Laird Technique OF Latin Dancing

Jazz was moved in alongside Latin rhythms way back when. Even in New Orleans, at its time of birth, jazz was swaying its hips to a Latin beat. Here, on this expansive three-disc set, is arrayed an amazing range of sounds that have shaped not only jazz music but also our lives in recent times. Enjoy these sounds from the likes of Quincy Jones, Herbie Hancock, Luiz Boná and Candido.

This book brings together world-renowned experts and rising scholars to provide a collection of chapters examining the long-term impact of historical events on modern-day economic and political developments in Latin America. It, uses a novel approach, stressing empirical contributions and state-of-the-art empirical methods for causal identification. Contributing authors apply these cutting-edge tools to their topics of expertise, giving readers a compendium of frontier research in the region. Important questions of colonialism, migration, elites, land tenure, corruption, and conflict are examined and discussed in an approachable style. The book features a conclusion from Alberto Diaz-Cayeros, Director of the Center for Latin American Studies at Stanford University.

Jazz was moved in alongside Latin rhythms way back when. Even in New Orleans, at its time of birth, jazz was swaying its hips to a Latin beat. Here, on this expansive three-disc set, is arrayed an amazing range of sounds that have shaped not only jazz music but also our lives in recent times. Enjoy these sounds from the likes of Quincy Jones, Herbie Hancock, Luiz Boná and Candido.

By virtue of his warm and buoyant stage manner, constant touring, longevity, and appearances in the mass media, Tito Puente became one of the most beloved symbols of Latin jazz. But more than that, he managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos, and saxophone. His appeal cut across all ages and ethnic groups, helped no doubt by Santana's best-selling cover versions of "Oye Como Va" and "Para Los Rumberos" in 1970 and 1971, and cameo appearances on The Cosby Show in the 1980s and the film The Mambo Kings in 1992. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere.