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The
Mozambique: a happy epidemic
BY
RAFAEL LAM, —Special for Granma International—
IN the
1960’s, various rhythms, modes and musical styles
appeared hot on the heels of the pachanga:
the pa’ca, the pilón, the dengue
and the most vigorous of all — the mozambique. It
shook the Havana Malecón (sea wall) during Carnival
(1946), the Paris Olympia (1965), plus Carnegie Hall
(1979) and other Manhattan venues.
After
the 1959 Revolution, street congas abounded on the
island. In 1961, Santiago de Cuba composer Enrique
Bonne organized the largest popular band to date: 54
members on drums, bass drums, bells, trombones,
trumpets, saxophone, singers and dancers.
The
mozambique made its debut on the July 6, 1963 on the
"Ritmos de Juventud" (Youth Rhythms) TV
program with Pedro Izquierdo (Pello el Afrokán) at
its head. Dressed in an impeccable white drill suit
and a white coney fur cap, he was surrounded by
dancers demonstrating the new dance and a set with
five drummers sounding like a piano.
Pello
explains: "It’s like walking, but walking in
time. Normally it’s the dancer who creates and
imposes the dance, using the steps as the most
dynamic element in creating a new rhythm. In the
case of the mozambique the reverse happened.
The
steps consist of bending the knee and lowering the
body at the same time as lifting up a foot whilst
returning the body to its normal upright position.
Keep on bending the knees, lowering the body and
lifting alternate feet as quickly and vigorously as
possible. It also utilized some elements of Cuban
folk dances originating in Africa.
The
mozambique’s concept lies in the sound made by
beating African drums (boncó enchemi, obby
apá), the conga and the tres dos. Cuban
researcher Odilio Urfe believes that the mozambique
arose from the instrumental combination of the conga
and the carnival chambelona. "Some
people thought it was crazy, but there were others
who didn’t," recalls Pello. "The idea
was to invent something that would reinforce Cuban
music in the face of the penetration of Paul Anka’s
foreign sound that had a large following."
The
mozambique undoubtedly left its imprint on Cuban
dance music and the percussionists who constantly
reinvigorate the basis of bands. Irakere
incorporated conga with jazz and pop. Eddy Palmieri
recorded "Maria Caracoles," a mozambique
record that sold in the millions. King of Latin rock
Carlos Santana also recorded the rhythm using an
organ, drums and electric guitar. More than 200
Japanese have studied it, including those playing in
the Orquestra de la Luz.
Pedro
Izquierdo was one the great percussionists; his
forefathers came from Africa — his grandfather was
a Mandingo; his father was a percussionist in
Belisario López’ band. Musician Agustín
Gutiérrez and many conga and rumba players used to
visit his house. Drum maestro Mongo Santamaría was
Pello’s cousin.
El
Afrokán played percussion in the Tropicana cabaret
and also taught at the National Art Teachers
College. He has been experimenting with drums since
1959 and in 1967 directed a group featuring 100
drummers.
By the
early 1970’s the mozambique had fulfilled its
role. Pello reduced his orchestra’s format and
introduced the rhythm into the Latinoamericana
show he was producing at the Parisien cabaret,
likewise performing it at the 1830 Restaurant, La
Cecilia, the Comodoro and, in 1991 at the Capri with
salsa groups.
But
the mozambique still lives on. His grandson Omar
Merencio Izquierdo has formed a group that continues
spreading the rhythm that in 1963, "hit us like
a virus and became the happiest-ever epidemic,"
remarks mozambique singer/composer Evelio Landa.
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