He said: 'the sones that were composed at that time were nothing more than two or three words that were repeated all night long. The traditional charanga format consists of congas, timbales, bass, piano, flute, and a string section of violins, viola, and cello. Most guajeos have a binary structure that expresses clave. She became known as the Queen of Salsa. [45] Many salsa songs contain a nationalist theme, centered around a sense of pride in black Latino identity, and may be in Spanish, English or a mixture of the two called Spanglish.[41]. Where and How Did it Start? "[97] In fundamental ways, salsa is the preservation of the late 1950s Cuban sound. 2 talking about this. Such story was first mentioned by Cuban historian Joaquín José García in 1845, who "cited" a chronicle supposedly written by Hernando de la Parra in the 16th century. The 1980s was a time of diversification, as popular salsa evolved into sweet and smooth Puerto Rican salsa romantica, with lyrics dwelling on love and romance, and its more explicit cousin, salsa erotica. Salsa ist ein lebendiger Tanz, eine ständige Improvisation in einer klaren rhythmischen Form. The Ga's kinka, oge and kpanlogo use duple-pulse 'son clave.'" The trumpet and trombone moñas shown below ("Bilongo") can be repeated verbatim, or altered. [37], Another important contribution of the son was the introduction of the drum to mainstream music. In 1979 Harlow released his critically acclaimed La Raza Latina, a Salsa Suite. [7] All of these non-Cuban elements are grafted onto the basic Cuban son montuno template when performed within the context of salsa. Several Cuban New York musicians who had already been performing Cuban dance music for decades when salsa was popularized initially scoffed at the term. The release of En la calle (1989) by NG La Banda, marked the beginning of the post-songo era. The rhythmic pattern of the following generic guajeo is used in many different songs. Create an account or log in to Instagram - A simple, fun & creative way to capture, edit & share photos, videos & messages with friends & family. For a time the Cuban state media officially claimed that the term salsa music was a euphemism for authentic Cuban music stolen by American imperialists, though the media has since abandoned this theory. Latin jazz (which was also developed in New York City) has had a significant influence on salsa arrangers, piano guajeos, and instrumental soloists. [15] She cites the first use in this manner to a Venezuelan radio DJ named Phidias Danilo Escalona;[15][20] In 1955 Cheo Marquetti created a new band called Conjunto Los Salseros and recorded some new songs (Sonero and Que no muera el son). Subsequently, the RCA Victor contracted Godínez in 1918 to organize a group and record several songs. By clapping clave along with Palmieri's solo, the audience is able to both "de-code" its rather esoteric musical "message", and participate in its creation at a fundamental level. When touring the United States the All Stars performed arrangements that began very much like salsa tunes, but they would also employ breakdowns about halfway through the pieces. 2. Departing from the rumba-inspired percussion parts of the previous songo era, "La expresiva" uses typical salsa bell patterns creatively incorporated into a Cuban-style timbales/drum kit hybrid. [100] As salsa grew and flourished in other countries, removed by both time and space from the New York epicenter, it adopted local sensibilities and drifted away from its Afro-Cuban moorings. "Cuban Fire: The Story of Salsa and Latin Jazz." Mauleón 1993, p. 215. By the 1930s, many bands had incorporated a trumpet, becoming septetos, and in the 1940s a larger type of ensemble featuring congas and piano became the norm: the conjunto. [5] The adjective soneado refers to songs and styles which incorporate the tempo and syncopation of the son, or even its montunos. Salazar 1991; Waxer 2002, p. 6; Morales 2003, pp. 2010 p. 247. Morales dates the song to 1932. Once the montuno section begins, it usually continues until the end of the song. [38] Homegrown salsa on the other hand, was embraced. [72], According to Bobby Sanabria, the 3-2, 2-3 concept and terminology was developed in New York City during the 1940s by Cuban-born Mario Bauzá, when he was music director of Machito's Afro-Cubans. Joe Bataan and the Lebron Brothers are two other important boogaloo bands. The tempo may gradually increase during the montuno in order to build excitement. "[24] Similarly, New York native Tito Puente stated: "The only salsa I know is sold in a bottle called ketchup. [citation needed]. Print. "Poncho Sanchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis.". Mauleón codifies this approach with examples of bomba, plena, and merengue arrangements for salsa ensemble. It was in Havana where the encounter of the rumba rural and the rumba urbana that had been developing separately during the second half of the 19th century took place. Variety Salsa Music with 12 musicians