Cigalas back to cuban music
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- Arts and Culture
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- 07 / 22 / 2007
Diego El Cigala is promoting his new record production entitled Dos Lágrimas. His new CD seems to be a continuation of the original and moderate record of some years ago, Lágrimas Negras, named after an immortal song by Miguel Matamoros, which was included on this occasion along with many other songs. Those "many other" were given salsa style together with Eu sei que voi te amar, Niebla del Riachuelo and La bien pagá, with Diegos special talent, and sweetened with the magic of the excellent musicians that came together to conceive the record.
This new production counts with strong pillars of Cuban music. Everything in this project bears Cigalas distinct touch, starting with the selection of the themes through to the musical production .The press has already called it a galactic alignment, as referring to the famed Spanish soccer team Real Madrid.
To this occasion, Cigala has invited Cuban stars such as Guillermo Rubalcaba, pianist and violinist, also director of Charanga Rubalcaba. The casting for the record was made possible thanks to the many visits by this Spanish singer to our country in recent years. It also counts on Yelsy Heredia with the bass and percussionists Luis Quintana, popularly known as Changuito, and Tata Güines, a live legend of Cuban percussion.
They all are sharing with Spanish musicians like Sabú Porrinas, Catalonian pianist Jaime Calabuch (nephew of bolero singer Moncho), Diego Morao (guitarrist, Moraíto Chicos son), and French accordion player Richard Galliano.
As stated by Diego El Cigala, " in Havana I had the opportunity of hearing Rubalcaba. After that , I went to visit Tata Güines, a genius of the conga at his 76 years, and later I went to see mysterious Changuito. He was called like that for the way he played the drums. No one knows how he is able to produce those master strokes.
Adopting Cuban themes is to Diego anything but new, though it is always news and causes excitement. He is now including songs like Dos Gardenias (Isolina Carrillo) and Compromiso (Antonio Machín), in addition to Spanish songs like María de la O (Rafael de León) and Dos Cruces (Antonio Molina). The record ends with the good music of Caruso (Lucio Dalla) , a song depicted by the critics as dressed in tango, and Te extraño (Manzanero).
Perhaps the greatest finding El Cigala made during his visits to Cuba has been the music of Rolando Laserie, about whom he said in a recent interview: " I heard him for the first time at Jorge Perugorrías at five oclock in the morning. I liked him as much or even more than I liked Benny Moré. His singing style is much more befitting to my voice. I sing to not get bore. And I feel that music as if it were completely mine, so when I sing boleros, Im still Flamenco."
In Spain, his promotional concerts will count on the presence of the musicians that participated in the making of the record, except for French Galliano. From all of them the "Principe de Lavapiés" learned what is comparable to a Cuban Cha-cha-cha or guaguancó. For El Cigala, "flamenco is rhythm and a sort of son. Once you have under control those two keys, you are able to embrace all Afro-Latin music, without resigning for one second to being Flemish.
Source: By Oni Acosta, Cubanow
This new production counts with strong pillars of Cuban music. Everything in this project bears Cigalas distinct touch, starting with the selection of the themes through to the musical production .The press has already called it a galactic alignment, as referring to the famed Spanish soccer team Real Madrid.
To this occasion, Cigala has invited Cuban stars such as Guillermo Rubalcaba, pianist and violinist, also director of Charanga Rubalcaba. The casting for the record was made possible thanks to the many visits by this Spanish singer to our country in recent years. It also counts on Yelsy Heredia with the bass and percussionists Luis Quintana, popularly known as Changuito, and Tata Güines, a live legend of Cuban percussion.
They all are sharing with Spanish musicians like Sabú Porrinas, Catalonian pianist Jaime Calabuch (nephew of bolero singer Moncho), Diego Morao (guitarrist, Moraíto Chicos son), and French accordion player Richard Galliano.
As stated by Diego El Cigala, " in Havana I had the opportunity of hearing Rubalcaba. After that , I went to visit Tata Güines, a genius of the conga at his 76 years, and later I went to see mysterious Changuito. He was called like that for the way he played the drums. No one knows how he is able to produce those master strokes.
Adopting Cuban themes is to Diego anything but new, though it is always news and causes excitement. He is now including songs like Dos Gardenias (Isolina Carrillo) and Compromiso (Antonio Machín), in addition to Spanish songs like María de la O (Rafael de León) and Dos Cruces (Antonio Molina). The record ends with the good music of Caruso (Lucio Dalla) , a song depicted by the critics as dressed in tango, and Te extraño (Manzanero).
Perhaps the greatest finding El Cigala made during his visits to Cuba has been the music of Rolando Laserie, about whom he said in a recent interview: " I heard him for the first time at Jorge Perugorrías at five oclock in the morning. I liked him as much or even more than I liked Benny Moré. His singing style is much more befitting to my voice. I sing to not get bore. And I feel that music as if it were completely mine, so when I sing boleros, Im still Flamenco."
In Spain, his promotional concerts will count on the presence of the musicians that participated in the making of the record, except for French Galliano. From all of them the "Principe de Lavapiés" learned what is comparable to a Cuban Cha-cha-cha or guaguancó. For El Cigala, "flamenco is rhythm and a sort of son. Once you have under control those two keys, you are able to embrace all Afro-Latin music, without resigning for one second to being Flemish.
Source: By Oni Acosta, Cubanow
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