非洲古巴爵士 Afro-Cuban Jazz
曲风介绍
古巴爵士（Afro-Cuban Jazz），也叫非洲古巴爵士，它被认为是拉丁爵士的发端，也深深影响了拉丁爵士的发展。非裔古巴的打击乐，融合进了爵士乐的特色，再加入点波普和摇摆乐、放克，便形成了独一无二的古巴爵士。古巴爵士承袭了古巴音乐微妙宁静和强而有力的双重品格，轻佻又不失轻柔。古巴爵士偏重于打击乐器和旋律，康加鼓Conga、沙槌Maracas、三弦吉他Tres等富有古巴特色的乐器，与传统管弦乐器交相呼应。拉丁美洲人民天生活泼喜悦，有属于自己的节奏律动，这种律动也是古巴爵士最重要的节奏模式，它叫Clave Rhythm。由于节奏和旋律都非常活泼跳跃，因此你听古巴爵士，会情不自禁跟着摇摆起来，无拘无束的音乐氛围令人陶醉其中。古巴爵士诞生于20世纪40年代早期（另一种说法是20至30年代），它的形成，归功于Mario Bauzá（马里奥·鲍扎）、Machito（马奇托）、Dizzy Gillespie（吉尔斯比）、Chano Pozo（加诺·波佐）这几位艺术家不懈的努力与推动。
可以毫不夸张地说，古巴爵士之于古巴，就如同巴萨诺瓦之于巴西一样，它俨然成为了古巴最重要的文化遗产之一。
非洲古巴爵士，将来自于古巴和非洲的节奏与爵士乐的即兴创作结合在一起的爵士乐类型。它也被人们称为拉丁爵士(Latin Jazz).但一些演奏者还是更喜欢用“非洲古巴爵士”这个词。古巴爵士有时也被称作为非洲古巴爵士，在所有后-摇摆乐的形式中，古巴爵士向来最受青睐。原因很简单：它对于打击乐器和古巴旋律的偏重，使得这一音乐形式相当合适跳舞，且易于理解。
20世纪20-30年代，有个别的爵士音乐家在他们的音乐中运用南美洲的节奏和拉丁流行乐元素。促使这种音乐产生的人是马里奥·鲍扎（Mario Bauza)，他是一位小号手兼编曲家。他把小号大师吉尔斯比（Dizzy Gillespie）介绍给了古巴打击乐大师加诺·波佐(Chano Pozo)。两人在1947年—1948年间共同创作了不少新颖的音乐，直到波佐去世。也正在是鲍扎的介绍下，拉丁乐队领袖马奇托（Machito)才是开始使用独奏爵士乐手。
20世纪40年代末，斯坦肯顿（Stan Kenton)开始在他的音乐里结合拉丁节奏。
20世纪50年代，这股风气开始盛行，“非洲古巴爵士”成为最流行的爵士风格之一。
近代的一些乐队在非洲古巴爵士的波普(Bop)根源基础之上加入疯克（Funk）元素并引入更多的独奏。这种音乐的精髓就是北美、南美、和中美的真正融合。重点就是具有感染力的节奏。
Afro-Cuban Jazz is a combination of jazz improvising and rhythms from Cuba and Africa; it is also known as Latin jazz. There were some hints of Afro-Cuban jazz in isolated cases during the 1920s and '30s — Jelly Roll Morton's "Spanish tinge" in some of his more rhythmic piano solos, a few Gene Krupa performances where he sought to include South American rhythms, and even in the Latin pop music of Xavier Cugat. However, the true birth of Afro-Cuban jazz can be traced to trumpeter-arranger Mario Bauza. Bauza introduced trumpeter Dizzy Gillespie to the masterful Cuban percussionist Chano Pozo (they teamed up in 1947-48 to create innovative music before Pozo's death) and also persuaded Latin bandleader Machito to use jazz soloists. During the late '40s, Stan Kenton began to integrate Latin rhythms in his music, and with the rising popularity of Tito Puente and Cal Tjader during the 1950s, Afro-Cuban jazz caught on as one of the most popular jazz styles. In more recent times some groups have developed Afro-Cuban jazz beyond its boppish roots, performing Thelonius Monk and John Coltrane tunes, adding funk to the mixture, and having more adventurous solos. The spirit of the music — a true fusion between North, South, and Central America — and an emphasis on infectious rhythms are the keys. — Scott Yanow
Afro-Cuban Jazz combines traditional African based rhythms from Cuba with the pyrotechnical solos of jazz or fusion. This genre got its start when Mario Bauza introduced bop trumpeter Dizzy Gillespie to Cuban percussionist Chano Pozo. The two made exciting new music together starting in 1947 and ending abruptly in 1948 when Pozo passed away. About this same time Cuban bandleader Machito began to feature jazzy solos in his band arrangements. With the rise of artists such as Tito Puente, Afro-Cuban jazz became one of the most popular styles of jazz in the 1950s.
Afro-Cuban is still one of the more popular styles of jazz today and continues to grow and evolve as it takes on influences from fusion and even the avant-garde. You can also check our genres; Latin Jazz, Bosasa Nove and World Fusion for other styles of Latin Jazz.
最热歌曲 更多
| # | 歌曲 | 艺人 | 时长 |
|---|---|---|---|
| 01 | Acércate Más | Paquito d'Rivera | 05:09 |
| 02 | Rico Vacilon (Cha-Cha-Cha) | Rubén González | 04:12 |
| 03 | Bruca Maniguá | Ibrahim Ferrer | 04:44 |
| 04 | El Son No Ha Muerto (The Son Has Not Died) | Cachao | 07:04 |
| 05 | Guantanamera | Compay Segundo | 06:02 |
