Musicians and experts have driven this Saturday’s candidacy Catalan rumba as intangible cultural heritage of humanity, in a sweet moment for this genre.
Musicians and experts have driven this Saturday’s candidacy Catalan rumba as intangible cultural heritage of humanity, in a sweet musical genre for this moment, willing to young bands innovate and veterans returning to the stage to keep alive the legacy of Peret.
A novel band called 9SON and a master like Peret Reyes participated Saturday in the day of protest for the recognition of Catalan rumba , leading the representation of the European Commission in Barcelona, Week Rumba Catalana and Catalonia College of Music (SMUC).
This demand comes at a good time for the Catalan rumba, with many bands Young triumphing inside and outside Catalonia with proposals that are based on the rumba and seek new directions.
As is the case Txarango, you just get two gold records with individual albums that are not properly rumba Catalan, but are heavily influenced by this music.
While young people pick up their first successes, pioneers of the rumba as Chacho burn discs again after many years of silence.
Chacho that, along with Peret and El Pescaílla is considered one of the fathers of the Catalan rumba, maintained a long recording silence from 1977-2011, and just recorded a new LP with Maruja Garrido and Lita Clavel.
“A musician is always a musician, and if you see that the music you make goes through a good time is normal that you get to record with the hope that you will concerts,” said Professor ESMUC, Ignasi Zamora, who has Rumba also recalled that three just returned to the recording studio.
In the style of Peret
Carla Gordo, singer 9SON, believes that the death of Peret was a shock: “Young people have left us orphans and we are delighted to see onstage the rest of our biggest”
Young people have left us orphans and we are delighted. see onstage the rest of our elders (9SON) Young shared the stage with the biggest and even produce their albums, as in the case of Sicus Carbonell, Sabor de Gracia, who has produced work Rumbacalí.
But recognizing the influence of teachers does not mean to imitate them and the new breed tends to merge the Catalan rumba with other genres.
Ai, ai, ai y Sabor de Gracia would be among those who are closest the style Peret, El Chacho Pescaílla and instituted in the 50, although the last album Sabor de Gracia features collaborations as diverse as Pep Sala, Steve Hogarth, Las Migas, Titot Brams, Oscar Dalmau and Txarango.
More mestizos are the Troba Kung Fu, that fuses rumba and cumbia, 9SON, the mixture with Latin rhythms, pop, funk and African rhythms, and the sticker that tends towards the ska.
“The genres evolve -HA argued Ignasi Zamora. The Catalan rumba in the 40 and 50 was only guitar, vocals and percussion and orchestra now more and fits any instrument. “
” festive Gender “
purists and innovators have the same goal, according to Zamora, “convey joy. The rumba is a holiday genre, born in domestic partying and taverns. “
We are fortunate that belongs to our music very very genuine and very commercial time (Ignasi Zamora) We are fortunate that belongs to our music very very genuine and yet very commercial, which makes it very exportable. But still must be looked after, and so far the institutions do not have cared much, “said Carla Godó .
The Catalan rumba has its own characteristics, such as the peculiar way of playing the guitar known as the fan, but other Spanish cousin rumbas.
These other rumbas are also living similar to that of the Catalan rumba and teachers resurgence has returned to the stage. Proof of this is that Chicane are on tour and play at La Sala Apolo Barcelona on April 11.
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