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The Buena Vista Social Club was a members' club in Havana, Cuba, that closed in the 1940s, as well as a 1990s band, a 1997 album, a 1999 film, and an unofficial brand name representing the musical spirit of the original Havana club. The original Buena Vista Social Club held dances and musical activities, becoming a popular location for musicians to meet and play during the 1940s. In the 1990s, nearly 50 years after the club was closed, it inspired a recording made by Cuban musician Juan de Marcos González and American guitarist Ry Cooder with traditional Cuban musicians, some of whom were veterans who had performed at the club during the height of its popularity. The recording, named ''Buena Vista Social Club'' after the Havana institution, became an international success, and the ensemble was encouraged to perform with a full line-up in Amsterdam in April 1998 (two nights). German director Wim Wenders captured the performance on film and the one that followed on the 1st of July 1998 in Carnegie Hall, New York City for a documentary—also called ''Buena Vista Social Club''—that included interviews with the musicians conducted in Havana. Wenders' film was released on 4 June 1999 to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards. The success of both the album and film sparked a revival of international interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with international stars from different musical genres. The "Buena Vista Social Club" name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba's "musical golden age" between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died at the ages of ninety-five, eighty-four, and seventy-eight respectively; Segundo and González in 2003, then Ferrer in 2005. Several surviving members of the Buena Vista Social Club, such as trumpeter Manuel "Guajiro" Mirabal, laúd player Barbarito Torres and trombonist and conductor Jesus "Aguaje" Ramos currently tour worldwide, to popular acclaim, with new members such as the singer Carlos Calunga, virtuoso pianist Rolando Luna〔() 〕 and occasionally the solo singer Omara Portuondo, as part of a 13-member band called Orquesta Buena Vista Social Club.〔http://www.worldcircuit.co.uk/#ORQUESTA_BUENA_VISTA_SOCIAL_CLUB%C3%82%C2%AE::Biography〕 ==Social club== The Buena Vista Social Club was a members-only club located in the populous Marianao neighborhood, in Cuba's capital Havana. ''Buena Vista'' means "good view" in Spanish. According to Juan Cruz, a former master of ceremonies at the ''Salon Rosado Benny Moré'' nightclub in Havana, the club was located "on ''Calle'' 41 between 46 and 48".〔Godfried, Eugène. ("Dialogue with Juan Cruz. Past President of ''Mariano Social Club'' - la Havana" ). AfroCubaWeb.com. Retrieved 12 April 2007 — (AfroCubaweb ). Intute at The University of Manchester. Retrieved 18 March 2010.〕 When musicians Ry Cooder, Compay Segundo and a film crew attempted to identify the location of the club in the 1990s, local people could not agree on where it had stood.〔("Interview with Ry Cooder in Los Angeles, by Betty Arcos, host, "The Global Village" Pacifica Radio 27 June 2000" ). ''Buena Vista Social Club'' site. Public Broadcasting Service (PBS). Retrieved 18 March 2015.〕 The club was run along the lines of a Cabildo, a community ''cofradía'' (fraternity or guild) dating back to Spanish colonialism. Cabildos in Cuba developed into ''Sociedades de Color'', social clubs whose membership was determined by ethnicity, at a time when slavery and racial discrimination against Afro-Cubans was institutionalized.〔Godfried, Eugène. ("The African Cuban Diaspora's Cultural Shelters and their Sudden Disappearance in 1959" ). (AfroCubaWeb ). Retrieved 18 March 2007.〕 ''Sociedades de Negros'' (Black Societies) existed throughout Cuba, and Havana boasted a number of closely linked organizations including the Marianao Social Club, Union Fraternal, Club Atenas—whose members included doctors and engineers—and the Buena Vista Social Club itself.〔 According to American guitarist Ry Cooder, Prominent musicians who performed at the club during the 1930s and 40s include bassist Cachao López and bandleader Arsenio Rodríguez. Rodríguez's pianist Rubén González, who played piano on the 1990s recordings, described the 1940s as "an era of real musical life in Cuba, where there was very little money to earn, but everyone played because they really wanted to".〔(''Buena Vista Social Club''. Musicians Biographies ). Rubén González. Nonesuch Records website. Retrieved 18 March 2007. 〕 The era saw the birth of the jazz-influenced mambo, the charanga, and dance forms such as the pachanga and the cha-cha-cha, as well as the continued development of traditional Afro-Cuban musical styles such as rumba and son, the latter transformed with the use of additional instruments by Arsenio Rodríguez to become son montuno.〔Garcia, David F. ''Cuban Music: A Review Essay''. Notes - Volume 62, Number 1, September 2005, pp. 95–100〕 Son, described as "the bedrock of Cuban music", has shaped much of twentieth-century Latin music,〔(Cuba: Catalogue ). World Music Network. Retrieved 3 May 2007.〕 and had a strong impact on popular music, not only in Latin America, but also in the United States during the late nineteenth and early twentieth centuries.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Buena Vista Social Club」の詳細全文を読む スポンサード リンク
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