Arduous in the brilliant and fluid-like movements of their fingers that seemed to dance across the body and neck of their guitars throughout their fiery duet, Rodrigo y Gabriela were the epitome of Latin-passion and grace in their explosive and sold-out performance Tuesday night at The Orpheum Theatre in downtown Los Angeles.
Burning through much of their improvised set list like a fuse doused in gasoline, the Mexico City duo and flamenco-instrumentalist heroes ignited a riotous celebration within a crowd that raved and danced to tunes from their extensive album discography.
They captured the elegant plucks and rhythms of their crowd favorite, “Tamacun,” off their eponymous first album Rodrigo y Gabriela, dazzling with the intricate licks and folk sound they honed in their early years in Ireland.
Their cover of Metallica’s “Orion” illuminated the ways in which their Latin past was infected by rock and roll.
“It’s not very common we play in places like this with people sitting down,” Rodrigo Sanchez mentioned immediately after the short intermission. “You’re so fucking civilized.”
It was then that Gabriela Quintero’s flamenco-born percussive technique caught the flair of Rodrigo Sanchez’s stylized chops and strums, and the duo descended into an hour long inferno that featured hits off their three most recent albums, 11:11, Area 52, and 9 Dead Alive.
“Santo Domingo” highlighted the stunning, fast-paced playing of Quintero, who rapped and fingered the strings of her guitar almost simultaneously, creating a clean and indiscernible rhythm between the two.
Then there was “Torito,” with its careening interscalar soloing and riffs, which Quintero described as a “tribute to nature and animals,” and possessed some of her most inventi...
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... acoustic jam that had the crowd swaying to its lifting rhythms and happy-go-lucky lyrics. He then promised to play a little bit of “East Coast and West Coast hip-hop,” a promise he fulfilled near the end of his set by covering a song from both A$AP Rocky and Kendrick Lamar.
His cover of the latter’s hit “Money Trees,” got the crowd singing along to Heckendorf’s lighting fast tongue, which was accompanied by the stunning dance of his fingers across his guitar.
It’s notable to mention that the entire night ran without a hitch, Heckendorf took the stage at 8 p.m. sharp and not ten minutes after he walked off it, the lights had dimmed by 8:57 p.m. for Rodrigo y Gabriela.
The entire composition of the night, from the venue to the performers, was flawless in its execution to best accommodate the audience and create an atmosphere—and night—unforgettable, in the least.
In this piece, two male musicians took turns during the performance to sing their parts. It starts off slow, as opposed to most of the music played that afternoon. During the middle of the piece, the guitarron continued strumming while Stacy Lopez, the vihuela player, made noises that sounded as if the vihuela itself was being struck. “Para Que Me Haces Llorar” soon came to a close; at least, it sounded like it was. As immediately as that song ended, the next piece started just as quickly and it had a song that had a familiar rhythm- and sure enough, it was the song “Stand by Me” but in Spanish. This part starts off with violins being plucked and with a calmer tone with a pace that builds up. Later on, all the musicians snapped their fingers as one of the singers were singing. After the singer finished his part, the violinists took over the microphones and made a deeper sound than what was heard out of the eight pieces
The instrument we chose to do our project on is a percussion instrument. This percussion instrument is called the guiro. The guiro is used as a counterpoint in folk music. It is less commonly used in salsa bands. The guiro is usually accompanied by dancers. The calabazo, the guayo, the ralladura, and the rascador are all other names that are used to call the guiro. The guiro contains two pieces. The first piece is the main part known as the guiro. The second piece is the scraper. The scraper is also known as the pua.
2003 was one of the most important years in Daddy Yankee’s career. Shortly after “Los Homerun-es” album achieved record-breaking sales, one his life-long dreams came true… a full house (12,000+) danced along with him in Puerto Rico’s historic Roberto Clemente Coliseum. The fans went wild as the press acclaimed his ability to bring the house down with his outstanding ability to free-style and his energetic stage performance. The show titled “Ahora Le Toca Al Cangri” quickly turned into Yankee’s most important and a historic moment in reggaeton music.
Also known as "Los Jefes de Jefes", this famous Norteño band formed in the late 1960s under the direction of Jorge Hernandez and a few of his brothers and cousins. Combining their
...ions in Buenos Aires are tango performances that combine elements of Broadway musicals and Argentine folk genres. This industry has created several jobs for tango performers in the region.
