The True Cuban Bass Download Pdf
Partenia Urtiaga
"This book is written by one of the masters of Afro-Cuban bass playing. It is bilingual and comes with audio files (available for free download at shermusic.com) that have Carlos playing the exercises in the book, as well as some historic Cuban recordings re-issued. It is a complete overview of the evolution of the bass' role in Cuban music, as well as a method book on all the different styles of Afro-Cuban bass playing. Endorsed by Jimmy Haslip, Chucho Valdes, and Paquito D'Rivera.
"This is a wonderful book. The combined efforts of these distinguished members of the Cuban school of the bass has resulted in a highly educative product, recommendable to all bass players and to anyone desiring to expand their knowledge of our music." - Paquito D'Rivera
"Great information for any musician interested in the inside of the Afro-Cuban bass. From traditional to contemporary bass, this book is a must for all levels. Great job!" - Oscar Stagnaro (bassist with Paquito D'Rivera and bass instructor at Berklee College of Music)
"An exceptional book written by two authorities on Afro-Cuban music. For the intermediate or professional bassist, this is it! For the composer or arranger, this is the definitive source of information on the subject." - Victor Mendoza (International recording artist and jazz educator, Berklee School of Music, Boston)
For acoustic or electric bass in English and Spanish text. Includes audio of either historic Cuban recordings or Carlos playing each exercise. Many transcriptions of complete bass parts for tunes in different Cuban styles - the roots of salsa.
Endorsements:
This is a wonderful book! I recommend it to all bass players.-Paquito D'Rivera
This will improve your partnership with the Latin rhythm section. -Jimmy Haslip
This is a magnificent book which will bring all bassists closer to authentic Latin music.-Chucho Valdes (Leader of the great Cuban band, Irakere)
This is a wonderful book. The combined efforts of these distinguished members of the Cuban school of the bass has resulted in a highly educative product, recommendable to all bass players and to anyone desiring to expand their knowledge of our music.-Paquito D'Rivera
A musical lifesaver for any musician wishing to dig a little deeper into the wonders of Cuban music.-Rebeca Mauleon (pianist and author of The Salsa Guidebook)
Great information for any musician interested in the inside of the Afro-Cuban bass. From traditional to contemporary bass, this book is a must for all levels. Great job!-Oscar Stagnaro (bassist with Paquito D'Rivera and bass instructor at Berklee College of Music)
An exceptional book written by two authorities on Afro-Cuban music. For the intermediate or professional bassist, this is it! For the composer or arranger, this is the definitive source of information on the subject.
-Victor Mendoza (International recording artist and jazz educator, Berklee School of Music, Boston).
John Langdale Jr., president of Langdale Forest Products in Valdosta, Ga., has three bass ponds on his farm. "There are some pretty nice fish in them, too," he says. But even he succumbed to the lure of forbidden bass--Cuban bass.
Over the years Cuban bass have grown heavy in mystique. Rumors of fish weighing up to 6 pounds more than the current world record (22.3 pounds) have drifted with the no-trade winds across the Straits of Florida. Three years ago, while visiting the island on a business visa, Langdale took a side trip to go fishing on Lake Hanabanilla. "There's definitely a chance Cuba could produce a 20-pound-plus bass," he says.
Since Castro's revolution in 1959 Cuba has been off-limits to most U.S. citizens, which of course has only added to its allure, prompting hundreds of thousands to vacation there illegally. (For a primer on legal and illegal travel, plus a cautionary tale about one gringo who got nabbed, visit Forbes.com/extra.) What attracts them are the sultry blandishments of the island--its warm sea breezes, pulsating mambo, fat cigars, sweet rum and not unattractive women. For a certain subset of American tourists, however, the lure of greatest luster is the large-mouth bass. Such sportsmen turn to Samuel Yera, a guide and perhaps the best bass fisherman in Cuba.
Yera, 42, is slightly built, and his wire-rimmed glasses give him a professorial air. By trade he is a civil engineer and has helped plan numerous highways and airports in Cuba. But his true love is fishing, and in particular the quest for a world-record bass. In childhood he was told by his father, Manuel, the story of the 20-year-old, dirt-poor farm boy named George Washington Perry who caught a 22.3 pound bass in Georgia in 1932, establishing the current record.
