Throughout the s and 80s, more and more elements of the pop music harmonic palette became acceptable in Latin music and by the s, anything that produced a hook became fair game, resulting in an explosion of brilliant songwriting while North American salsa continued to be constrained by the formulaic limitations of the genre. Although the group is not very well known outside Cuba, almost everyone who hears them becomes an immediate cult member. He may also have been a difficult man to work for, if the number of musicians who have left his band is any indication! In , most of the members left to form Ritmo Oriental. Arranger Ignacio Herrera also left after
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When he was ten years old he entered the Amadeo Roldan Conservatory where he studied violoncello , an instrument that did not interest him. At twelve he left the conservatory, and pursued the study of sports and football. He later graduated in sport education. At 18, Isaac joined the group "Proyecto" at the request of the pianist, Gonzalo Rubalcaba. This sparked his innate love for music.
It was at this point that he decided to study vocal technique with one of the best vocal instructors in Cuba, Mariana De Gonish. He also enrolled in the school for professional musicians, " Ignacio Cervantes ". Professional life[ edit ] Issac Delgado began his professional career in when he joined Orquesta de Pacho Alonso. He travelled internationally with the orchestra and recorded a CD with them, his first commercial recording.
In he became the vocalist for Galaxia , who also recorded a CD. It was with this group that he found fame. NG was the band that launched the timba revolution, the first new popular Cuban music genre in decades. His singing talents soon brought him to superstar status within the fast-growing timba field. In concert he often improvises words and melodies for periods of several minutes.
Perhaps inspired by his work with Rubalcaba and the virtuosos of NG La Banda, Delgado has tended to stock his band with the most sophisticated jazz musicians available and to give them an exceptional amount of creative freedom.
The result has been a long string of unique and fascinating groups. His next album was El Ano Que Viene. In New York he recorded another album, Otra Ideal. At this point in his career, Delgado was recording with both New York salsa musicians and Cuban timba musicians.
Some of his recorded material sounds like salsa, but with distinctive timba elements periodically emerging to the surface. While some timba fans may have been disappointed hearing Delgado in a tamer and more polished salsa sound, the singer continued to record songs with leading timba musicians.
Consequently, much of his post-NG material contains some of the most innovative instrumental accompaniment within the context of Cuban-style dance music. While such innovations further aggravated the salsa—timba clave schism, there is no disagreement that "La sandunguita" swings. They were able to produce changes spontaneously by using flexible rhythm section schemes allowing them to alter the form of an arrangement to fit the flow of each performance Moore The following piano guajeo or piano tumbao , created by Lewis is from "No me mires a los ojos.
There are three places where the left hand adds an extra note between two right hand notes, a technique never used before in timba, which has become a major timba piano innovation. Listen: "No me Mires a los ojos" by Issac Delgado.
A series of repeated octaves invoke a characteristic metric ambiguity Moore pt. In Delgado went to the U. In May of he released En Primera Plana. It will be released in by Tropix Media and Entertainment.
Issac Delgado - La Sanduguita