{"id":10669,"date":"2022-04-06T00:00:00","date_gmt":"2022-04-06T04:00:00","guid":{"rendered":"https:\/\/magazineampm.com\/?p=10669"},"modified":"2022-04-05T16:55:28","modified_gmt":"2022-04-05T20:55:28","slug":"mi-rumba-no-va-a-parar-y-lo-dice-rumbata","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/mi-rumba-no-va-a-parar-y-lo-dice-rumbata\/","title":{"rendered":"My rumba is not going to stop and Rumbat\u00e1 says it"},"content":{"rendered":"

My rumba is good<\/span><\/i><\/p>\n

He doesn't have a schedule<\/span><\/i><\/p>\n

It is danced without sorrow,<\/span><\/i><\/p>\n

Does not take a salary<\/span><\/i><\/p>\n

Mowi, mowi, mowi, mowi.<\/span><\/i><\/p>\n

 <\/p>\n

From his native Camag\u00fcey, Rumbat\u00e1 maintains a strong presence within the national rumbero scene. Going beyond geographical fatalisms, he participates in the most important festivals on the Island, in addition to having four phonograms, all under the musical production of his countryman Manolito Simonet:<\/span> Rumbat\u00e1<\/span><\/i> (Egrem, 2008), <\/span>the rumba of the century<\/span><\/i> (Bis Music, 2011), <\/span>Thanks to the rumba<\/span><\/i> (Bis Music, 2017) and <\/span>my rumba is not going to stop<\/span><\/i> (Bis Music, 2022). When the recordings that precede this latest album are reviewed, it is easy to find elements of continuity in the record work of this group, with a sound seal that defines it.\u00a0<\/span><\/p>\n

Since his debut, Rumbat\u00e1 raises a maxim: the balance between the traditional in the rumba and more contemporary sounds. This crystallizes in <\/span>My rumba is not going to stop<\/span><\/i> where they call openly <\/span>rumba fusion<\/span><\/i> to four of the 10 themes that comprise it.\u00a0<\/span><\/p>\n

To the treatment of the genres typical of the rumba (yamb\u00fa, guaguanc\u00f3 and columbia), to which they insert Afro-Cuban touches \u2014mainly from Yoruba and palo rites\u2014, they add sounds typical of the \u201cmodern\u201d rumba: bat\u00e1-rumba and guarapachangueo. The latter, emerging styles in the second half of the last century, are antecedents of the so-called <\/span>rumba fusion<\/span><\/i>, which advocates a freer way of approaching the genre and combining it with other coexisting ones in its time such as son, salsa, trova, rap, conga, current urban music.<\/span><\/p>\n

In addition to this core feature, there are other elements that have characterized the recordings of Rumbat\u00e1 in its 26-year career, and that likewise mark its most recent production.\u00a0<\/span><\/p>\n

The group's interest in performing the yamb\u00fa "the old way" or in <\/span>weather Spain<\/span><\/i>, both for the inclusion of anonymous songs from past centuries, and for the interpretation of original works by the group with tempo, touches and voices that evoke that old sound.\u00a0<\/span><\/p>\n

Another distinctive feature is the special emphasis on choral arrangements, in which they include several voices that cover a wide range of timbres and give great expressive force to the songs. In the most recent phonogram, the choirs were duplicated, with which they manage to give it even greater volume at the sound level; duets are also used, which evoke the rumberos of the early twentieth century. In general, the voice constitutes one of the main means they use to extrapolate elements from other genres and insert them into the rumba, rapping based on the rumba base being perhaps the most evident and one of the features with the greatest impact since their first album.<\/span><\/p>\n

In addition, it highlights the timbre treatment of the percussions. Beyond the characteristic touches, the sound of Rumbat\u00e1 exploits the different heights of the idiophones, cajons, congas and bat\u00e1 drums, and in each timbre strip they design rhythmic-melodic lines under a polyphonic conception. This resource is easily perceived in the intros of the themes, being more evident in <\/span>Mace<\/span><\/i>.\u00a0\u00a0<\/span><\/p>\n

On the other hand, the insertion of electronic sonorities is moderately manifested with the use of <\/span>pads<\/span><\/i> that also emphasize the timbre treatment that I mentioned before, and it is an element that identifies the group both in the recordings and in live presentations.\u00a0<\/span><\/p>\n

In the discography of Rumbat\u00e1, it is common to find rumba versions of trova works (new and traditional) to which a montuno is added, inserting, in it, new texts and inspirations to the originals. It is the case of <\/span>snow lantern<\/span><\/i> (Raul Torres), <\/span>spring butterfly<\/span><\/i> (Miguel Matamoros), <\/span>Oil painting of a woman with a hat<\/span><\/i> and <\/span>Mace<\/span><\/i> (Silvio Rodriguez), <\/span>Veinte a\u00f1os<\/span><\/i> (Maria Teresa Vera) and <\/span>Identity<\/span><\/i> (Pablo Milanes).<\/span><\/p>\n