on stage. [90] The musical aspect of this social change was based on the Cuban son, which had long been the favored musical form for urbanites in both Puerto Rico and New York. [23], In the Havana neighborhoods, the son groups played in any possible format they could gather and most of them were semi-professional. [21] Ned Sublette states about another famous trovador and sonero: "As a child, Miguel Matamoros played danzones and sones on his harmonica to entertain the workers at a local cigar factory. The U.S. embargo against Cuba (1962) halted the two-way flow of music and musicians between Cuba and the United States. In 1974 the Fania All Stars performed in Zaire (known today as the Democratic Republic of the Congo), Africa, at the 80,000-seat Stadu du Hai in Kinshasa. The three-side (first measure) consists of the tresillo variant known as cinquillo. The Buena Vista Social Club album and film as well as a stream of CDs triggered a worldwide Cuban music boom. The following example shows five different variants of a 2-3 trombone moña improvised by José Rodríguez on "Bilongo" (c. 1969), performed by Eddie Palmieri. Adalberto Alvarez y su Son. Motivated primarily by economic factors, Fania's push for countries throughout Latin America to embrace salsa did result in an expanded market. By that time, Cuban popular music had moved way beyond the old Cuban templates used in salsa. 121. "Cuban Fire: The Story of Salsa and Latin Jazz." This project was joined by such important figures as Lorenzo Hierrezuelo, Francisco Repilado (Compay Segundo) and Beny Moré. Manuel, Peter, with Kenneth Bilby and Michael Largey. "[111] The re-working of Afro-Cuban rhythmic patterns by Africans brings the rhythms full circle. New York: Continuum Publishing, 2002. Their polished sound and "cosmopolitan" – read "commercial" – repertoire captivated both Cuban and foreign audiences. The slick, highly produced Fania sound was too predictably formulaic for some tastes. The dilution of Afro-Cuban rhythmic principles created problems for some. After the Cuban Revolution separated Cuba from the U.S., son, mambo and rumba, along with other forms of Afro-Cuban music contributed to the development of salsa music, initially in New York. In one scene, the Afro-Cuban folkloric genres of batá and rumba are shown being performed in Puerto Rico, implying that they originated there. ... Amazing 6 and 7 year old ‘Salsa’ dancers! Clave was initially written in two measures of 24 (below). Radio Hamburg. The music was still defined as Latin music. During this same period, Tito Puente changed to performing and recording primarily Latin jazz for the remainder of his career. Boggs, Vernon W., ed. Louie Ramirez has been called "the Quincy Jones of Salsa". ¡Conéctate! "Cosmopolitan, International, Transnational: Locating Cuban Music. Washburne 2008 p. 191. Additionally, genres of the later 1940s such as mambo manifest many characteristics derived from son. Diese unterscheiden sich durch das "Timing". Sublette Ned: Cuba and its music. Oscar D'León from Venezuela is a huge salsa star. Additionally, as a result of the increasing popularity of big band music and in an effort to increase revenues, the recording industry focused on producing newer types of music and essentially removing son from their music repertoires. A lot of people get confused about how to use these words. If the song hits, that's what matters. ", While most salsa charts are written in cut-time, the common-time (, Leymarie 2003, pp. [118] Cabijazz from Venezuela plays a unique blend of timba-like salsa with a strong jazz influence. I was using [the term] salsa, but the music wasn't defined by that. Although there have been many disputes regarding the origins of salsa, the first salsa album ever to be recorded and released was from Louie Ramirez who was born in New York of Puerto Rican parents. According to Frankie Malabe, 'In a live performance ... you'll rarely get any bombas and plenas.'". [88] The young boogaloo upstarts were outselling their older counterparts. [4] In eastern Cuba, the term began to be used to refer to the music of the highlands towards the late 19th century. Salsa-Begriff: Son Cubano (Musikrichtung) Musikstil - entstanden in der letzten Hälfte des 19. Salsa is the product of various Cuban musical genres including the Afro-Cuban son montuno, guaracha, cha cha chá, mambo, and Puerto Rican plena and bomba. Service Department serwis@kross.pl Argeliers, L. "Notes toward a Panorama of Popular and Folk Music. [27] The sextet members were: Guillermo Castillo (conductor, guitar and second voice), Gerardo Martínez (first voice), Felipe Neri Cabrera (maracas and backing vocals), Ricardo Martínez (tres), Joaquín Velazco (bongos), and Antonio Bacallao (botija). Tito Puente worked for a time in the Afro-Cubans before starting up his own successful band. He used improvised solos, toques, congas, extra trumpets, percussion and pianos, although all these elements had been used previously ("Papauba", "Para bailar son