musicians began paying attention, most notably Dizzy Gillespie. He liked the sound so much that he added Cuban conga player Chano Pozo to his band. Congas soon appeared in other Jazz bands, infusing their songs with the clave rhythms at the heart of Afro-Cuban music. By the 1960s, Latin Jazz had become a multifaceted genre, including: vibraphonist Cal Tjader's cool sound from San Francisco; Tito Puente's hot dance music in New York; Stan Getz's Bossa Nova collaborations with Brazilians Tom Jobim and Joao Gilberto; and New Yorker Eddie Palmieri's innovative trombone arrangements that hinted at the Salsa explosion of the 70s. The tradition of playing Jazz melodies over Latin rhythms is very alive today, as Latin Jazz remains an essential part of the Jazz world.

The Mambo is an up-tempo dance music that appeared in Cuba in the late 1930s, and which by 1950 had taken the Latin dance world by storm. It is characterized by big band arrangements where multiple saxophones play repeated syncopated phrases, blaring trumpets punctuate the beat, all over a full rhythm and percussion section. In Cuba, the Mambo emerged from much smaller bands that fused elements of Son into the Danzón. The Mambo's tremendous popularity didn't come from Cuba, but from two cities where the music took root: New York City and Mexico City. In New York, Cuban pianist and arranger René Hernandez adapted the Mambo rhythm to the big band sound of Machito & His Afro-Cubans, establishing what would become the dominant sound of Latin New York. In Mexico, Cuban pianist and bandleader Dámaso Pérez Prado developed a dissonant, tense, unmistakable brand of Mambo that swept across Latin America and the United States. Accompanied by a sultry partner dance that appeared in New York's Mambo clubs, Mambo Madness peaked in the U.S. in the 1950s, and faded as Rock & Roll appeared, and the Cuban Revolution changed the U.S.-Cuba relationship.

LATIN MUSIC USA highlights the great American music created by Latinos, and celebrates the Latin rhythms at the heart of jazz, rock, country, and rhythm and blues. It's a fresh take on American musical history, reaching across five decades to portray the rich mix of sounds created by Latinos and embraced by all. Narrated by Jimmy Smits.

Este es un Playlist en YouTube que cree sobre musica cubana que contiene mas de 70 videos con mas de 50 horas de reportajes, documentales, entrevistas, conciertos y peliculas sobre musica cubana:
http://www.youtube.com/playlist?list=...

Subscribe to or watch other videos playing "Tres Cubano", Salsa, Cuban and Peruvian music in my YouTube Channel: http://www.youtube.com/user/DonSalser...

DAME VENENO

Documental sobre la creación del grupo musical español, formado en 1975, Veneno; formado por Kiko Veneno, Rafael y Raimundo Amador. A traves de entrevistas y actuaciones este documental nos describe las desventuras de este mítico grupo y de como cambiaron para siempre el mundo de la música y en particular el del flamenco. Su director es Pedro Barbadillo.

Aunque disco debut no tuvo gran repercusión en su momento, actualmente es considerado uno de los mejores discos de la historia de la música en español, y las revistas Rockdelux y Efe Eme lo eligieron como mejor disco español del siglo XX. Hoy día el disco ha vendido ya más de 300.000 copias.

Kiko Veneno 
Rafael Amador Fernández
Raimundo Amador

NOVOS BAIANOS F.C.

Directed by Solano Ribeiro 1973

This documentary filmed at Novos Baianos' own commune in the western part of Rio de Janeiro, a place they called the 'Sitio de Vovô' in Jacarepaguá, is a riveting glimpse into this once-in-a-universe band at the peak of their creative and musical powers.

A musical band deciding to 'drop out', go "off the grid" or whatnot, and live communally is not in itself unique. I refer the reader to any of the coveted albums of Father Yod and The Source Family. However while those albums are mind-blowing in their utter unworldliness, with some of them falling squarely in the 'outsider artist' category and verge on sheer unlistenable excruciating aural abuse, Novos Baianos made some of the most coherent, flexible, and just damn beautiful music you're likely to ever hear. They were all top notch musicians with a profound knowledge of and respect for their musical predecessors in Brazil, but expanded on those root with all the splendor of a sprawling jaqueira or pé de manga tree.

VINICIUS

Moraes’ life was portrayed in the 2005 documentary “Vinicius” by Miguel Faria Jr, with exclusive footage of parties he threw and interviews with many of his friends.

He was a person who loved life, music, women and Rio.

Moraes was a true Carioca. Born in Gávea in 1913, he was raised in Botafogo and studied at Santo Inácio High School, one of the most traditional in Rio.

Over the years, the poet witnessed the development and transformation of the city.

He graduated with a degree in Portuguese and went on to acquire a law degree, despite his lack of interest in the subject.

 

Moraes was a true Carioca. Born in Gávea in 1913, he was raised in Botafogo and studied at Santo Inácio High School, one of the most traditional in Rio. Over the years, the poet witnessed the development and transformation of the city. He graduated with a degree in Portuguese and went on to acquire a law degree, despite his lack of interest in the subject.

In 1933, his first book, “O Caminho Para A Distância” (The Path to Distance), was published and it became clear that writing was his passion. In 1938, he was awarded a scholarship to study at Oxford (UK), where he later married his first wife, Beatriz Azevedo de Mello. He returned to Brazil at the commencement of the Second World War in 1939, where, in São Paulo, he began working as a journalist and film critic.

Moraes’ diplomatic career began in 1943. He was assigned his first post, Los Angeles, in 1946. In 1950, Moraes returned to Brazil and in 1951 was married for the second time to Lila Maria Esquerdo e Bôscoli. He continued working as a journalist, film critic and poet until he was sent to Paris in 1953, the same year in which he composed his first samba, “Quando tu Passas por Mim” (When you pass by me).

After several posts in Rio, Montevideo and Paris, Moraes was dismissed from the foreign service in 1969, as the military dictatorship, which investigated the private lives of consuls and ministers, disapproved of his bohemian lifestyle.

Moraes was married several times, and his long list of wives included Maria Lúcia Proença (1958), Nelita Abreu Rocha (1963), Cristina Gurjão (1969), Gesse Gessy (1970), Marta Rodrihues Santamaria (1976), Gilda de Queirós Mattoso (1978) and Regina Pederneiras, with whom he was married at the same time as Beatriz de Mello. His passion for women was clear in his poems, lyrics and songs.

Arguably Moraes’ most famous composition, “Garota de Ipanema” was inspired by Helô Pinheiro, a young woman who would often pass by a bar where the two men frequented. Formerly named Veloso, the bar is now called “Garota de Ipanema” and is located on the corner of Prudente de Moraes with Vinicius de Moraes in Ipanema. The bar has become a popular stop for tourists.

While its fame is unquestionable, Moraes’ legacy goes far beyond “Garota de Ipanema”. He published more than thirty books, wrote five plays and lived his life to the fullest. He was an intellectual who flirted with Rio’s high society and loved to compose samba.

The injustice of Moraes’ expulsion from his diplomatic career was corrected in February of this year, when the Brazilian congress approved his promotion to first class Minister. “He was an ambassador of Brazilian Culture,” said his daughter, Suzana de Moraes. And this he remains, thirty years after his death.

Que è o Movimento Manguebeat

Manguebeat (ou Manguebit) é um movimento musical que surgiu no Brasil na década de 90 em  Recife que mistura ritmos regionais com rock, hip hop e música eletrônica.

Esse estilo tem como ícone o músico Chico Science, ex-vocalista, já falecido, da banda Chico Science e Nação Zumbi, idealizador do rótulo mangue e principal divulgador das idéias, ritmos e contestações do Manguebeat. Outro grande responsável pelo crescimento desse movimento foi Fred 04, vocalista da banda Mundo Livre S/A e autor do primeiro manifesto do Mangue de 1992, intitulado Caranguejos com cérebro.

 

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FRENESí EN LA GRAN CIUDAD

'Frenesí en la gran ciudad (La movida madrileña)' es un documental producido por TVE en el que a  través de sus protagonistas conoceremos cómo vivió la ciudad de Madrid el paso de la década de los 70 a la de los 80.

Algunos de los más destacados integrantes de la movida, como Olvido Gara, Álvaro Urquijo, Ariel Rot, o Antonio Alvarado aportan sus testimonios sobre cómo vivieron aquellos excitantes años.

La capital despertó en esos años poco a poco a los nuevos sonidos, imágenes y actitudes vitales que ya protagonizaban los jóvenes de las principales ciudades de occidente. Cambios que coincidieron con el paso de una dictadura a un nuevo sistema de libertades.

Así se creó un escenario perfecto para el desarrollo de múltiples disciplinas artísticas, especialmente en el terreno de la música pop. Este crisol de novedades fue recogido y amplificado en principio por las emisoras de radio FM y después por TVE, que dedicó amplios espacios de su programación a cabeceras míticas que ilustraron con imágenes y sonidos lo que estaba ocurriendo.

Enlace para ver el documental en Rteve.es a la carta 

PAPA GORDO

PAPA GORDO - EN CASA DE RAIMUNDO AMADOR (ESPAÑA,2011)

Un retrato fresco, original y divertido del genio de la guitarra Raimundo Amador, en el que le vemos en su faceta más personal: cliente de la pescadería, padre de seis hijos que se queja de que le duelen los riñones, que recibe la bronca de su mujer por llenarle la casa de guitarras... Un hombre entrañable rodeado del cariño de s su familia. El mote que usa su nieta titula un cumental familiar como pocos. Hace unos años, cuando se publicó la lista de los mejores discos del último siglo en este país, el nombre que más veces aparecía era el de Raimundo Amador. A lo largo de tres décadas Raimundo ha pasado de tocar por las calles de los barrios más conflictivos de Sevilla, a compartir escenarios con Camarón, BB King o Björk. Este documental se hizo con el Premio del Público en el pasado festival de documentales musicales In-Edit de Beefeater.