底細樂團下一場拉丁 salsa音樂會,將讓您坐立難安.

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底細樂團下一場拉丁 salsa音樂會,將讓您坐立難安.
底細樂團下一場拉丁 salsa音樂會,將讓您坐立難安.

Salsa Time with Dizzy Band
2007年 8月19日 晚上 : 7:30
中正音樂廳

將由世界級知名拉丁打擊大師, Mr. Ollie Delfino 帶領14位國內頂尖拉丁樂手編組演出，當晚演出會讓您血液隨著現場SALSA音樂節奏跳動，敬請期待．




8/19 星期日 底細爵士樂團 -- Salsa風情拉丁夜 Salsa Time with Dizzy Band 自從2000年無數演出之後，應無樂迷們的要求及祈盼下在，底細在今年(2007年)首場演奏會中將以拉丁Salsa樂曲曲風作為重點演出，所以籌劃8月19日(星期日 晚上)假 國家音樂廳安排一場-底細 ”Salsa風情拉丁夜” 的演奏會，屆時必然會再度引起國內爵士及拉丁樂迷一大震撼。 近年來似乎拉丁音樂漸受全球樂迷重視，無形中也成為一股國際音樂主流，拉丁音樂裏流著南美洲人浪漫熱情的血液，鮮明的旋律及活潑的節奏鼓動著四周的人不由自主地隨之搖擺，心跳的節奏似乎也隨著鼓聲重重的敲，如果再加上爵士樂的自由隨興，不但演出者完全忘我就連聽眾身上的血液也隨著節奏跳躍，無法不醉在其中。 底細在今年8月19日年度重點演奏會中，特別邀請底細拉丁團音樂總監Ollie Delfino來製作一個Salsa音樂單元演出，並延請知名創作編曲家Gilberto Q Amparado 先生重新以14位演奏人員型態來全新編曲歷年來耳熟能詳知名拉丁樂曲 例: RAN KAN KAN, CUMBANCHERO, OYE COMO VA, EVIL WAYS, MARIA OF MY SOUL, LA BAMBA, COPACABANA, CACHITO, CHERRY PINK, SALSA DANCE, MAMBO NO.5 等等名曲。8月19日底細音樂會-Salsa風情拉丁夜，指揮仍舊是-尤金順，所有演出者包含了底細爵士樂團資深團員和結合了十多年來與底細大型演出時邀請的音樂嘉賓，其中不乏音樂總監 Ollie Delfino 從事拉丁打擊樂四十餘年，在世界各地演出，與其合作演出的國際巨星不甚枚數包括: Diana Ross, Tom Jones, Sammy Davis Jr., Temptations, Jose Feliciano, 及 拉丁鼓王Tito Puente 等。其他的演出人員均是國內首屈一指的傑出樂手如: 首席小喇叭手Denny Deysher、Gilberto Q Amparado， 薩克司風兼長笛手 Met Francisco及國內知名薩克司演奏家楊曉恩，長號演奏家鄧世偉，拉丁唱將杜德智，鍵盤手David Chala， Bass手沈睦恆，鼓手楊三元，底細資深打擊樂手翁國偉、 楊明哲、陳偉鵬…等。 這場經由底細工作室長達半年精心籌畫製作 Latin Salsa知名樂曲的音樂會專輯演出，絕對不會讓國內喜歡拉丁音樂樂迷失望，同時也是喜歡拉丁Salsa音樂的樂迷難得一場live經典演奏會。 主辦單位: 底細爵士樂團協辦單位: 底細工作室，雙燕樂器公司，台灣集安股份有限公司演 出 者: 尤金順，Ollie Delfino ….等 14人員團 長: 耿浩然指 揮: 尤金順音樂製作: Ollie Delfino 執行製作: 楊 明 哲時 間: 96年8月19日(星期日) 晚7時35分演出地點: 國家音樂廳票 價: NT 300. 600. 900. 1200. 售 票 處: 國家音樂廳. 新舞台. 金石堂. 新學友. 功學社. 敦煌書局. 知新廣場. 社教館.宇音樂器. 企 劃: 底細工作室洽詢專線: 2763-5235 8787-0695 Dizzy Home Page: www.dizzy.org.tw 本場音樂會之節目單內容精緻免費贈送(贈完為止)，請與會樂迷儘早入場以免向偶。




What is Salsa?
The origin of 'Salsa'
Confusion as to the classification of Latin and Afro-Caribbean music can be attributed more to marketing strategies rather than to actual musical differences.
After the Revolution in ’59 when many Cuban musicians were exiled in the U.S., a separation in the musical development in both countries began taking place.
This separation caused an impassioned debate on the terminology used to describe Cuban music in the U.S.

..................................................................................................................

