Bio:
La Compañía tiene su génesis en los muelles del puerto de La Habana, en 1961, cuando un grupo de trabajadores se reunía en fiestas y eventos artísticos sindicales. Ellos dieron origen al Guaguancó Marítimo Portuario, conjunto que, en 1985, inició una labor profesional con el nombre de Yoruba Andabo.
A partir de ese momento, ofreció su arte en diversas actividades de la Unión de Escritores y Artistas de Cuba (UNEAC), trabajó con la firma discográfica EGREM, por iniciativa del compositor y cantante Pablo Milanés, y compartió la escena con la cantante folclórica Merceditas Valdés.
Actualmente, integran la compañía 16 artistas, entre cantantes, percusionistas y bailarines. El elenco cultiva los disímiles géneros musicales que conforman las raíces africanas de la cultura cubana y que incluyen los ciclos Congo, Yoruba, Abakuá y el llamado complejo de la rumba, con sus tradicionales ritmos, especialmente el yambú, el guaguancó y la columbia, pero también incluyen elementos de fusión con otros géneros musicales, creando voces y sonidos contemporáneos.
Varios artistas de Yoruba Andabo se desdoblan como maestros e imparten clases magistrales y talleres de canto, danza y percusión. Les motiva el amplio repertorio musical imbricado con singulares coreografías que crece cada año de manera profunda y minuciosa.
La discografía de Yoruba Andabo supera la veintena de títulos, muchos de ellos premiados nacional e internacionalmente. Conquistó un premio Juno, equivalente canadiense de los Grammy norteamericanos, nominaciones a los premios de la Academia de la Música de España y un premio compartido y dos nominaciones a los Grammy Latinos.
El arte de Yoruba Andabo ha sido apreciado por exigentes públicos de relevantes teatros y plazas de Canadá, EEUU, Costa Rica, Panamá, Colombia, México, España, Ginebra, París y Londres.
Contact Information
Management/Booking:
Jose & Antonio Productions
José Luis Lobato (Manager y Productor General)
Teléfonos: (+535) 290 8771
Email: [email protected]
Correo Alternativo: [email protected]
Havana, Cuba
Antonio Savaris (Associate Producer) [email protected]
Cell: 514-743-2870
Work: 514-382-9898
9430 Boul. St. Laurent
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).