Top Ned Sublette Quotes - Quotesmemo.com

Ned Sublette Biography

Ned Sublette (born 1951 in Lubbock, Texas) is an American composer, musician, record producer, musicologist, and author. Sublette studied Spanish Classical Guitar with Hector Garcia at the University of New Mexico and with Emilio Pujol in Spain. He studied composition with Kenneth Gaburo at the University of California, San Diego. He grew up in Portales, New Mexico, moved to New York City in 1976, and has worked with John Cage, LaMonte Young, Glenn Branca, and Peter Gordon.[citation needed]

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Ned Sublette Quotes

Chano Pozo created the role of the conga soloist in the modern band, somewhat th way Coleman Hawkins created the solo tenor sax.

Band, Conga, Hawkins, Pozo, Roles, Way

Black musicians rhythmicized the contredanse, creating musical styles which evolved into the habanera (also known as the tango) and, later, ragtime, as well as the danza, danzón, and ultimately the danzón mambo and its offspring the cha-cha-chá.

Black, Creating, Known, Musical, Offspring, Rhythmicized

That spirit of mockery characteristic of the guaracha was part of the mambo from the beginning.

Beginning, Characteristics, Guaracha, Mockery, Part, Spirit

Up through and including Lincoln, American politicians nursed a fantasy of repatriating blacks to Africa.

Fantasy, Including, Lincoln, Nursed, Politician

Every farm with slaves was a slave-breeding farm. Raising slaves was mostly a cottage industry.

Breeding, Cottage, Cottages, Farm, Slave, Slaves

A laborer might last ten years or so before expiring. But individual workers in the death camp of sugar were survived by their culture, which was constantly re-Africanized by fresh arrivals. To that plantation culture, the music of our hemisphere owes no small debt.

Culture, Death, Hemisphere, Plantation, Workers, Years

The basic success of the conga came from. . . that basic principle of African music and dance: everybody participates. The conga eradicated the distinction between performer and audience, broke down the wall of the proscenium.

African Music, Distinction, Participates, Performer, Principles, Wall

Miguelito, liberated from having to sing with Cugat, sounds like he just got out of jail and is letting it rip.

Jail, Miguelito, Rip, Sound, Sounds

In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.

Catchy, Memorable, Names, Powered, Reworked, Tunes

New Orleans is of such key importance to American music because historical factors combined to make it the strongest center of African musical practice in the United States, and, cliches aside, that practice really did travel up the Mississippi and did spread overland.

Keys, Mississippi, New Orleans, Practice, Spread, Travel

One often reads that the 1950s was the golden age of Cuban music, but it was really one long phase, from 1937 to 1958, each year with its own splendour.

1937, Age, Long, Phase, Reads, Years

A second line is in effect a civil rights demonstration. Literally, demonstrating the civil right of the community to assemble in the street for peaceful purposes. Or, more simply, demonstrating the civil right of the community to exist.

Community, Literally, Peaceful, Right, Rights

Like slaves on the sugar plantations of the Antilles,. . . the sugar slaves of southern Louisiana had negative birthrates for as long as slavery lasted.

Long, Louisiana, Negative, Slavery, Southern, Sugar

The two biggest hits (by Machito). . . were about that enduring Cuban song topic-food: 'Sopa de pichn' [pigeon soup] and 'Paella'. If you think that all songs about food are double entendres for sex. . . Well, maybe all songs about food can be double entendres, but in many periods of Cuban history, for many people, food has been harder to get, and the subject of more fantasies, than sex.

Double, Fantasies, Sex, Song, Soup, Thinking

On occassion, slaves in Spanish New Orleans owned slaves, whose labor they could appropriate toward purchasing their own freedom, or whose ownership they could trade as a partial payment on their own freedom.

Appropriate, New Orleans, Owned, Ownership, Slave, Trade

The general disinclination of Spain to accept slaves from Islamicized regions of Africa during the formative years of Hispano-American society had enormous consequences for the development of music in the New World.

Development, Islamicized, Society, Spain, Years

Music is so essential to the Cuban character that you can't disentangle it from the history of the nation. the history of Cuban music is one of cultural collisions, of voluntary and forced migrations, of religions and revolutions.

Character, Cultural, Essentials, History, Migration, Migrations