The word 'Salsa'  led to great controversy since its creation in the beginning of the 70’s. Many Cuban musicians insisted that salsa didn’t exist and that it was actually the Cuban Són dressed up for commercial purposes. But Salsa ended up creating such a worldwide impact that it was finally given legitimacy.
However, it must also be kept in mind that Puerto Rican musicians (and musicians from other Latin American countries) had a considerable hand in the preservation and development of this music in the U.S. and that their interpretation actually created something new and different to what was being played in Cuba.

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New sounds and styles
While in New York during the ‘60s, the Latin music scene continued more or less along the lines of the traditional music of the pre-revolutionary stage in Cuba, the musicians that had remained on the island began experimenting with new sounds and styles coming from the U.S.
They began mixing in elements of jazz, fusion and rock with popular dance music and began to stray from the limitations imposed by tradition in order to serve the dancing public.
In the 70’s the invented "Salsa" word had hit the East Coast of the U.S., at a time when this sort of music was experiencing enormous popularity peaks as well as notable growth within the record industry.

..................................................................................................................

Thus,The development of various music styles that emerged during these last decades can be clearly observed. In general terms, the Post revolution Cuban music (which includes dance music, jazz, new troubadour and the Timba), jazz and Latin Fusion (including Latin rock, a style developed mainly on U.S.’s West Coast) can be categorized as East Coast Salsa.

When exploring the various aspects of this evolution with the music actually being played, it is fascinating to observe the independent development of each instrument within the different groupings and in particular, how specific patterns are created within these styles.
As was mentioned earlier, many of the structural changes or developments with the more modern styles have affected mainly percussion instruments, while the piano has maintained its role based on the foundations of the Son and its variations.

..................................................................................................................
It's all about rythem
One thing that should not be forgotten is that when talking of Salsa or one of the many musical styles of Afro-Caribbean origins, one is talking of rhythms that were all made to dance to. The importance of dance in the Caribbean is nothing new and since the arrival of the Spaniards all the chronicles and traveler’s texts were filled with references to the festive and dancing culture of the Latin Americans.
For Cubans especially, music and dance has always had a very special place in society. Evidence of this can be found in the innumerable essays, articles and reports written by researchers who study the subject in detail.
However, the second half of the 19th Century can be considered as the crucial stage in the crossing and creolization process of musical and dance genres originating from Africa and Europe.

..................................................................................................................
Creatin of more modern styles after 1850
During this same period and as a result of the influence and authority exerted by the waltz, the polka and the Contra-Danze (Country Dance), dancing in partners became the most popular style in dancing salons. Cuba entered the 20th Century, dancing Danzón, the direct offspring of the Habanera and the Contra-Danze.
Since then, nothing has stopped and in Cuba every so often, it seems that a moment arrives in which dancers get bored of one type of music and search for another to entertain them and get them dancing again.
At first, as was just mentioned, it was the Danzón; then once that became tedious and monotonous, the Danzonete was incorporated to the end of the song in order to make it less structured and more lively and relaxed for dancers. Then, in the beginning of the 30’s, came the eastern Són. But once again dancers grew bored and it was necessary for musicians to rehearse new beats and rhythms.
That is how the Mambo came into being in the 40’s, the Chachachá in the 50’s, the Pachanga in the 60’s and so on until the Songo arrived in the 80’s and the Timba in the 90’s.

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History of Salsa

Introduction
In the 60’s a wave of cuban rhythm fused with jazz. Izzy Sanabria, a graphic designer at Fania studios, combined them all together under the same name to avoid confusion and to sell the concept more easily.
He chose salsa, a word that was shouted out to bands and musicians to request them to spice up or liven up the music.
Salsa music has a very defined structure:
•        an introduction
•        a melodic phase
•        a rhythmic or percussion phase called montuno
•        another melodic phase
•        and the ending
The exclamations are used to announce a change , especially in the montuno, which is the part with greatest rhythmic energy.

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An old Antecessors of Salsa in Cuba is the 'contrandanse' danced in Versailles, which went first to the Spanish court and afterwards to the Caribbean. During the colonisation, this dance had already got the name contradanza. The contradanse arrived in Haiti and the contradanza in Havana.
Another fundamental factor for the development of salsa are the African rhythm which were used by the slaves for their religious rites. This preservation of these rites was possible due to the similarity of their deities, the orishas, and the Catholic saints.
Immigrants from Haiti in Cuba also played an important role for the creation of salsa rhythms. Immigrants of the first colonisation introduced the contradanza criolla (of Hispanic American origin), a criolla version of the contradanse with African influence in the instrumentation and interpretation. The second wave of immigrants arrived in the middle of the 19th Century from the Republic of Haiti, contributing to the birth of the Cuban son.

