Nouveaux albums

Genre recherché : [Traditionale]

Herencias

Herencias

Pancho Amat

Ritmo Caliente Vol.1

Ritmo Caliente Vol.1

Conjunto Casino

Ritmo Caliente Vol.2

Ritmo Caliente Vol.2

Conjunto Casino

El más grande y universal

El más grande y universal

Septeto Ignacio Piñeiro

A mi tierra

A mi tierra

Zunilda Remigio

Ay Candela

Ay Candela

Septeto Tradison

Entre dos aguas

Entre dos aguas

María Victoria Rodríguez

Ya no puedo parar

Ya no puedo parar

Septeto Típico Tívoli

Refúgiate en mí

Refúgiate en mí

María Victoria Rodríguez

La Fórmula

La Fórmula

Azabache

El Eliades que soy

El Eliades que soy

Eliades Ochoa

5 Leyendas Vol.II: Compay Segundo

5 Leyendas Vol.II: Compay Segundo

Compay Segundo - Francisco Repilado

5 Leyendas Vol.II: Ibrahim Ferrer

5 Leyendas Vol.II: Ibrahim Ferrer

Ibrahim Ferrer

5 Leyendas Vol.II: Omara Portuondo

5 Leyendas Vol.II: Omara Portuondo

Omara Portuondo

5 Leyendas Vol.II: Eliades Ochoa

5 Leyendas Vol.II: Eliades Ochoa

Eliades Ochoa

Mis anhelos, Vol.1-2

Mis anhelos, Vol.1-2

Omara Portuondo

Eliades Ochoa y La Banda del Jigüe

Eliades Ochoa y La Banda del Jigüe

Eliades Ochoa

De Machin a Pacho

De Machin a Pacho

Pachito Alonso y sus Kini Kini

La Cosquillita Cubana

La Cosquillita Cubana

Caribe Son

Aguanta ahí

Aguanta ahí

Inaudis Paisán

5 Leyendas Vol.II: Ruben Gonzalez

5 Leyendas Vol.II: Ruben Gonzalez

Ruben Gonzalez

La Trova De Siempre

La Trova De Siempre

Quinteto Criollo

Si Te Vas

Si Te Vas

Zona Libre

Exitos de Los Naranjos

Exitos de Los Naranjos

Los Naranjos

Sincretismo

Sincretismo

Grupo Manguaré

Soy Sensación

Soy Sensación

Orquesta Sensación

Voy A Elevar Mi Voz

Voy A Elevar Mi Voz

Conjunto Casino

La Chica Sexual

La Chica Sexual

Contra Viento y Marea

Mis Raices

Mis Raices

Pancho Amat

Recordar Es Vivir

Recordar Es Vivir

NG La Banda y Jose Luis Cortés

90 años. Vol. I

90 años. Vol. I

Septeto Habanero

90 años. Vol. II

90 años. Vol. II

Septeto Habanero

Del cancionero cubano

Del cancionero cubano

Milagro de los Angeles

Soy Sensación

Soy Sensación

Orquesta Sensación

Voy A Elevar Mi Voz

Voy A Elevar Mi Voz

Conjunto Casino

La Chica Sexual

La Chica Sexual

Contra Viento y Marea

Mis Raices

Mis Raices

Pancho Amat

Recordar Es Vivir

Recordar Es Vivir

NG La Banda y Jose Luis Cortés

90 años. Vol. I

90 años. Vol. I

Septeto Habanero

90 años. Vol. II

90 años. Vol. II

Septeto Habanero

Del cancionero cubano

Del cancionero cubano

Milagro de los Angeles

Décima, Punto Y Tonada

Décima, Punto Y Tonada

All Star Guajiros

Veneración

Veneración

Gerardo Aldana

La Tierra Que Yo Más Quiero

La Tierra Que Yo Más Quiero

Raices Cubanas

Ya no debo na´

Ya no debo na´

Sonora Lira Matancera

Los Sonoros

Los Sonoros

Los Sonoros

Danzoneando

Danzoneando

Alberto Corrales y su Orquesta Panorama

Collecion Agrupaciones Anos 50 Conjunto Gloria Matancera

Collecion Agrupaciones Anos 50 Conjunto Gloria Matancera

Conjunto Gloria Matancera

Cayo Hueso

Cayo Hueso

Jovenes del Cayo

Sonido de siempre

Sonido de siempre

Orquesta Aragón

Me Mantengo

Me Mantengo

Taínos de Mayarí

Changui Con Tó.

