Moisés Simmons original récord. Was a street pregón In cuba.

Turned out, it was better to miss Mardi Gras in 2020. So many locals exposed to travelers who brought it in. 💔 You must've had a heckuva year in NYC. Hope this finds you & yours healthy & employed as 2021 nears. 🎆🎉🎇 May your New Year be happy.

Bon appétit !

5

Such a great idea! I’m going to start doing the same!

And still hear this at 2021 .. Yes, Still a life .

Kamila Baranowska mam dokładnie tak samo! genialne!

AGUANTATE UN POQUITO

El Manisero es un son pregón. No es una rumba.

No peleas niños sólo aportes que se agradecen

@@jazzandbeyond7549 Aquí dice que es una Rumba Fox Trot. ¿Qué tal? kzfaq.info/get/bejne/mKebepOqusvWlXU.html&ab_channel=ScottMusil

@@PedroCucuchucho Esos son terminos que la compania Americana en esos dias usaron para vender el disco a Americanos que tenian familiaridad con esos terminos. Es como hoy como usan la palabra "salsa" para vender la música cubana al mercado mundial. El Manisero no tiene nada de fox trot y nada de rumba.

@@tablearevalo7921 ¿Que pelea? Estamos discutiendo. La verdad es la verdad. El resto es...

TB percibí q la clave está al revés jaja pero está de lujo .altos maestros

He was playing a tenor trombone with an attachment which lowers its range!

A Fifo Bola de Churre nunca le intereso la musica.

Un fusión increíble !!! Ernan y la clave haciendo la diferencia. Definitivamente la música ni tiene barreras.

Puede escribirse de cualquiera de las dos maneras.

A quién le importa eso

DON LUIS ES SOLO UN DETALLE PERO LA ORQUESTA SONO MAGNIFICA

X in y no saves nada de música

no saves nada, p.............

¿saVes? el chiste se cuenta solo 😂😂😂

Te creo que no tienes NI IDEA DE MUSICA ., SOLO POR QUE LOS INSTRUMENTOS NO ESTAN CONETADO A UNA TRAMPOSA MESA DE SONIDO SIGNIFICA QUE LOS MÚSICOS SON DEFICIENTES AL CONTRARIO Y EL ARREGLO MAGNIFICO

You make a common mistake, my friend, let me explain: the trumpet player gets it right, although the way he does it creates a situation where people can make the mistake you're making. Listen again -- his first clap is the 1 of the 3 side of the clave -- he doesn't get it wrong, he just starts clapping on the second bar of the 2 - 3 clave. Ideally it's not how one wants to bring the clave clicks to the foreground, I grant you that, but he's got it right, for one thing, and, for another, he might be thinking he needs to identify the most-accented 1 for others in the band. He gets it right by feeling where the the heaviest or most over push into the 1 beat is; that is the key, or one of the keys, to orienting to the 1 beat (other keys to the 1 can happen in short phrases the congero plays to tell the rest of the band where the 1 is, if necessary). It might look to you that he gets it wrong because he starts clapping 2 - 3 clave on the 3 side of the clave so you THINK he's clapping out 3 - 2 when, in fact, he's just starting on the 3 side. To actually start playing 2-3 clave on the 3 side is maybe not to be recommended, but listening for the 1 of the 3 side is the best way to identify 2 -3 clave in a composition. Sometimes a composition starts in one clave and then changes to the other, in which case, one really needs to listen for those pushes into the 1 beat of each bar -- which bar gets the most overt push, which bar gets the less overt push. I grant you that it would have been better for him to simply feel that 3 side without clapping so that he could start the clapping with the 2 of the 2 side. That's how I and others play clave to El Manisero (which has been printed on my bone marrow since my early childhood in the 50's due to my father being a Dixieland and swing musician who constantly listened to Latin music) -- and probably most purists would say he should have felt that 3 side without clapping and instead waited for the next bar, its less overt push into the 1, and then come in on the 2. That said, he does have the 2-3 clave pattern correctly and that's obvious by how his clapping sync's properly with the accents the sax player is maintaining as he does it, to cite just one of the other musicians. The 1 on the 2 side of the clave also gets a push, but it's not as overt; however, once a person is in sync by using the 3 side to identify the 1 so that one can slide into the 2 - 3 groove, the quieter push into the 1 on the 2 side becomes really clear. It's something you feel with your whole body at the beginning of the 2 side, and then you hit the 2 beat with the clave. When you're in the groove, it's a sensual delight, I tell you! Overly-technical musicians and the really uptight form of ballroom-trained dance judges often get this wrong because in dance, for example, in a 2-3 clave mambo or salsa, a dancer would usually identify the 1 from the 3 side of the clave, so a feelingless-but-thoroughly-technical ballroom judge or music school teacher would say the person is starting on the 5, which -- in my opinion, as a dancer and Afro-Latin percussionist of many, many years -- steers them, the judges, away from understanding the music's spirit on its own terms. It's a problem when the international-style dance judges of the British academy start telling swing dancers how to dance the swing that was invented in the Savoy Ballroom in Harlem, or how to dance Latin dances -- the worst of them can be outright offensive in how they want to impose their constipated uptightness on musics and dances that they really don't connect with. Also, in dance, one can break forward on the 2 or the on the 1, which can add an additional layer of confusion to it all if a person doesn't understand both clave and the pattern of bolero, mambo, salsa, merengue, or cha cha dance steps -- all those types of music are based on clave, either 2 - 3 or 3 - 2, as an underlying ceaseless alteration of compression and relaxation, or vice versa. There are other forms of clave in folkloric music and dance such as rumba -- the rumba form of 2 - 3 and 3 - 2 is, each of them, half a beat different than the 2-3 or 3-2 of the popular non-folkloric music. There is also an extended form of clave in Yambu, another form of rumba. It's simple when you get it correctly, though. In New York in the 40's, according to the bongo great and dancer Jack Costanzo, ALL the dancers broke forward on the 2, including the greats Armando Perazza and Tito Puente, both of them mambo dancers from the days long before salsa was invented. El Manisero, incidentally, is copywrit 1928 -- mambo is a lot older than many people think.

