Bobby Carcassés , cuenta...: Sabor ... Mix Media by Bobby Carcassés

Friday, August 31, 2007

Sabor ... Mix Media by Bobby Carcassés

One of the caracters we often find in Bobby's exhibits is "The Time" under diferent manifestations, from ink to acrylic, sometime the name changes , it is the ultimate Guru, The Time, El Tiempo, The Wise man, The Master...

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Jazz Timbero by Leonardo Acosta

Whereas in the past he has been popularly known as the perfect Showman and Entertainer, Bobby is now considered the ultimate Guru of Afrocuban Jazz, offering inspiration to the up and coming generation of new Cuban Jazz musicians as many of the Best new talents have started their careers playing with Bobbys band.

By the 1950s he was envolved with some of the best vocals quartets in Cuba and whilst playing for many years at The Tropicana the very center of Cuban Jazz at the time, he began to experiment with Bebop and Scat vocals. In the 60s he traveled to Europe, spending a year in Paris where he played with the Legendary Kenny Clarke and Bud Powell.
When he returned to Cuba he worked in the Teatro Musical where he met trhee of the Futurs founders of the Legendary Irakere : Chucho Valdes, Carlos Emilio Morales and Paquito D Rivera.

Over the next ten years He played in the best night clubs in Havana as well as acting in Cuban cinema, Tv and essentially starting to form his own Jazz group.

In 1980 he organized the first Jazz Plaza Festival in Havana, envolving the Great Stars of Jazz such as Dizzy Gillespie, Ronnie Scott, Charlie Haden, Airto Moreira, Tania Maria, Steve Coleman and many others. Year after his own group was the focal point in these Festivals. he traveled to Canada, England, France and the USA where he performed with Tito Puente, Eddie Palmieri, Patato Valdés and many other Greats from the Latin Jazz scene.

If Jazz Timbero (1998 Tumi Music UK) was both a projection of Bobbys musical personality and a complex historical record of the different elements of Cuban music combined along the way with Jazz, Blues and World music. The power of Bobbys dynamic personality shows in his versatility.
Beginning as a Rumbero he had to master the three elements of Guaguancó: Song, Dance & Percussion, whilst his involvement in Jazz taught him to play countless instruments Piano, Bass, percussion Flugelhorn, as well as writing his own pieces.

The result of a lifetimes involvement in sport and Yoga are shown in the bizarre combination of raw Energy and Spiritual Equilibrium; his Greatest Sporting achievement is that of National high jump Champion in 1960. Hes also a Lover of Painting, Drawing and Literature and has exhibited his own work on many occasions around the world.

The word Timba has numerous meanings in Cuba; from a fiesta to a way of saying if something is right or not: la timba esta Buena or esta mala. It was originally used to refer to a meeting dedicated to al juego ilicito ( an illegal game). Cuban salsa has been christened as Timba by both the musicians themselves and the listening public. This new music renews Cuban rhythms and when mixed with Jazz produces something quite unique.

The degree of respect Bobby has attained by his contemporaries is shown by the list of Great musicians that took part in his recordings.
But without a doubt, the connecting thread is Bobbys voice with his electrifying use of Guaguancó, Rumbero Improvisations and Scat Vocals.

Bobby is part of a tradition of singers who, within a Son, Guaracha or Bolero format integrate other influences such as Mambo or Guanguancó. The most famous example is Beny Moré, but Bobby also remembers Francisco Fellové who towards the end of the forties created a style of singing known as Scat which Bobby has developed to an outstanding degree.
Jazz Timbero is a declaration of principles: a tribute to Cuban rhythms and music and above all to the people of New York who have kept these elements alive and thriving throughout the world.

Jazz Timbero offers us music to renew our vitality, our smile and brings us a deeply emotive and sweet Caribbean flavor under the direction of the Great Bobby Carcassés, it maintains an equilibrium of diverse tensions thanks to the concentration and relaxation offered by the artists practice of Yoga, and exciting fusion of music through his extensive knowledge of music and a distinct sound formed by many years of performing, touring and producing live and recorded works.

Bobby is an ancestral musician whose roots could be Nigeria, Dahomey or Andalusia, but who in fact comes from a long line starting from Havana to New York, possibly passing through Tibet along the way. (Leonardo Acosta, Musician & Journalist)

Decimas para Bobby de Nancy Robinson Calvet

Con motivo de un homenaje a Bobby Carcassés a cargo de los bailadores de jazz de Santa Amalia, la periodista y poetisa Nancy Robinson dedicó estas decimas al amigo Bobby para su cumple años.

MAESTRO BOBBY CARCASSÉS

Bobby Carcassés merece
su lírico y fértil sendero
por artista verdadero
porque en muchas cimas crece
si cantante, comparece.
Si piden instrumentista
Bobby es protagonista
de instrumentos en plural
estirpe fundamental
en los pases de revista.

Connotado deportista,
comediante musical
como virtud primordial:
ser constante y optimista.
Allá el que no persista
en las lides culturales
ante lluvias torrenciales
o la aridéz del secano,
pero Bobby es un cubano,
más allá de pedestales.