Changui Con Tó.

Ariel y su Mezklán

Santa Lucia

Santa Lucia

María Victoria Rodríguez

Los Danzones Más Famosos De Barbarito Diez Vol.1

Los Danzones Más Famosos De Barbarito Diez Vol.1

Barbarito Diez

Grandes Exitos De Los Hermanos Castro

Grandes Exitos De Los Hermanos Castro

Orquesta Hermanos Castro

Don Tito Gómez

Don Tito Gómez

Orquesta Riverside y Tito Gomez

Hermanas Márquez

Hermanas Márquez

Trio de Las Hermanas Marquez

Las Voces Del Siglo Mariateresa Vera Y Su Conjunto

Las Voces Del Siglo Mariateresa Vera Y Su Conjunto

María Teresa Vera

Benny Moré El Barbaro Del Ritmo Vol V

Benny Moré El Barbaro Del Ritmo Vol V

Benny Moré

Benny Moré El Barbaro Del Ritmo Vol Iv

Benny Moré El Barbaro Del Ritmo Vol Iv

Benny Moré

Benny Moré El Barbaro Del Ritmo Vol Iii

Benny Moré El Barbaro Del Ritmo Vol Iii

Benny Moré

Benny Moré El Barbaro Del Ritmo Vol Ii

Benny Moré El Barbaro Del Ritmo Vol Ii

Benny Moré

Benny Moré El Barbaro Del Ritmo Vol I

Benny Moré El Barbaro Del Ritmo Vol I

Benny Moré

Abelardo Barroso. Las Voces Del Siglo

Abelardo Barroso. Las Voces Del Siglo

Abelardo Barroso

La Habana No Muere

La Habana No Muere

Septeto Okay Cuba

Barbarito Diez Y Orquesta De Antonio María Romeu.  Las Voces Del Siglo

Barbarito Diez Y Orquesta De Antonio María Romeu. Las Voces Del Siglo

Barbarito Diez

Goza Mi Charanga

Goza Mi Charanga

Charanga de oro

Deja Que La Gente Hable

Deja Que La Gente Hable

Septeto Tradison

Con Sello Y Patente

Con Sello Y Patente

Guzman y su Poder Latino

Llegó Teté

Llegó Teté

Teresa García Caturla

Siempre Será El Amor. Dúo Evocación

Siempre Será El Amor. Dúo Evocación

Dúo Evocación

Las Flores Del Jardín

Las Flores Del Jardín

Dúo Nuestras Almas

Casa De La Trova De Baracoa

Casa De La Trova De Baracoa

Sexteto Yumurí

Orquesta Sensación, Una Sola

Orquesta Sensación, Una Sola

Orquesta Sensación

Colibrí

Colibrí

Vicente Feliú

Entre Amigos

Entre Amigos

Orquesta Aragón

Casa De La Trova De Trinidad

Casa De La Trova De Trinidad

Septeto Juvenil

La Reina Y El Barbaro.

La Reina Y El Barbaro.

