Azúcar Negra Analysis

I chose to do my album review on the album Azúcar Negra. Úrsula Hilaria Celia de la Caridad Cruz Alfonso, also known as La Guarachera de Cuba, was born October 21, 1925 in Havana Cuba. Celia Cruz died July 16, 2003 in Fort Lee, New Jersey, United States having never stepped foot on Cuban ground since exiled from Cuba by Fidel Castro. Celia Cruz’s music falls under the genres Guaracha, son, rumba, bolero and salsa. Her voice was discovered in Cuba around the age of 20 and she joined the Sonora Matancera until taking her own route in México and later on in the United States. The overall album, Azúcar Negra, has an upbeat and fun rhythm as it incorporates the use of trumpets, conga, bongo drum, piano, claves, maracas and el güiro. The instruments I listed, are commonly heard of in cuban music, especially salsa.
“De La Habana Hasta Aguí” begins with a solo guitar playing and then is joined by el güiro, the maracas, the clave, and a choir. After the song goes on for a few verses, Celia Cruz joins in singing with a soft tone. Then, as Celia Cruz continues sining verses, the conga and bongo drums begin to play throughout the remainder of the song. Contrary to most of the album, “De La Habana Hasta Aguí”, has more of a relaxing feel to it. The second song I chose is “Azúcar Negra”. “Azúcar Negra” beings with the fast beat of the conga joined by the bongo drums and el güiro. After the instruments are playing together, there is a short break and then Celia Cruz starts singing on key with the piano, trumpets, and the original instruments used in the beginning of song. The song picks up a faster more upbeat rhythm. The choir joins in resonating everything Celia Cruz sings. Celia Cruz sings then the choir sings as they take turns throughout the song.The song ends with the choir and trumpets,