Yera's favorite place to take American clients is Lake Hanabanilla, a 7,900-acre reservoir near his home in Santa Clara, in the heart of the Sierra Escambray Mountains, 170 miles southeast of Havana. The jungly hillsides provided the hideout for Che Guevara before his Dec. 31, 1958 attack that drove General Fulgencio Batista from Cuba and unofficially inaugurated the reign of Fidel Castro. The lake is where in the 1990s a 26-pound bass was reportedly caught by a Cuban, though it was eaten before it could be verified as the new world record.
"It was all kind of terra incognito down there," says novelist Jay McInerney, who fished in saltwater with Yera and landed a 40-pound cubera snapper. "I wanted to get a look at Cuba now, because there's a sense that it won't last much longer like this." George Gebhardt, owner of Park & Orchard restaurant in East Rutherford, N.J., decided he had to fish in Cuba after reading stories about the huge bass. The biggest fish his group caught with Yera was only 7 pounds, but, he says, "we had a fish break our 30-pound test line."
Rene Lopez explains that Cachao was from one of the most renowned musical families in Cuba. His mother was a piano teacher, and his father, Pedro Lopez, was the bass player in a famous danzón band from the 1930s.
Born and raised in Cuba, is the son of the world famous bass player, Carlos Del Puerto. Carlos Del Puerto is a founder and original member of the group Irakere and a distinguished professor and author of the book The True Cuban Bass, adopted by Berklee College of Music. Though mentored by his father, Carlitos also continued his musical studies in Cello Performance at Alejandro Garcia Caturla Conservatory.
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As a child he studied clarinet becoming recognized as a child prodigy on the instrument and was featured with the Havana Symphony at the age of 11. Bauzá then performed on clarinet and bass clarinet with pianist Antonio María Romeu's charanga (flute and violins) orchestra. This proved a fateful event as the orchestra visited New York City to record in 1926. Bauzá's stayed with his cousin, trumpeter René Endreira, who was a Harlem resident and played with The Santo Domingo Serenaders, a band was made up of Panamanians, Cubans, and Puerto Ricans playing jazz. The teenage Bauzá was impressed with Harlem's African American community and the freedom they had. He also witnessed a performance of George Gershwin's "Rhapsody in Blue" and was inspired with saxophonist Frankie Trumbauer's feature in the piece. Upon his return to Cuba, he vowed he would return to New York City to become a jazz musician doing so in 1930 learning to play the alto saxophone while maintaining his clarinet technique. A chance encounter with vocalist Cuban vocalist Antonio Machin, who needed a trumpet player for an upcoming record date he was leading, gave Bauzá an unusual opportunity.[3] Machin was the vocalist for the Don Azpiazú Havana Casino Orchestra who had taken New York City by storm with their public performances and recent hit recording of "El Manisero" ("The Peanut Vendor"). Machin was offered a record date to record four tunes. When Machin performed solo, he did so with two guitars, a trumpet, and himself on maracas. All the trumpet players that knew how to play in the Cuban style who were part of Azpiazú's orchestra had left to return to Cuba. Faced with a dilemma Bauzá offered his services to Machin because he knew the finger positions on the horn buying a trumpet and in two weeks developed enough technique to play on the recordings.[3] He now devoted his time to playing the instrument being inspired by Louis Armstrong. By 1933, Bauzá had been hired as lead trumpeter and musical director for drummer Chick Webb's Orchestra, and it was during this time with Webb that Bauzá both met fellow trumpeter Dizzy Gillespie,[3] and allegedly discovered and brought into the band singer Ella Fitzgerald.
The band had a major hit with "Tangá," initially a descarga (Cuban Jam) in mambo tempo with jazz soloists, spontaneously composed by Bauzá. "Tangá", which was over time arranged with a more formal arrangement. It is generally considered to be the first true Afro-Cuban jazz tune.
The first descarga [Cuban jam session] that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club, Mario Bauzá, Machito's trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play something which would serve as a permanent sign off (end the dance) tune.
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