Generoso jimenez biography

Generoso Jiménez García (July 17, 1917 – September 15, 2007), commonly known as Tojo, was a.
He was born in the small town in Cruces, in what is now the province of Cienfuegos, on July 17, 1917.
Generoso Jimenez, 90, a legendary Cuban trombonist and arranger who helped create the 1950s big-band sound of Afro Cuban icon Beny Moré.

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Havana, Cuba was Sin City for many Americans for the first half of the 20th century. Sugar barons, gangsters, dancing girls and spies haunted the clubs and bars along the the water front. They say there were more Cadillacs per capita in Havana then anywhere else on earth. Night spots like Sloppy Joe’s, Floridita and the Tropicana were household names even in small town America. The good times rolled faster and longer in Cuba than anywhere else in the world. It was a hoot, 24 hours a day.

And when it came to music Cuba gave the world the rumba, the chacha, son and all sorts of jazzy cocktails. Music was everywhere. In the 5 Stars as well as in the dives. In the churches and in the streets. Just as America was making Havana into its own little naughty off-shore play land, Generoso Jimenez, was born in Ceinfuegos, a town famous for producing numerous famous musicians.

He studied music with his father as a young boy and chose the slide trombone as his weapon of choice when he joined the local municipal band. He began developing his unique style in

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Generoso Jimenez, 90; legendary Cuban trombonist and arranger

Generoso Jimenez, 90, a legendary Cuban trombonist and arranger who helped create the 1950s big-band sound of Afro Cuban icon Beny Moré, died Saturday at Coral Gables Hospital in Coral Gables, Fla., the Miami Herald reported Monday.

In reporting his death, Billboard magazine said Jimenez was a member of the original lineup of the pioneering Orquesta Aragon and also played with the legendary arranger and bandleader Chico O’Farrell.

Jimenez was born to a family of musicians in the small town of Cruces in central Cuba. He played a variety of instruments with the municipal orchestra before joining a regional orchestra as a pianist. He later settled on slide trombone

He stayed in Cuba after Fidel Castro seized power in 1959 and, according to the Herald’s obituary, recorded “El Trombon Majadero,” considered a classic in contemporary Cuban music. He came to the U.S. in 2003 to attend a Latin Grammy ceremony and returned a few months later to stay.

His last recording was for singer Gloria Estefan’s “90 Millas” Spanish-lang

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Generoso “Tojo” Jiménez: Trombón Majadero

At the time of writing this critique this recording will have been almost three years old. However, the music of the celebrated Brasilian artist Milton “Bituca” Nascimento is timeless. And so, indeed, is any music created and produced by the prodigiously gifted Clarice Assad, third generation of a fabled Brasilian musical family. So, the statute of limitations ceases to apply to this recording Window to the World – A Tribute to Milton Nascimento.

I would wager a guess that among living Brasilian musicians no musician has received more recorded tributes than the inimitable Mr Nascimento. The word ‘legendary,’ though often bandied about when it comes to Brasilian musicians – alive or no longer alive – has little meaning. Miles Davis rightly scorned the term saying that it only belonged ‘to dead cats.’ But few Brasilians alive today deserve it – even among such stellar lights as Gilberto Gil, Caetano Veloso, and Ivan Lins. Mr Nascimento [and perhaps Chico Buarque, Hermeto Pascoal and Egberto Gismonti – each for varied reason