Timbamerchant se fundó en el año 2000 como una compañía independiente, principalmente para importar, distribuir al por menor y promocionar la Timba, en aquel tiempo, la nueva forma de música bailable urbana popular de Cuba. Después de cerrar en 2006 por las razones que encontrarás en nuestra “Historia Temprana” que se relaciona a continuación, TimbaMerchant reinició en enero de 2017. Ocasionalmente comercializando CD en eventos locales, TimbaMerchant ahora está buscando principalmente descargas digitales para operar en línea.
Actualmente estamos trabajando con Bis Music y estamos explorando contratos con otras casas discográficas.
La misión es esencialmente la misma que antes, pero se ha ampliado a medida que Timba se acerca a su trigésimo cumpleaños. Mientras seguimos buscando lo mejor en Timba y Salsa cubana contemporánea, TimbaMerchant ahora intentará reunir un extenso catálogo de música afrocubana clásica popular y folclórica de todas las edades.
TimbaMerchant es un especialista en música afrocubana, orientado especialmente hacia las personas que no quieren distraerse con otra música mientras navegan o buscando encontrar lo que quieren.
Permanecemos independientes de todas las demás partes interesadas. Las reseñas y recomendaciones de música que encontrarás en el sitio son opiniones honestas dadas de buena fe, informadas por casi treinta años de inmersión en esta música. Como tales, colocan la promoción de la música en la que creemos por encima de cualquier otra consideración. Los usuarios del sitio pueden estar en desacuerdo y también agregar comentarios si lo desean.
If you’ve got this far, you probably know what Timba is. In case you are still wondering, here’s a brief explanation.
The term was coined by NG La Banda’s leader, José Luis Cortés. It describes a hybrid music that took shape in 1989 with the release of their seminal LP, “En La Calle.” Cortés was a former member of both Irakere and Los Van Van, bands which  had pioneered different strands of Cuban music in the 1970’s and ’80’s. Los Van Van was, and is, a popular dance band, while Irakere pioneered Afro-Cuban Jazz-Funk fusions. Drawing on both and with no shortage of their own ideas, Cortés and his band  created a new music. Timba was, then, at its inception, very jazzy popular dance music.
The original group was a talent concentrate. It included several musicians who went on to form their own ground breaking bands.  Both Issac Delgado as well as polymath Giraldo Piloto, who founded Klimax, were original members.
The ingredients drawn upon by NG La Banda and those they inspired, were diverse. Timba draws on Afro-Cuban roots while simultaneously looking overseas for fresh inspiration. It tends to use folkloric Guaguancó clave as its fundamental structure rather than the Son clave found in Cuban derived music such as Salsa. Characteristic of the genre are an expanded number of musical sections, compared to Salsa or Son,  in which various instruments change rhythm, role, or cut out altogether. Often referred to as “gears” in English, switching  between these can add enormous emotional charge and dynamism to the music.
From outside, several prominent Timberos cite Earth, Wind and Fire are as a principle influence. In truth, elements of contemporary American Jazz, Funk, Hip-Hop, Rap and Rare Groove have transformed the traditional Cuban song structures, instrument patterns, vocal styles and much more.
Timba places less restraint on its rhythm sections both in composition, division of labour and improvisation. Trap drums are usually added to traditional percussion, and though solos of any kind are rare, musicians are often much freer to improvise than traditionally. 
Early in the Castro regime, talented youth were streamed into specialist academies, including those dedicated to musical training. The unequalled quality of musicianship evident in Timba is a result of this. But far from elitism, no less important  was the extent to which Timba took the lives and experiences of ordinary Cubans and turned them into art. It’s my contention that a divorce of the upwardly mobile musicians from their poverty stricken audience and inspiration, is the principle factor in the decline of creativity in most of today’s Timba.
 These similarities have given enormous scope for individuality among Timba’s proponents. In its most creative phase bands would often create new sounds for each recording. Though certain techniques and styles have come to be associated with it, Timba is, then, a highly diverse genre loosely identified by time and circumstance, heritage and influence.
Me Sube La Fiebre
David Calzado y
La Charanga Habanera
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