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Rhythm and Composition
The singing tradition and the rhythm of the drums are a central part of religious and social practices among the Africans. A relevant aspect is the shared musicality.
One of the musicians plays a constant, specific rhythm (the clave) and the others play together forming a polyrhythm. The polyrhythm is an essential component of salsa music. The most common claves are those of the son, the rumba and the samba; all descendants of the African clave.
The pregón-choir is another legacy of religious ceremonies, in which songs were directed by a social or religious leader.
The method of composition used in Cuba during the second half of the 19th Century varied according to the geographical location. In the East, music was based on a rhythmic progression of simple chords that accompanied the improvised words that obeyed the clave. All of these are characteristics that are apparent in salsa.
The music from the West was more European and the instruments used reminded of those found in French orchestras. The preservation of the orchestral structure, instruments and specialized musicians would later make jazz’s appearance and entrance into Cuban music much easier.
When Cuba became an independent colony, what used to be a geographical difference turned into a social stratification in the capital: European music for the upper white classes and the music of the East for the lower black classes.

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Salsa in Mixed-breed Cuba
The Caribbean cinquillo rhythm pattern was acquired by Cuban dancing and habaneras through the criolla (Hispanic American) contradanza. The dances for these musical forms were used to be group activities in the past and became coupled dances. The individualisation of the dance paved the way for the introduction of African movements in the derivatives of the contradanse. The new dance received more approval among the colored communities than among the conservative governing elite.
North American influences during the Batista dictatorship brought over performances by American musicians, which led to jazz’s elements in salsa. The mambo went on to be acknowledged as a genre in its own during the 40’s. The cha cha chá, another descendant of the new rhythm section, was still played by the charangas (flute and violin) and preserved an intermediate tempo. The big change involved the introduction of the conga. Both styles spread rapidly throughout the rest of the world.
..

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Cuban Revolution and beyond
Fidel Castro came to power in 1959. The American economic sanctions against Cuba could not prevent new rhythm from escaping; the most remarkable ones include the songo and the mozambique. However, the political change and its impacts reduced Cuba's presence on the global scene.
Apart from the Caribbean, three new salsa centers sprang up: New York, Miami and Colombia.
In New York, immigrants from Puerto Rico abandoned Puerto Rican folklore music such as the bomba or the plena – except perhaps Willie Colón-, in favor of Afro-Cuban music.
Miami was a destination chosen by many of the exiled Cubans. Salsa in Miami is fairly politicised, and Carnival or salsa’s promotion in Miami are mostly due to right-wing political activists. Salsa there is a symbol of a great desire: a Cuba without Castro.
In Colombia, the considerable responsibility of being a main salsa centre can be observed in its great contribution of talents and rhythmic innovations. Cuba prepared what has become another great historical contribution to the history of Salsa: the Timba.

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The origin of 'Salsa'
Confusion as to the classification of Latin and Afro-Caribbean music can be attributed more to marketing strategies rather than to actual musical differences.
After the Revolution in ’59 when many Cuban musicians were exiled in the U.S., a separation in the musical development in both countries began taking place.
This separation caused an impassioned debate on the terminology used to describe Cuban music in the U.S.

..................................................................................................................

The word 'Salsa'  led to great controversy since its creation in the beginning of the 70’s. Many Cuban musicians insisted that salsa didn’t exist and that it was actually the Cuban Són dressed up for commercial purposes. But Salsa ended up creating such a worldwide impact that it was finally given legitimacy.
However, it must also be kept in mind that Puerto Rican musicians (and musicians from other Latin American countries) had a considerable hand in the preservation and development of this music in the U.S. and that their interpretation actually created something new and different to what was being played in Cuba.

..................................................................................................................

New sounds and styles
While in New York during the ‘60s, the Latin music scene continued more or less along the lines of the traditional music of the pre-revolutionary stage in Cuba, the musicians that had remained on the island began experimenting with new sounds and styles coming from the U.S.
They began mixing in elements of jazz, fusion and rock with popular dance music and began to stray from the limitations imposed by tradition in order to serve the dancing public.
In the 70’s the invented "Salsa" word had hit the East Coast of the U.S., at a time when this sort of music was experiencing enormous popularity peaks as well as notable growth within the record industry.

..................................................................................................................

Thus,The development of various music styles that emerged during these last decades can be clearly observed. In general terms, the Post revolution Cuban music (which includes dance music, jazz, new troubadour and the Timba), jazz and Latin Fusion (including Latin rock, a style developed mainly on U.S.’s West Coast) can be categorized as East Coast Salsa.

When exploring the various aspects of this evolution with the music actually being played, it is fascinating to observe the independent development of each instrument within the different groupings and in particular, how specific patterns are created within these styles.
As was mentioned earlier, many of the structural changes or developments with the more modern styles have affected mainly percussion instruments, while the piano has maintained its role based on the foundations of the Son and its variations.

