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Ramosa and Nkabinde joined them, and they developed a unique sound: Unlike earlier kwela groups, they incorporated guitar and vocal harmony. The "jive flute" in the name Elias and His Zig-Zag Jive Flutes is the penny whistle. [2] In 1956, the four were signed to EMI South Africa by the label's "black music" record producer, Rupert Bopape. [2]
Nick Massi (The Hollywood Playboys, among others [2] [3]) replaced Calello from late 1960 to September 1965.; Several studio albums and over 100 singles.Originally assembled from various New Jersey club groups, over the years, other notable names, including Don Ciccone (The Critters), John Paiva (The Happenings), Jerry Corbetta and session keyboardist Robby Robinson came and went as performers ...
The low cost of the tin whistle, or jive flute, made it an attractive instrument in the impoverished, apartheid-era townships; the Hohner tin whistle was especially popular in kwela performance. The kwela craze accounted for the sale of more than one million tin whistles.
Kwela is a pennywhistle-based street music from southern Africa [1] with jazzy underpinnings and a distinctive, skiffle-like beat.It evolved from the marabi sound and brought South African music to international prominence in the 1950s.
The flute is a member of a family of musical instruments in the woodwind group. Like all woodwinds, flutes are aerophones, producing sound with a vibrating column of ...
The first major style of South African popular music to emerge was pennywhistle jive (later known as kwela). Black cattle-herders had long played a three-holed reed flute, adopting a six-holed flute when they moved to the cities.
Tabackin started learning flute at age 12, followed by tenor saxophone at age 15. [2] He has cited Al Cohn [ 2 ] [ 3 ] and Coleman Hawkins [ 2 ] as influences on saxophone, while his flute role models include classical players such as William Kincaid, Julius Baker , and Jean-Pierre Rampal . [ 2 ]
The interpretative function of the flute is retained: its role as a soloist, and the characteristics of its improvisation in danzón reappear in cha-cha-chá with hardly any alteration. The melodies of the violins alternate with those of the flute and the voices in a way that became standardized in danzón and danzonete .