@@vancouverterry9142 You have absolutely no idea about what you're talking about in regards to this tune and its clave direction.The tune is in 2/3 clave not 3/2. If that's the way you learned how to tap clave to El Manisero you're completely wrong as is the drummer and the cowbell player and you've revealed yourself as not knowing anything about clave and Cuban based music. They're all crossed. On top of that this song is son not rumba, which from what you've written I know you nothing about as well. El Manisero is not a mambo, it's son in the pregón style. Mambo doesn't begin developing until the mid 1930s with Arsenio Rodriguez. You're talking a lot and saying nothing. Here is El Manisero in the proper clave direction it is supposed to be played in by the band that first introduced it to U.S. audiences in 1930. kzfaq.info/get/bejne/qaplgJl5uqm-l5s.html

About the cowbell -- I'd say he does go off clave for a bit when the trombone player quotes from "Brazil" but gets back on after a couple of bars. He looks toward the trombone player when the Brazil quote starts and then goes off clave briefly to my ear. Possibly he wondered if the trombone was going to have a leap of brilliant improvisation into Brazilian agogo pattern feeling, which is usually played on a bell, and went off clave briefly listening to hear if he should support the trombone player with an agogo-ish bell pattern -- but that's just a guess. I play a lot of bell in jams and that's something you listen for when soloists hold forth, although usually they want the bell to stay the same unless they're really taking things elsewhere. On the whole, one can say the whole performance is rather loose at times with respect to clave. I played percussion in a big salsa band and I can imagine my old band leader ranting that the clave underbelly of this performance badly needs tightening up, but myself, being bi-cultural with respect to New Orleans Dixie and Latin mambo/salsa, I see how Dixie looseness can add to it, although that's not the orthodox clave approach. If you haven't seen the performance of this that they do in Havana, check it out -- it's much more together rhythmically.

@@vancouverterry9142 It's not about timing or tempo, it's about playing the proper rhythmic accompaniment for the tune. He's playing a pattern in 3/2 clave and the song is in 2/3 clave. So you have a rhythmic war going on. The pianist, who is Cuban is being gracious about it. That's why he's not even bringing his head up. Once again, you absolutely know nothing of what you're speaking of. Here's another example of the tune properly being played in 2/3 clave where it's supposed to be. kzfaq.info/get/bejne/qd6pmsZ4387HdZ8.html

@@jazzandbeyond7549 You don't read too well, do you, Buddy? WHAT UTTER, UTTER MISUNDERSTANDING OF THE EASILY-UNDERSTOOD SENTENCES I WROTE. READ AND THINK ABOUT what I said, you offensive, uneducatable dilettante!!!! Your problem is not with me, 'Dummy -- it's with whatever so-called "educational" system that left you thinking you can read and understand what you've read. SERIOUSLY, FOOL -- READ WHAT I WROTE. And wake up to the fact you're semi-literate and intellectually-incompetent. Wow! How utterly incompetent you are with simple English!!!!