..................................................................................................................
It's all about rythem
One thing that should not be forgotten is that when talking of Salsa or one of the many musical styles of Afro-Caribbean origins, one is talking of rhythms that were all made to dance to. The importance of dance in the Caribbean is nothing new and since the arrival of the Spaniards all the chronicles and traveler’s texts were filled with references to the festive and dancing culture of the Latin Americans.
For Cubans especially, music and dance has always had a very special place in society. Evidence of this can be found in the innumerable essays, articles and reports written by researchers who study the subject in detail.
However, the second half of the 19th Century can be considered as the crucial stage in the crossing and creolization process of musical and dance genres originating from Africa and Europe.

..................................................................................................................
Creatin of more modern styles after 1850
During this same period and as a result of the influence and authority exerted by the waltz, the polka and the Contra-Danze (Country Dance), dancing in partners became the most popular style in dancing salons. Cuba entered the 20th Century, dancing Danzón, the direct offspring of the Habanera and the Contra-Danze.
Since then, nothing has stopped and in Cuba every so often, it seems that a moment arrives in which dancers get bored of one type of music and search for another to entertain them and get them dancing again.
At first, as was just mentioned, it was the Danzón; then once that became tedious and monotonous, the Danzonete was incorporated to the end of the song in order to make it less structured and more lively and relaxed for dancers. Then, in the beginning of the 30’s, came the eastern Són. But once again dancers grew bored and it was necessary for musicians to rehearse new beats and rhythms.
That is how the Mambo came into being in the 40’s, the Chachachá in the 50’s, the Pachanga in the 60’s and so on until the Songo arrived in the 80’s and the Timba in the 90’s.

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Salsa Music
Beats and rythm of Salsa
What is salsa music? The answer is a matter of contrasting opinions, including among musicologists. The music considered to be salsa music seems to vaguely follow several different criteria. Salsa is played in a common 4/4 time, which means four beats to each bar. The music is played in two bar phrases, thus forming a total of eight beats.
In the base rhythm, the eight beats are played on a tall drum called conga. Over this base rhythm, other layers of percussion are added and overlapped.

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African roots
The beats that are not a part of the base rhythm in the total of eight beats are normally determined by a number of percussionists that play together using smaller instruments.
The cooperative role of musicians reflects the music’s African roots, where the best way of feeling the rhythm is listening to the music as a whole instead of listening to each instrument individually.

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The importance of 'clave' for Salsa
Of all those percussion instruments, the most important and the one that marks the strongest criterion when defining a piece of music as Salsa is the clave.
The clave is a rhythm played by hitting one stick against another. The sticks themselves are also called clave. Both musicians and singers must obey the clave, playing notes or accentuating syllables that highlight most or all of the clave beats.
Despite the fact that the songs normally follow only one type of clave, songs containing clave changes are becoming more and more common and at the same time musicians are becoming more and more skilled at these changes.

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Soneo - technique of improvisation
Another clue for determining when one is faced with a Salsa song is the speed of music. Normally,
•        songs with a half tempo are considered to be chachachá,
•        while those with high tempo are usually classified as salsa.
However, there is no exact speed or marking point. It is sufficient to say that the faster the music the higher the probability that is Salsa.

One of Salsa’s antecedents is the Cuban Son. Troubadour music, sung by troubadours who would sing about anything that comes to their mind: how well the year’s harvest went, what they had for dinner the previous night, etc. They are used to improvise with the lyrics and voice but always follow the songs clave. This improvisation technique, called Soneo, is in evidence even today and many well known musicians owe their reputation to it.

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Salsa and its influences
The Son, which is played following the old style without metal instruments, clearly reveals its roots: soft African rhythm with a bass pulse that come before the downbeat which frame the lyrics sung in a cooperative way, where the lead singer is answered simultaneously by other singers, or where these singers sing different pieces as an alternative and the combination is completed with Andalusian melodies.
Jazz is another influence which was introduced into Salsa by the Latin inhabitants of New York and from which salsa took improvisation and melodic riffs between the piano and the metal instruments.

The Cumbia and the Vallenato can also fit into the definition of Salsa. The first is characterized by a slow rhythm closer to reggae, while the second has an accordion base.

The dance
Different ways to dance 'Salsa'
The way to dance salsa varies enormously depending on the dancer’s place of origin and how he or she learned to dance. For example, the salsa danced in the Caribbean and in Latin America is developed like a paseo (walk), which results in a much more circular movement with much slower turns.
Similar to those styles are the Cuban and Colombian prototypes. The first dance includes movements that dig more deeply into the floor and the othe rone requires less contact.. In the U.S., although, the dance’s foundation involved the basic Latin step, many early combinations contained right turns.