Celeste Mendoza

Aragón Entre Amigos

Aragón Entre Amigos

Orquesta Aragón

Canto A Mi Cuba

Canto A Mi Cuba

Benny Moré

Santa Bárbara

Santa Bárbara

Celina González

Record De Un Año

Record De Un Año

Septeto Raisón

Aragón En La Onda De La Alegría

Aragón En La Onda De La Alegría

Orquesta Aragón

When we hear the expression 'Cuban traditional music', we immediately go back to the   sounds, or rather the sounds and styles of popular music listened in Cuba during the first decades of the 20th century.  
At that time, our most representative musical genres consolidated; and sextets and septets soneros , charangas danzoneras , ensembles and sonoras , among other instrumental or vocal formats like the trios , were also created. Even if the so-called typical orchestra, that since the 19th century was performing the danzón or the jazz bands that introduced Cuban music rhythms into their instrumental structure, coexisted with the above-mentioned formats, nowadays the sonority of the septets, ensembles and charangas has been recognized, mainly internationally, as our purest tradition.  
No wonder. These groups were created to perform Cuban popular music, the septets to perform the son; the charangas, the danzón and the cha cha chá , and, in the case of ensembles, to recreate the son and as ideal vehicle to play boleros . These orchestral formats have played an essential role in the development of Cuban popular music and thanks to them our most representative musical genres consolidated thus   reaching their typical sonority.   Therefore, when speaking of Cuban traditional music, we are not referring to any particular musical genre or rhythm, but to an entire time that paved the way for the further development of Cuban popular music and even the most contemporary Latin dancing music composed and performed today in many countries.  And, notwithstanding its great variety in rhythm and sonority, this music has a distinctive imprint, a cadence, a spirit, easily identified even by neophites.

The Cuban popular music has very particular characteristics as to its broad rhythmic diversity and sound wealth that distinguishes it from the rest of the Latin American countries.   These characteristics are associated with the formation process of this music itself which began with the combination of musical elements from Europe -mainly from Spain--and elements from different African cultures that converged in the island.
Our country did not experience what happened in Mexico and other Latin American regions who have musical manifestations inherited from native cultures still present in the music of these countries. American civilizations like the Aztecs, the Mayas and the Incas were already strong enough when the Europeans arrived in our continent.   So, in spite of the consequences of the conquest and the devastating colonization later on, important elements of these cultures managed to survive until now.
On the contrary, the overwhelming majority of our cultural manifestations in the island, with an inferior development compared with the above-mentioned ones, were completely destroyed during colonization.   The music of our Taínos and Siboneyes was never known.   Only some musical instruments were known through written references though nothing about sounds, rhythms, songs, etc.
The genesis of what today is considered as Cuban music comes from two fundamental musical sources: a European source and an African source.   For centuries, and when thousands of Africans -as slaves- arrived in Cuba, these two types of music, quite different, initiated an interrelationship, a merging that required a long cross-cultural process which concluded with the emergence of a new music, neither European nor African, but purely Cuban.
During the 18th Century the slave trade intensified, thus the presence of blacks in the island increased too and, as a consequence, their musical instruments, rhythms, songs and dances also disseminated across the country together with men and women imported from that remote continent.   Africans grouped in the so-called Cabildos , associations made up by citizens of the same nation or region.   They met in these Cabildos and held parties and rites that kept their cultures of origin alive, namely, their music.
But those slaves did not limit themselves to beating the drums or singing their ritual songs, they were gradually integrated to the musical life of the country and very soon learned how to play instruments such as the guitar, the mandolin, the harp, the violin, the clarinet and all those European instruments.   Thus, this white music was "stained" with new rhythms and the incorporation of percussion instruments -which although not exactly the same- came from the African music in Cuba.   For example, the marímbula is an African instrument that was incorporated, as a bass, to son groupings at the beginning of the 20 th Century.
During the 19 th Century, and especially during the second half of the century, all necessary elements for the creation of the Cuban nationality met.   Its highest expression was the patriotic feeling of the Creole population which resulted in the Independence Wars.   At that time, this transformation and merging process of both types of music -though not finished- started bearing fruits.   A definitive example is the Cuban contredanse that emerged as a result of the French contredanse but with quite different and absolutely Cuban musical characteristics.   Manuel Saumell, considered the Father of our contredanse, is also viewed as the beginner of Cuban music nationalism.
Since the times of Saumell`s contredanses and the emergence of "La Bayamesa" song by Céspedes, Fornaris and Castillo, during the first half of the 19 th century up to now, deeply rooted rhythms and musical genres had been welcomed internationally throughout history.   Examples include the cha cha chá , the son , the mambo , the bolero , the danzón and the beautiful pages written by the Cuban trova in our history of songs.
The Cuban popular music is a rich combination of rhythms, forms and sonorities that stemmed out throughout many years and conforms the heritage of an extremely musical people with a creative talent.   Few countries can show such a musical wealth to the world.   So, we, Cubans, feel proud.