Dile a ese pedro brull biography
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Aboutus #46
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Puerto Rico-based Mulenze is led by bass player/producer Edwin Moráles. They are a salsa orquesta with a line-up of two trumpets, two trombones, rhythm section (conga, bongo, timbales, bass, piano) and three vocalists (lead and chorus). ‘Edwin Moráles is a victim of his own good taste. Mulenze unfailingly produce almost excessively sophisticated albums. Two elements stand out: the arrangements, always an astonishing demonstration of how jazz can be harnessed to clave (the rhythmic heartbeat of salsa) to produce superb swing. And then, the marvellous Pedro Brull: blessed with a gorgeous voice, he has that timing which places him among the great soneros (improvising salsa singers). How bitterly disappointing that Mulenze are not better appreciated’ (quote from Tomek, UK salsa broadcaster). The band’s first four albums were issued on the PDC label. They signed to Bobby Valentín’s Bronco Records and debuted on the label with the excellentCon Pocas Palabras Basta (Just A Few Words Are Enough) in Pedro Brull sang lead on the outstanding track ‘No Te Vayas Todavia’, which was written by Pedro Arroyo (b. 9 November , Mayagüez, Puerto Rico; composer/vocalist/band leader), who has composed 10 other songs for the band to date. ex-Willie Rosario pianist/arranger Javier Fernández arranged
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“[] that which is called the black soul is a white construction". Frantz Fanon1
Introduction
In the seventeenth and eighteenth centuries the Cathedral of Santiago de Guatemala occupied a relevant place in the production of musical works.2 From the impact left by the Spanish musician Hernando Franco (), numerous maestros de capilla –chapelmasters– took to creating polyphonic works to grant enhancement to the festivities, attract the faithful to religious services and -at the same time- reaffirm the hegemony of the Church and the Crown.3 Within the varied musical production of the time, villancicos de negros, also known as guineos or negrillas, stand out. The characteristics of this subgenre of villancicos have been detailed in previous works,4 whose authors emphasize especially the construction of black people as a candid, innocent and joyful individual. In the case of Christmas negrillas, the theme revolves around a group of black men and women who head towards the Bethlehem Manger to cheer up the Child Jesus with their gifts, music and dances, amid an emotional display of Christian devotion.
Negrillas usually have a responsorial format to recreate the dialogue between the soloist and the choir; In addition, there are syncopation, onomatopoeias and dif