Hoy su retrato adelanto
el de Agosto veintinueve
para que Bobby compruebe
porque le admiramos tanto,
Siga así júbilo y canto
pintor, mimo, bailarín
del Afrojazz paladín
pintor, decimista, el arte
en él registra al baluarte
de una carrera sin fín.

¡FELICIDADES!

De La Habana a NY, Homenaje a Mario Bauzá Letra

De La Habana a Nueva York
Bobby Carcassés

De Nueva York a La Habana
De La Habana a Nueva York
Anda la Rumba Cubana
siempre al Son de mi tambor
Vibra el Blues en la trompeta
languidece el saxofón

Los rumberos a Mario cantan
De La Habana a Nueva York

Scat…

De Nueva York a La Habana
De La Habana a Nueva York
Anda la Rumba Cubana siempre al Son de mi tambor
Vibra el Blues en la trompeta languidece el saxofon

Los Rumberos a Mario cantan
De La Habana a Nueva York

A Mario Bauzá cantamos de La Habana a Nueva York (Coro)

Improvisaciones Bobby
Donde va Domitila Donde va
No no no te vayas de mi lado quedate con sabor
scat…

El Ruiseñor de Bobby Carcassés

EL RUISEÑOR
By Bobby Carcassés, 2006.

HAY AVES QUE CRUZAN EL PANTANO
Y NO SE MANCHAN
PORQUE SON PURAS COMO EL SOL QUE TIENE MANCHAS
PERO DÁ VIDA AL RUISEÑOR.
AQUEL QUE ESTE LIBRE DE PECADO
TIRE LA PIEDRA
PERO EL DE TECHO DE CRISTAL DEBE CUIDARSE,
NO SE LE VAYA A DESTROZAR

QUIEN ERES TÚ PARA DECIR
QUE IMPERDONABLE FUE MI ERROR
SI NO ERES TU LA PERFECCIÓN
NI UN SIMILAR
SI A MI EL SEÑOR ME PERDONÓ
QUIEN ERES TÚ PARA JUZGAR
EL PROCEDER DE CADA CUAL

HAY AVES QUE CRUZAN EL PANTANO
Y NO SE MANCHAN
PORQUE SON PURAS COMO EL SOL QUE TIENE MANCHAS
PERO DA VIDA AL RUISEÑOR.

CORO: YO SOY ASÍ, ASÍ SOY YO

What Flugelhorn plays Bobby?

Bobby Carcassés plays a French Flugelhorn, Couesnon, that used to belong to Mario Bauzá, thanks to Paquito D'Rivera it is Bobby's today. A few years ago Bobby asked Paquito that was travelling to the US to help him find a flugelhorn, Paquito asked Mario to help him get one in Ny, Mario gave his...Couesnon , is considered one of the best makers in the world, today.

A little story on Couesnon:
Pierre Louis Gautrot (Mirecourt 1882) became proprietor of GUICHARD in 1845. He had been already working for Guichard as his associate beginning in 1835. Gautrot was involved in the 1845 litigation against Adolphe Sax. By 1846, the company of over 200 employees claimed to be the most important manufacturer of musical instruments in Europe. In 1847, the firm employed 208 workers (over 40% of the brass instrument workforce in Paris).

In the same year the company patented improvements to the horn, trumpet, and brass valves. He was the first European manufacturer to use mass production techniques for instruments Gautrot took advantage of the industrial revolution and added steam power to his plant in 1849. By 1850, he had depots in London and by 1856 also in Madrid, Naples, and New York. In 1855, Gautrot had a plant in Château-Thierry as well, employed over 300 workers in Paris, and was producing 20,000 band and stringed instruments annually.

The company had a band consisting of thirty-six workers in 1857 (many companies had such bands in the 19th) by then had a workshop producing string instruments in Mirecourt and one producing woodwind instruments in La Couture Boussey.

Producing extremely desirable instruments, the company exported 70% of its instruments in 1860. In 1862, Gautrot was employing 700 workers and by 1867, four plants were producing approximately 47,000 musical instruments a year (24,000 of them valved brass instruments)! In 1864, the company patented the "système equitonique" (compensating valve system) in France and a year later in England. It used valves with dual windways to act as a compensating system for intonation.

After litigation involving Adolphe Sax from 1856 to 1859 for alleged violation of Sax’s patents, Gautrot was ordered to pay 500,000 francs in damages, and also ordered to mark his instruments with Sax’ name. Gautrot ignored the order and Sax appealed his case in the courts until 1867. The final outcome was not specified. In 1870, the company employed over 600 workers in Paris and Château-Thierry. In 1881, Gautrot bought Triebert . In 1882, Amédée August COUESNON became the director of the firm and owner in 1883. Among the many expositions at which Gautrot was represented were the Paris Expositions in 1844, 1845, 1849, 1855, 1863, 1867, 1878, Toulouse in 1845, and London in 1851, 1855, 1862, and 1882. Early in the 19th century, great changes in the method of manufacturing musical instruments took place in France.

