Los Muñequitos de Matanzas
Los Muñequitos de Matanzas is a Cuban rumba ensemble from the city of Matanzas.[1] The group was established in 1952 as Conjunto Guaguancó Matancero and released their first LP in 1956 through Puchito. Since then, Los Muñequitos have continued to perform and record, becoming one of the most successful and critically acclaimed rumba groups of all time. History
In 1958 Panart Records released two phonorecords Guaguancó v. 1 and v. 2, compiling several 78 sides made earlier by the group as well as songs recorded by the Havana rumba group Papín y sus Rumberos.[3][4] In 1964 Chachá left and vocalist Frank Osamendi joined. Los Muñequitos disbanded in the early 1960s, but re-formed by the end of the decade. They cemented their position as one of Cuba's leading rumba ensembles with songs like "Óyelos de nuevo" and "La chismosa del solar", released in the early 1970s by EGREM. By the 1980s Los Muñequitos were widely known by rumba aficionados in and outside of Cuba. Los Muñequitos quintero Jesús Alfonso's guaguancó "Congo yambumba" (1984) was recorded by Eddie Palmieri (1987),[5] and Grupo Vocal Sampling (1992). In 1992 the American record company Qbadisc began releasing albums by Los Muñequitos on CD in the United States, followed by a tour of the country for the first time. It was during this time that the group branched out and performed folkloric music and dance besides rumba, such as Lucumí, Palo, abakuá and conga. The music of Los Muñequitos directly reflects the syncretism that exists in Cuba as sacred songs to the orishas often coexist with more secular themes and adaptations of Spanish songs in a single record or performance. In the late summer of 1994 Los Muñequitos joined the Cuban jazz ensemble Irakere on stage at the Banff Centre for the Arts to perform "Xiomara."[6] In 1997, they released their critically acclaimed Live in New York album. Los Muñequitos earned a Grammy Award nomination in 2001. Their latest album, Maferefún la rumba, was released in November 2018.[7] PersonnelOther past and present members of the group include (in alphabetical order): Iván Alfonso, Freddy Jesús Alfonso Borges, Israel Berriel González, Israel Berriel Jiménez "Toto," Luis Cancino, Baldomero Ricardo Cané Gómez, Pedrito Currubia, Agustín Díaz Cano, Eddy Espinosa, Victoriano Espinosa "Titi," Ronald González, Reyniel López González, José Andro Mella, Rafael Navarro Pujada "Niño," Luis Deyvis Oduardo Ramos, Jaime Oña Ramos, Facundo Pelladito, Ana Pérez Herrera, Yuniscleyvis Ramos, Bárbaro Ramos Aldazábal, Diosdado Enier Ramos Aldazábal "Figurín," Esther Yamile Ramos Aldazábal, Vivian Ramos Aldazábal, Diosdado Ramos Cruz, Alberto Romero Díaz, Ernesto Torriente "Chambelona," Leonel Torriente, and Ricardo Yorca "Chacho." Guaguancó innovatorsSalidor and segundoFrom their very first recordings in 1956, to present, Los Muñequitos have maintained a reputation as innovators of rumba, and of guaguancó in particular. The melodic conversations of the two, lower-pitched congas (salidor and segundo), eventually evolved into an extremely fluid style, that was more an approach than a composite of specific parts. The inventions of Los Muñequitos predates guarapachangeo and similar rumba creations emerging from in and around Havana in the late 1980s. In the late 1980s Los Muñequitos began incorporating break-downs, where the bottom end of the drum melody momentarily dropped out.[8] See: break-down at 3: 28, " La polemica" live in Puerto Cárdenas, Matanzas, 25 April 1987. These breakdowns are similar to the breakdowns heard in the timba music that was emerging at the end of the 1980s, and which continue to this day. QuintoLos Muñequitos' style of playing quinto is also renown. They pioneered the style of an alternating tone-slap melody, that inverts with each cycle of clave (written as a single measure here). The following example shows the sparsest form of the alternating melody. The first measure is tone-slap-tone, and the second measure is slap-tone-slap. ![]() The following nine-measure excerpt is from the quinto performance on "La polémica," composed by Israel Berriel González.[9] The quinto moves between three different modes (A, B, C).[10] The previous quinto example, and the last measure of the following example are both in the basic mode (A), commonly called the quinto lock, or ride in North America. ![]() Selected discography
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