Ulpiano Díaz

Ulpiano Díaz (1900–1990) was a Cuban timbalero. He is considered an innovator of the timbales, being the first to add a small cowbell to the setup,[1][2] and popularizing the abanico.[3] He started his career playing güiro in Félix González's orquesta típica, and rose to prominence as the timbales player of three important charangas: Orquesta de Tata Alfonso, Arcaño y sus Maravillas and Fajardo y sus Estrellas.[4]

Ulpiano Díaz
Born1900
Pinar del Río, Cuba
Died1990
Havana, Cuba
GenresDanzón, mambo
Occupation(s)Musician
InstrumentsTimbales, güiro
LabelsColumbia, Panart
Associated actsOrquesta de Félix González, Orquesta de Tata Alfonso, Arcaño y sus Maravillas, Fajardo y sus Estrellas

Career

Díaz was born in Pinar del Río in the year 1900. He learned to play several percussion instruments by himself before joining the Septeto Cuba, based in Havana.[4] He later became the güirist in Orquesta de Félix González. He then joined Tata Alfonso's charanga as the timbalero. He would become a master of the instrument, joining Fernando Collazo's La Maravilla del Siglo in 1936. Along with Antonio Arcaño and other members of this band, Díaz founded La Maravilla de Arcaño in 1937. La Maravilla de Arcaño, later renamed Arcaño y sus Maravillas, would become Cuba's most prolific charanga. Díaz later joined José Fajardo's charanga during the 1950s,[5][6] and after Fajardo's exile, continued to play in the group, which was renamed Orquesta Estrellas Cubanas and directed by violinist Félix Reina.

Díaz died in 1990 in Havana.

Innovations

Díaz is generally credited with the addition of the cowbell to the modern timbales setup, an innovation that expanded the sound of the instrument.[1] Famous timbaleros such as Amadito Valdés credit him with this invention, although others have cited Antonio Orta Ferrol "Mañengue" with introducing the cowbell in 1912.[2][7] According to Changuito, it was Guillermo García.[2]

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gollark: Although in my experience people call lots of things "addictions" when they just mean "I really like doing this".
gollark: Wait, wouldn't it being an addiction be a reason *not* to do it?
gollark: I think he's in Australia or something. They might have stricter laws, like the UK, about guns and such.
gollark: Also, the borders and anything near them (!!!) are apparently exempt from constitutional protections against excessive search?

References
  1. Conzo, Joe; Pérez, David A. (2010). Mambo Diablo: My Journey With Tito Puente. Bloomington, IN: Authorhouse. p. 42.
  2. Quintana, José Luis; Silverman, Chuck (1998). Changuito: A Master's Approach to Timbales. Belwin-Mills. p. 25.
  3. Ledón Sánchez, Armando (2003). La música popular en Cuba (in Spanish). Oakland, CA: Intelibooks. p. 150.
  4. Dalmace, Patrick. "Díaz, Ulpiano". Montuno Cubano (in French).
  5. Rondón, César Miguel (2008). Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City. The University of North Carolina Press. p. 9.
  6. Conzo, Joe; Pérez, David A. (2010). Mambo Diablo: My Journey With Tito Puente. Bloomington, IN: Authorhouse. p. 204.
  7. Padura, Leonardo (2014). "Réquiem por Manengue". El viaje más largo (in Spanish). Barcelona, Spain: Ned Ediciones.
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