Several concepts of the Industrial Revolution (which had its roots in England) were incorporated into the manufacturing process. One major change took brass instrument manufacture out of the atelier into the factory, thus allowing for mass production and lower prices. Gautrot was one of the principals using this new-found technique.
Guichard - as predecessor. Auguste G.Guichard founded a musical instrument manufacturing company bearing his name in 1827. He also established a factory at Château-Thierry (Aisne), thus moving from a "cottage" to a "factory" industry devoted to the manufacture of brass musical instruments. Pierre-Louis Gautrot joined the firm in 1835. In 1845, the name of the company was changed from Guichard to Gautrot indicating at least a change in management. At the time of change of name, the two artisans were brothers-in-law.
Gautrot - as maker-inventor.

The company names of Gautrot were altered several times during his 39 years as an entrepeneur-maker-inventor allowing for various degrees of influence. Evidently he could work alone or in "tandem." One early invention (1847) by Gautrot involved what was called an "omnitonic" horn which added 12 crooks and quickchange valves to the natural horn. This idea was consolidated into a 3-valve "omnitonic" (1854), and further developed into what may be called a predecessor of the modern double horn (1858). In 1855, the company added woodwind and string instruments to its line of products. The sarrusophone dates from 1856 when it was patented as a double-reed instrument, though it existed earlier. A mouthpiece with a single beating reed for this instrument was patented by Sax in 1866! Gautrot absorbed or became allied with several other musical instrument makers as time passed. He added Tulou flutes in 1857. Jean-Louis Tulou (1786-1865) was not only a flute-maker, but served as a professor of flute at the Conservatoire in Paris (1829-1856) and was in all probability the last well-known flutist to be against the Boehm flute.

The company name became Gautrot aine et cie. in 1870. Though I cannot pinpoint when "et cie. " was not part of the company name, several references do exist. Also, Gautrot Marquet (ca. 1863) and Gautrot, durand et cie. (ca. 1878) were two affiliations noted in passing. During the existence of Gautrot aîne et a cie (1870-1883), one purchase was made which amazed me. Frédéric Triébert Fils (1813-1878) died and left his company, including a factory in Paris, to Mme. C. Dehais who immediately sold it to Felix Paris who later sold it to Gautrot (1881). This is the Triébert company where François Lorée worked / supervised before starting his own (extant) company. In 1883, Gautrot added the name of Couesnon to his company name, making it Couesnon, Gautrot et cie. Amédée Couesnon was Gautrot's son-in law at the time. Couesnon had an extremely long life, being born in 1850, and dying in 1951.

Couesnon - as successor. The name of Gautrot was deleted from the company name in 1888, thereby ending the influence of Gautrot. The changes in Couesnon et cie. until its demise well into the, twentieth century (1967) are beyond the scope of this study. Adolphe Sax, born Antoine-Joseph, produced the first saxophone in about 1843: a C bass in the shape of an ophicleide. These "prototype" saxophones made in this curved style are vanishingly rare (there may be only four left, worldwide).

The soprano, alto and tenor were traditionally shaped and were produced slightly later. The bari and bass didn't change to their "normal" shape until around 1846 -- the original patent date for Sax's horns and when saxophones started to be mass produced. In 1866, Sax's patent expired (renewed in 1881) and there was a kind of "free-for-all" in the saxophone world. The first real "challenge" to the saxophone, the sarrusophone appeared around this time.

The inventor of which, Gautrot, was sued many times by Antoine-Joseph because of the similarities (especially in fingering) between the two instruments. Sax lost some of these legal battles and won others. Antoine-Joseph died in 1894 and his son, Adolphe-Edward, took over the company (although some evidence suggests he took over in 1885). He produced a few horns and then sold the company to Selmer around 1928. Selmer produced horns with the Adolphe Sax label and style until (probably) 1935 and are known as very good playing horns, having similar playing characteristics to the Super models. Antoine-Joseph's horns are beautiful works of art that cry out to be played, but they are extremely limited: the keyed range is only up to high Eb, there is no Bb bis key, there is no fork F#, there may not be a side C, the G# is not articulated and there aren't rollers on the RH C and Eb or the LH G#, C#, B cluster keys. The baritone and bass also had interestingly placed vents for the low B key placed so you could easily knock your right hand into it when playing.
Finally, just to make things more interesting, Antoine-Joseph's horns featured up to four octave keys (though most had two), no Bb and even some of Adolphe-Edwards horns only go down to low B. I can say that even though these horns have limitations in keywork, they sound wonderful: clean, tight and airy reflecting the horn's roots in Antoine-Joseph's bass clarinet experiments. It's a sound that went away completely after about 1940 and the original Buescher Aristocrats. There are a couple of interesting things about the Sax horn that I've found: - There were altos produced in F - There may have been straight altos and low A altos - Gold plated horns were generally produced for "trade shows" (Paris Expositions) - Feb. 1, 1859 marks the date that pitch was standardized at A=435hz in France - Horns produced before this were essentially "custom made" to match the pitch that your ensemble used!

Friday, August 31, 2007

Sabor ... Mix Media by Bobby Carcassés

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