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Cómo era y cómo es
Guaco
Latin World Entertainment Group


by Carlos Giménez


Named after a white bird symbolic of bad luck, the Venezuelan group Guaco is making a strong arrival with their first release in the U.S. Founded in 1972, this group has redefined gaitas from the Zulia State in the northwestern part of Venezuela. Gaita is a genre that is mainly performed during Christmas and New Year’s with a traditional Conjunto de gaita, composed of a Venezuelan cuatro, furro, tambora and a charrasca, and it was used as a channel of dissent during the dictatorship of the 1950’s. In the Eighties, Guaco added more modern instruments like brass and piano and produced arrangements highly influenced by Cuban songo, but they faithfully kept the characteristic tamborera as a base rhythm.

"Cómo era y cómo es" (How it was and how it is) – with illustrations by famed Venezuelan cartoonist Pedro León "Zapata" – is a compilation of some of the most memorable songs performed by Guaco, spanning a period of over 20 years. A big-band format, highly danceable tunes and lyrics touching on social commentary makes this band comparable only to Cuba’s Los Van Van or Haiti’s Tropicana ensembles. Listen to it, and you’ll want to hear more.




African Instruments in Cuban Music. Rumbaut, Luis. CLAVE Vol.1 No. 3, September 5, 1998.

A Short History of The Colonial Villancico of New Spain. Oetgen, Susan. CLAVE Vol.2 No.4,November/December, 1999

Baião: A Dance Rhythm from Northern Brazil. An Interview with Leonardo Lucini. Berre, Marietta. CLAVE Vol.I, No.2 June 5, 1998. ©

Bolero. Rumbaut, Luis. CLAVE Oct-Dec. 2002. ©

Cantares: Voices of the Costa Rican People. Morera,Sabino. CLAVE Vol.II No. 2, May/June, 1999. ©

Chamber Music a la Cubana Comes to Washington DC. Rumbaut, Luis. CLAVE Vol.I, No.1 April 5, 1998.

Charango (Latin American Instruments Series). Rumbaut, Luis. CLAVE Vol.II No. 1, March 1, 1999.

Charanga: Then and Now. Grossman, Connie. CLAVE Vol.II No. 3, July-August, 1999. ©

Chucho Valdés at the Levine School of Music. Giménez, Carlos. CLAVE Vol.I No. 3, September 5, 1998.

Clave: The African Roots of Salsa. Washbourne, Christopher. Originally published in Kalinda! (Fall):14, 10-13, 1995. CLAVE Vol.I, No.1 April 5, 1998 ©.

Crisis in Latin American Arts. Rumbaut, Luis. CLAVE Vol.3 No.1, Aug/Sep, 2000.

El Salvador: Music and History Rumbaut,Luis. CLAVE Vol.3 No.2 November/ 2000.

Guateque. The Folkloric Ballet of Puerto Rico. Polen, Danielle. CLAVE Vol.I No. 3, September 5, 1998.

Lázaro Batista. Cuban Poeta and Painter. Tobin, Linette. CLAVE Vol.3, No.1 Aug/Sep,2000.

Livid Legends: A Conversation with Richard Egües. Giménez, Carlos. CLAVE Vol.II No. 3, July-August, 1999. ©

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Nostalgic Cuba in Washington DC. Rumbaut, Luis. CLAVE Vol.1, No.2 June1998.

Peruvian Folklore Revisited Berre, Marietta. CLAVE Vol.2 No.4, September, 1999.

Reflections On A Dance Workshop in Santiago de Cuba. Lepore, Jim. CLAVE Vol.2 No.4, September, 1999.

Reviving Vallenato--Gustavo Nieto and Sencación Vallenata. Giménez, Carlos. CLAVE Vol.II No. 1, March 1, 1999. ©

Steel Pans: A Brief History. Berre, Maxens. CLAVE Vol.II No. 1, March 1, 1999.

Tango and Milonga: A close relationship. Mauriño, Gabriela. CLAVE Online June, 2001.

The African Components of the Folk Music of Venezuela– A Conversation with Jesús "Chucho"García
Giménez, Carlos. CLAVE Vol.II No. 3, July-August, 1999. ©

The Batá Drums. Corrales, Mark. CLAVE Vol.1, No.3 Aug/Sep 2000.

The Challenging Art of the Bandoneon.Oetgen, Susan.CLAVE Vol.II No. 2, May/June, 1999.

The Marimba. Tobin, Linnete CLAVE Vol.3 No.2, November 2000.

The Peruvian Cajón Giménez, Carlos. CLAVE Vol.2 No.4, September, 1999.

The Songs to the Gods of Santería.Rumbaut, Luis. CLAVE Vol.3, No.1 Aug/Sep,2000

The Value of an Artist. Giménez, Carlos. CLAVE Vol.2 No. 4, September, 1999.