Instead, sound effects such as whistling, snapping, and drumming machines/software are used throughout the song. Typical to the genre of Reggaeton, these modern instruments create a rhythmic dance element to the song. To add on, this version has lively instrumentation but exhibited in different manners. While the original has a strong opening and ending, Play-N-Skillz’s version has a more crescendo effect, but then leading to a mellowed ending. This is created by the simple use of whistling in the beginning but then progressing to increase the addition of other “instruments,” until ending in a dramatic pause, with just whistling once
Home to some of the most diverse musical sounds in the world, Mexico’s musical influence has affected individuals both domestically and all over the world. This influence received new inspiration during the Spanish conquest, when music was utilized as a tool to communicate the Christian religion. To this day, Mariachis playing the ranchera musical style have captivated audiences and help transform a nation through dance and cultural substance.
And in Tijuana, nightclubs changed from burlesque shows to dance music, live music was played 24 hrs. a day, they had to get good! Bars employed musicians that play 45 minutes sets for 12 hours shifts, monster guitar players, keyboard players, and singers started to emerge all along the nightclub lined street. The bands played American top 40 hits but with a certain local flare.
This was their first album to feature live tracks, which were “Thunderbird,” “Jailhouse Rock,” and “Backdoor Medley.” Fandango! featured two singles “Tush” and “Heard it on the X,” though “Tush” was the notable one of the two, which peaked #20 on the US Billboard Hot 100. Following it was Tejas, which fell really flat of the groups standards and expectations. The album is negligible and received a rating of 2/5 stars from AllMusic. Then after the disappointment that was Tejas, they came in with their biggest grossing album yet, Degüello. This album was their first with Warner Bros. Records. This was their first album to go Platinum, and it made it their in half the time it took Tres Hombres to get to Gold. Degüello featured two hit singles, “Cheap Sunglasses” and “I Thank You.” It also received a rating of 4.5/5 stars from AllMusic. They ended their first decade with El Loco, another successful album, with three singles, “Tube Snake Boogie,” “Pearl Necklace,” and
“Reuben, Reuben” was a much happier song and the first of the songs performed in English; however, my favorite pieces were “Water Come-A-Me Eye” and “Great Day!” I especially enjoyed “Water Come-A-Me Eye” because of the percussion instruments that some of the choir members played. Jasmina Begovic kept a steady beat on the maracas and provided a pleasant accompaniment to the melodies of the choir. The other percussion instruments were equally enjoyable and added an element to the song that other songs did not have. “Great Day!” was particularly enjoyable because of the fast-paced rhythm and the energy of the performers. This song had a faster tempo than the other songs and was a great way to conclude the concert. Though it seemed as if the entire concert had picked up speed when the choir sang “Reuben, Reuben,” “Guantanamera,” and “Water Come-A-Me Eye” consecutively, the rhythm eventually slowed down when they performed “Fare You Well,” a traditional American folksong with a rather melancholy sound to it.
The concert opened with The Incredibles. With a homophonic texture, it kept you on your toes. I loved listening to a familiar song. I couldn’t help but dance a little in my chair. The trumpets were very prominent in this song.
This production was based on the Cuban dances and music from the 1950’s to today’s style of Cuban dance. Not only did Lizt Alfonso incorporate Cuban dance in this production, but she also weaved ballet, flamenco, and Afro-Cuba
Thomas Turino, Moving Away from Silence: Music of the Peruvian Altiplano and the Experience of Urban Migration. Chicago: Chicago University Press, 1993.
1953-1979 charts Franco’s progression from hotshot Afro-Cuban guitarist to a master bandleader. 1980-1989 features fluid guitar work and the distinctive fully mature rumba sound of TPOK Jazz (Tout Puissant Orchestra Kinois or all-powerful Kinshanan Orchestra). Both collections include a 48-page booklet filled with photos, recording notes, translations, and biography. Compiler Ken Braun distilled Franco’s vast catalogue down to twenty-eight essential tracks on the first set and thirteen on the second; even the most fanatic Franco-philes have nothing but praise for his choices. I prefer the second for personal (memories of my lost youth working in Africa) and musical reasons. In the 80s OK Jazz stretched out in long complex jams (sebenes) of percussion, guitars, and horns, which build in tempo and rhythm, sounding a bit like an Afro-Latin Grateful Dead.
After 15 minutes people were starting to get frustrated because nothing was happening. It is a good thing. Suddenly there was activity onstage and the lights dimmed. the first support band, Slam Cartel, came on. The mosh pit went wild.