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How to dance Salsa
In order to dance salsa in its most elementary form, the four beats of the music are followed but only three steps are taken, each step lasting for one beat. The remaining beat can be added to the previous step (which makes the count quick-quick-slow) or an ornamental movement is added. The steps can include displacement or can be made on the spot; it is like walking for three steps and pausing after each three. If you walk in this way on time to the music, you'll already be dancing salsa.

It's this simplicity that makes dancing Salsa very flexible; you can walk in any direction, you can even dance salsa on the same spot, moving around or turning.
The remaining beat can be dressed up with a bump of the hips, a small kick or a pause. You must keep on mind that giving a step involves placing your foot on the ground and shifting your weight on to it.
In many Latin American countries couples can even choose what downbeat they wish to dance to, and this doesn't necessarily have to be the first one. This can seem to be total rhythmic anarchy, and it would be if it were not for one very important aspect: salsa and its antecedents have always been intended as dance music.
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Dancing in couples
Another feature to be taken into account when it comes to dancing salsa is who leads and who follows. Social dancing in couples is a phenomenon of western culture; it is regarded as a structured dance but is not executed in a routine-like way.
There are basic rules that allow two people to dance together even if they have never seen eachother before. This flexible attitude requires that each element of the dance has a unique and identifiable starting signal.

When the couple takes the dance floor, both cannot lead or follow the dance at the same time, .Therefore, one must lead and the other has to follow.
Traditionally, the leading role has always been taken by the man, with the woman following. This however, began to change. The indication (also known as a mark in tango) for a certain movement can take on a variety of different forms. Normally it involves a change in pressure in the places of contact with the partner, or in the position of the leader with regard to the follower. The most elegant indicators are those which, while clear and considerate to the partner, are unobvious to the spectator. The challenge for the following partner is to find a way to express him- or herself with the music.

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Learn more afro-carebbean dances
One last thing to keep on mind. Salsa music could preserve its agility because of absorbing other influences, and the dance itself did the same. Apart from other Latin dances such as the merengue or the cumbia (sometimes included under the term salsa), salsa shows many similarities with the lindy-hop, the swing and the hustle, and has even been shown as capable of absorbing elements typical of Latin salon dances and tango.
On the following pages, you will find some basic guidelines on how to learn some of the most well known Afro-Caribbean dances:
Dances • Salsa
Just like other musical rhythms such as jazz or flamenco, salsa expresses a particular way of feeling through its rhythm and sound. As a form of expression, it picks up elements of music that somehow come into contact with it, but never loses its essential being, which represents the experiences of the Caribbean cities.

The rhythm flows in a half bar of 4x4, that is to say, with two beats. On the first beat, two half beat steps (fast) are taken and on the second beat only one step (slow) is taken. This slow step is actually taken on the first half beat and on the following half beat no step is taken at all, but the pelvis keeps moving to mark the hip of the leg that just moved.

In the Caribbean it is said that in salsa "anything goes"; salsa’s style is very liberal.

The position used to dance Salsa is the same as that for dancing merengue, cha-cha-cha y mambo. The bodies are very close together and the arms are held in tropical style (together with the forearms in a vertical position). In salsa you also make the Caribbean hip movement.
In this way, when you move a leg you leave it bent without putting your weight on it and marking the hip of the opposite leg, which stays stretched and supports the body’s full weight. But unlike the mambo, during the last half beat the pelvis doesn’t stop; rather, it keeps moving. This way, the weight is shifted to the leg that gave the last step, which begins to straighten gradually (this is when the other leg begins to bend) and the hip begins to be marked. However, the hip isn’t totally marked until the next step is made.
Dances • Cha-Cha-Cha
The Cha-Cha-Cha was created by a Cuban violinist and orchestra director Enrique Jorrín in 1948, as a result of his experimentation with the danzón’s form, melody and rhythm. Of all Latin dances, it is the most recently incorporated into the Latin family. The cha cha is an in-between dance, not too fast and not too slow, which makes it easy to grasp for everybody, as opposed to the Mambo, where the music is faster and the rhythm more complex.

The cha cha has a 4x4 timing (four beats per bar). The steps used to dance the cha cha are simple and easy to follow: on the first beat the first step is taken, another on the second beat, on the third beat two steps lasting a half beat each and on the fourth one more step. The steps taken on one beat of the music are called ‘slow’ and the steps taken on half beats are ‘quick’. The cha cha is a tropical dance of widespread use in the dance salons. The dancers position their bodies together and hold their arms in tropical style, making the characteristic hip movement of the Caribbean dances.

