Ziegler ( Pablo )

Silvana DeLuigi | Yo! | American Clavé

Posted by

0

When Kip Hanrahan asked me a couple of years ago whether I was interested in doing a record with him, I immediately said yes. But when the moment came to decide on a title, I did not know what to propose. What kind of name could describe something which sounds different from everything I’ve done – and heard – before. I spontaneously pronounced the word “Yo.” It was the simplest expression for me, having given everything I had, including my very own musical and emotional self, into the hands of a musician and producer whom I trust blindly. For me, Kip is the only person capable of recognizing, understand, and transforming into a record my ages old desire to trespass the musical conventions of a music which is mine: which I grew up with, which I love – but which I had to leave behind in order to confront it from a new angle – and make it mine: the tango. So therefore “Yo” stands for a record whose songs may sound familiar, but are completely personal to me. Most of them have been with me since my early youth. Some I had inherited from Argentine popular culture, some came to me from Brazil. Some were offered by Kip and his friends, who all helped me to realize this dream: to look back on my town, my country, my culture, my life – and my music. — Silvana Deluigi Continue reading →

American Clavé | Anthology 1980 – 1992

Posted by

0

HOW TO CREATE AN AMERICAN CLAVE: PRAISE/SONGS FOR A RECORDING PROJECT Begin with two measures of music: three rhythmic strokes in the first measure, two in the second, sounded by wood on wood. You have then the Clave, the basic building/block of salsa, of Afro-Cuban jazz. But what magic transformation occurs when you think of musics under the umbrella of a label like “American Clave?” A rashly superficial assumption runs: salsified jazz, perhaps improvised Tin Pan Alley standards bongoed-up, Sten Kentonized-up, blaring brass choruses meeting a small battalion of percussion. That would be an easy enough music to create and sell, the “how to” established in recording studios and recording company executive suites for a half century. Thank the gods that Kip Hanrahan is one of those who the poet Rilke would have identified as a “lover of the difficult.” This recording project refused that easy way out, that casual slide Latinizing American standard tunes would have represented. This is a story of a musical visionary embracing an American spirit of radical invention, taking on the alchemy of how to make an American Clave. Listen to the beats of different drummers under the enchantment of gods who still ponder what kind of experiment America is…–Norman Weinstein Continue reading →

Kip Hanrahan | Days and Nights of blue luck inverted | American Clavé

Posted by

0

Some records are there because there’s money that demands to be made, some records are there because there’s a career that demands to be realized, this is a record that’s here because there was (is?) a mood, understood or misunderstood as above, constantly succeeding itself, that demanded to be heard. “Love is like a cigarette” was written by Richard Jerome and Walter Kent, made beautiful by Duke Ellington with Ivey Anderson, and was arranged for this record by Kip Hanrahan with Alberto Bengolea. The rhythm and horn arrangements and the changes for “Gender” were written by Alien Toussaint and the words and melody were written by Kip Hanrahan. It is published by Warner Brothers/Coup de Tete (BMI). In the case of “Marriage,” the two lower mid range bass lines, which in some ways become the song, were composed by Jack Bruce. The words, melody, form and arrangement are by Kip Hanrahan. It’s published by Coup de Tete (BMI). Continue reading →