The open position of the dancers is also typical of this dance. The cha-cha-cha derives from the mambo, which is why all mambo moves can be done by dancing cha-cha-cha. However, the basic dance , for example, belongs to an unit of the mambo and has two extra steps. Despite the fact that figures are similar in both dances, generally the cha-cha-cha is a slower, smoother and more elegant dance than the mambo

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Dances • Danzón
Just like the habanera, the danzón also derives from the contradanza and the danza criolla (creole dance) and is written in a 2x4 bar, following a Dominican rhythm, the cinquillo. The cinquillo is actually a group of five notes that are adjusted to the musical value of only four notes.
The danzón is slower with more cadence than the contradanza, the couple with their arms around each other, in permanent contact, practically without moving from the spot, with a similar posture to that in the tango but with the peculiarity that both keep eye contact. As a part of the Danzón’s structure is repeated, its rhythm is a catchy one, but the combination of wind instruments gives it an element of mystery, attaining certain contrast which makes communication easier when exchanging looks.

Musically the danzón is made up of an introduction of eight bars, which is repeated so as to have a total of 16 bars before the so called clarinet part comes in. Then the introduction is played again, acting in this case as a bridge and then the metallic part comes in (violin in the charanga) which, due to the longer duration of the figures, offers a slower style. The total length is 32 bars, returning to the repeated introduction.
Dances • Mambo
Derived from a rhythmic verse of the Cuban danzón, the mambo appeared for the first time in 1938 in a danzón named Mambo de Orestes López. Just like other Caribbean dances, the way of dancing the mambo comes from the son. Pérez Prado re-arranged the musical structure with arrangements inspired in those of the jazz orchestras, introducing trumpets and saxophones with Cuban percussion, thus creating this new rhythm whose greatest hit was "Qué rico el mambo".

The mambo is one of the fastest tropical dances and shares a common factor with the bolero: in both the actual movement begins on the second beat, which makes them much more sensual, along with the characteristic hip movements of the Caribbean dances. As the original mambo was passed down from one generation to the next, it became naturalised that the dance startedon the first beat rather than on the second.
That's the reason why there are many people who dance the mambo by taking three steps on the first three beats with a pause on the fourth beat. Similar to other tropical dances, the mambo can be danced with the bodies close together, although it is more common to dance it separately due to the dance’s vitality and difficulty. The mambo tends to be a very lively dance with many turns but never requires dancers to move over a larger part of the dance floor.
Dances • Merengue
The merengue’s ancestors are the calenda and the chicha, dances of the tribes that were taken as slaves to America. These are couple dances danced outdoors. In the Dominican Republic it was incorporated into the more popular social classes due to the dance’s simplicity. In the 20th Century it became the country’s national dance. The higher class however, did not accept this dance until well into the 20th Century, due to its links with African music and due to the erotic aspect of the lyrics. There are various types of merengue: cibaeño, apambichao and coeño. The musical structure has a 2x4 timing and is made up of three parts: the paseo, the merengue and the jaleo.

In order to dance merengue, the basic step is a pattern of two extremely easy steps, although a right hip movement is required that can be a little hard to learn at first. When dancing merengue the man and woman stand in a position similar to that in the waltz and from that position take a step to the side in what is called "paso de la empalizada", and then turn left or right. This is called ballroom merengue, in which the dance couple never separates. There is also another style called figure merengue in which the dancers turn separately but always touching their partner’s hand.
Dances • Rueda de Casino
In Cuba, the Salsa dance goes by the name of Casino, which comes from the so called 'Rueda de Casino' (Casino Wheel), a formation made up of several couples which, guided by a "leader", make figures and exchange partners. It originally comes from the French Contradanza, which was famous in the 18th Century and very popular at Cuban society balls.

There are at least two couples are required to dance the Rueda de Casino, but there is no upper limit. One of the daners must be familiar with the steps and turns and the other one must lead. For the Rueda it is important not to do too many or too complex turns ; the leader’s originality can be shown by leading the "wheel" gracefully and creatively, decorating the instructions with expressions or small stories, which make the Rueda a dynamic, vibrant and spicy experience.

This way of dancing salsa has a competitive element that makes it very interesting (especially if many couples are involved), where the "leader" tries to cry out instructions for turns that are a little confusing. The couples must answer by trying to match the leader’s instructions as closely as possible. If they make a mistake they must leave the Rueda.

The Rueda is like a typical dance of suburbs, where each suburb has its favorite "leader", its private turns and sequences, as well as other aspects that differentiate it from the Ruedas of other suburbs or areas. On festive days or at Carnaval in Cuba it is common for one Rueda to challenge another, and the Rueda with the least mistakes and greatest fluidity and grace is the winner.

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Dances • Rumba
It is believed that the rumba originates from a blend of flamenco (taken to Cuba by the Spanish) and the rhythms of the African slaves. The word rumba comes from Spain and originally did not refer to the dance, but rather to women who led ‘loose’ lives, which therefore labeled the rumba as something frivolous and full of prejudice. Initially, the term was a synonym for a popular celebration and for the music that was played, sung and danced there. The son groups took some elements of this music and created more concrete structures, which were then labeled rumba. The term also encompasses the guaguanco and the conga.

In Cuba there are many dances referred to rumba, which are shared into three main styles:
•        the yambú
•        the columbia and
•        the guaguanco
The most popular style of them is the latter, which combinas elements from Spain, the rumbera costume and the handkerchief. .

The rhythm is made up of half a bar of 4x4, that is, in two beats. On the first beat two half-beat steps are taken (fast) and on the second beat only one step is taken (slow). This slow step is taken on a half-beat and on the next half-beat there's no step taken but the pelvis keeps moving to mark the hip of the leg that just moved.

The authentic Cuban rumba is not a salon dance. In the rumba, man and woman dance without touching each other. But due to the reluctance of upper classes to accept the dance (they regarded it as promiscous and obscene) a new way of dancing the rumba emerged: rumba as a salon dance.
The rhythm is made up of half a bar of 4x4, that is, in two beats. On the first beat two half-beat steps are taken (fast) and on the second beat only one step is taken (slow). This slow step is taken on a half-beat and on the next half-beat no step is taken but the pelvis keeps moving to mark the hip of the leg that just moved.
Another possibity to dance the rumba is to practise danzón moves, and therefore carried certain European color. On the other hand, in the U.S. a new style emerged, known as the slow rumba, which later spread to Europe: musically this style is a slightly master bolero (also called "rhythmic bolero") but the dance is very similar to the danzón, thus coinciding with the basic steps of the salon rumba.

Thus it can be said that there are two dancing styles for the rumba:
1.        the slow rumba which is slower and more romantic and
2.        the Cuban rumba which is faster and bouncier
The dancers are positioned just like in other Caribbean dances such as the merengue, cha cha cha and the mambo: the bodies stand close together and the arms are held up in tropical style, accompanied by the typical Caribbean hip movement.
Dances • Timba
The Timba, also known as the Hypersalsa, hasn't got a new rhythm, but a new sound. This dance comes originally from Cuba and was "created" by Manolín "el Medico de la Salsa". The Timba focuses on the Son, Salsa, Rap and Pop and the dance style is completely free: this rhythm can be danced individually or in a couple and its main characteristic are the spasmodic movements of the whole body together with hand gestures that are improvised by the dancer to the beat of the music.

The piano’s permanent rhythmic attack, together with the drums, the tumbadora and the timbales are based on the instrument that takes precedence in this whole affair: the bass. This instrument develops a tumbao with a cadence that is as unique as it is catchy, a frenetic inner pulse that allows more experienced dancers to develop flashy dance routines with an overdose of twists and turns, with the classic hip movement that has become the Cuban’s registered trademark.
Dances • Bolero
The bolero is a musical genre that can be danced at a slow tempo and which was born in Cuba towardby the end of the 20th Century as an heir of the Spanish bolero, but with its own musical characteristics.
One of these is the romantic lyrics with their clearly defined reflective nature, which causes the bolero to be associated with feelings (generally about love and broken hearts) and sensuality.
In the traditional bolero, there is a complete fusion between Hispanic and Afro–Cuban factors, which appear both in the melody as well as in the guitar accompaniment. As to the rhythm, the bolero is closely related to the danzón and the habanera, although the dance is more similar to that of the son.

The first known bolero was composed by the troubadour Pepe Sánchez in 1885, and is titled "Tristezas" (Sadness). Pepe Sánchez belongs to the so called Cuban troubadour generation and was a pioneer in defining the features of the bolero style. Born in Santiago de Cuba, he went to Havana and the Caribbean afterwards. By the end of the 19th Century, the bolero started its formation and structuring stage. The boleros that totally defined this rhythm are "Vereda Tropical" (Tropical Sidewalk) and "Nocturnal", recorded by Pedro Vargas. That was when the dance bolero was born. The Cuban influence of the Matamoros Trio that combined the eastern son with the bolero, made the bolero totally danceable in 1927.

The bolero’s rhythm is 4x4. This rhythm is built in a bar with four beats. When dancing bolero, the couple begins to move on the second beat with a quick step; on the third beat with another quick step and on the fourth beat the step is a slow one as on the next beat (the first beat of the next bar) no step is made at all and only the pelvis is moved.

The bolero is the most romantic and sentimental dance of the Caribbean. Its simplicity has made it popular all over the world, so much so, that it is one of the most frequently danced rhythms in all scenes and in all social classes. It is most erotically and sensually charged dance than any other dance, even the tango. The reason for its existence is holding the partner and transmitting sensual love. The hip movement in the bolero is the same as in the rumba. Therefore, even though on one of the four beats of the bar there is no step, the pelvis doesn’t stop moving.

When dancing the bolero, the dancers stand in facing each other, bodies close together and arms in the tropical position (forearms together in a vertical position). The movement consists of only two different parts that are constantly repeated during the dance. The couple turns slowly to the left, staying almost on the same spot. Both parts are the same for the man and the woman, only that when the man moves the right foot, the woman moves the left and vice versa; therefore when he is doing one set of movements, she is doing the other.

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演出海報出爐..



8/19 星期日
底細爵士樂團 -- Salsa風情拉丁夜
Salsa Pop Time with Dizzy Band
   


自從2000年無數演出之後，應無樂迷們的要求及祈盼下在，底細在今年(2007年)首場演奏會中將以拉丁Salsa樂曲曲風作為重點演出，所以籌劃8月19日(星期日 晚上)假 國家音樂廳安排一場-底細 ”Salsa風情拉丁夜” 的演奏會，屆時必然會再度引起國內爵士及拉丁樂迷一大震撼。

近年來似乎拉丁音樂漸受全球樂迷重視，無形中也成為一股國際音樂主流，拉丁音樂裏流著南美洲人浪漫熱情的血液，鮮明的旋律及活潑的節奏鼓動著四周的人不由自主地隨之搖擺，心跳的節奏似乎也隨著鼓聲重重的敲，如果再加上爵士樂的自由隨興，不但演出者完全忘我就連聽眾身上的血液也隨著節奏跳躍，無法不醉在其中。

底細在今年8月19日年度重點演奏會中，特別邀請底細拉丁團音樂總監Ollie Delfino來製作一個Salsa音樂單元演出，並延請知名創作編曲家Gilberto Q Amparado 先生重新以14位演奏人員型態來全新編曲歷年來耳熟能詳知名拉丁樂曲 例: RAN KAN KAN, CUMBANCHERO, OYE COMO VA, EVIL WAYS, MARIA OF MY SOUL, LA BAMBA, COPACABANA, CACHITO, CHERRY PINK, SALSA DANCE, MAMBO NO.5 等等名曲。8月19日底細音樂會-Salsa風情拉丁夜，指揮仍舊是-尤金順，所有演出者包含了底細爵士樂團資深團員和結合了十多年來與底細大型演出時邀請的音樂嘉賓，其中不乏音樂總監 Ollie Delfino 從事拉丁打擊樂四十餘年，在世界各地演出，與其合作演出的國際巨星不甚枚數包括: Diana Ross, Tom Jones, Sammy Davis Jr., Temptations, Jose Feliciano, 及 拉丁鼓王Tito Puente 等。其他的演出人員均是國內首屈一指的傑出樂手如: 首席小喇叭手Denny Deysher、Gilberto Q Amparado， 薩克司風兼長笛手 Met Francisco及國內知名薩克司演奏家楊曉恩，長號演奏家鄧世偉，拉丁唱將杜德智，鍵盤手David Chala， Bass手，鼓手，底細資深打擊樂手翁國偉、 楊明哲、陳偉鵬…等。 這場經由底細工作室長達半年精心籌畫製作 Latin Salsa知名樂曲的音樂會專輯演出，絕對不會讓國內喜歡拉丁音樂樂迷失望，同時也是喜歡拉丁Salsa音樂的樂迷難得一場live經典演奏會。


主辦單位: 底細爵士樂團
協辦單位: 底細工作室，雙燕樂器公司，宏圜/宏睿貿易股份有限公司
演 出 者: 尤金順，Ollie Delfino ….等 14人員
團 長: 耿浩然
指 揮: 尤金順
音樂製作: Ollie Delfino
執行製作: 楊 明 哲
時 間: 96年8月19日(星期日) 晚7時35分
演出地點: 國家音樂廳
票 價:  售 票 處: 國家音樂廳. 新舞台. 金石堂. 新學友. 功學社. 敦煌書局.
          知新廣場. 社教館.宇音樂器.
企 劃: 底細工作室
洽詢專線: 2763-5235 8787-0695
Dizzy Home Page: www.dizzy.org.tw

本場音樂會之節目單內容精緻免費贈送(贈完為止)，  

網路購票連結:

http://www.artsticket.com.tw/New ... 9sLuh9Hc6Ca%2fJZaow

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這是好朋友"小江"在0819音樂廳演出前彩排所拍的當天彩排實況..

相信有去聽音樂會的朋友..一定可以感受當晚演出的現場震撼和拉丁音樂的熱情..







































更多照片,請連結至相簿欣賞 :
http://jackmidi.mac.to/album/?category;4894828593804964996441

bB调小号

有机会真想去看看,可惜啊.......