montuno"). Radio stations in the United States would get bomb threats (presumably from Cuban exiles) for playing Cuban records over the air. The percentage of salsa compositions based in non-Cuban genres is low though, and despite an openness to experimentation and a willingness to absorb non-Cuban influences, - such as Jazz and of Rock and Roll, with regards to formal structure, and many other informal influences from talented musicians of a broad range of musical and ethnic backgrounds; such as Puerto Ricans, Dominicans, Italians and Jews: anyone with talent and the will to experiment[34] - salsa has remained consistently wedded to its Cuban templates. [11] The addition of a rhythm section composed of percussion instruments such as the bongó and the botija/marímbula gave rise to the first son groups proper. In Dragon Ball Z: Battle of Gods, six righteous Saiyans hold hands in a circle and transfer their kiinto the Saiyan who is becoming the Saiyan God. They would take traditional piano figures based on simple tonic-dominant harmony and elaborate them with modern harmonies. Whereas salsa occasionally superimposes elements of another genre, or incorporates a non-salsa style in the bridge of a song, Cuban popular music since the 1970s has fully integrated North American jazz and funk to the point of true hybrid. Clickio provides advanced monetization, site performance, analytics and compliance solutions to publishers In the 1930s, Arsenio Rodríguez added a second, and then, third trumpet – the birth of the Latin horn section. By the late 1930s, the heyday of "Classic son" had largely ended. Panorama de la música popular cubana. [34] A development that led to the decrease in popularity of the original son occurred in the 1940s. Leymarie claims that salsa is "essentially virile, an affirmation of the man's pride and identity". Cuban music had been the favorite of Senegal's nightspot in the 1950s to 1960s. "Music and Nation. [35] It was common practice for salsa bands to resurrect pre-salsa Cuban classics. Тоже and также very roughly correspond to English "too" and "as well".. Тоже is a thematic (topical) adverb, также is rhematic (commentary).. Тоже means that the comment on the topic of the previous sentence also applies to the topic of the new one (topic switch).. Также means that another comment also applies to the topic of the previous sentence (comment addition).. "Salsa and Socialism: Dance Music in Cuba, 1959–99.". Today, the offbeat/onbeat motif method is much more common. Parra's story was picked up, recycled and expanded by various authors throughout the second half of the 19th century, perpetuating the idea that such song was the first example of the son genre. A proliferation of music clubs, recording studios, and concert appearances of Cuban bands in Léopoldville spurred on the Cuban music trend during the late 1940s and 1950s. During a piano solo he approached the timbales, picked up a stick, and attempted to play clave on the clave block along with the band. [3] While early groups had between three and five members, during the 1920s the sexteto (sextet) became the genre's primary format. [citation needed]. Music of Latin America and the Caribbean, 2nd Edition, 2018. [citation needed] Neither the dance, nor the music caught on outside of Cuba. [15] Cubans and Puerto Ricans in New York have used the term analogously to swing or soul music. New York: Continuum Publishing, 2002. [104] Some viewed salsa romantica as a rhythmically watered-down version of the genre. Print. 256. Ironically, Cuban-based music was promoted more effectively worldwide in the 1970s and 1980s by the salsa industry, than by Cuba. One notable exception was Sonny Bravo of Típica '73, who arranged songs by contemporary Cuban charangas. The other measures outline C. Most salsa bass tumbaos are based on the tresillo pattern. [86] Some of the older, established band leaders took a stab at recording boogaloos—Tito Puente, Eddie Palmieri, and even Machito and Arsenio Rodríguez. Listen: Guatacando." 43.6m Followers, 3,219 Following, 2,361 Posts - See Instagram photos and videos from Lele Pons (@lelepons) Salsa romantica can be traced back to Noches Calientes, a 1984 album by singer José Alberto "El Canario" with producer Louie Ramirez. [38], Although the "classic son" continues to be a very important musical foundation for all kinds of Latin music, it is no longer a popular music genre in Cuba. [19] Around 1910 the son most likely adopted the clave rhythm from the Havana-based rumba, which had been developed in the late 19th century in Havana and Matanzas.[20]. Many of them brought their Afro-Cuban rumba traditions, and others brought their rumbitas and montunos. The Cuban connection began very early and was to last at least twenty years, being gradually absorbed and re-Africanized. Other North American labels such as Qbadic and Xenophile also released CDs by contemporary Cuban bands. They reported on this "new" phenomenon taking New York by storm—salsa.[23]. The music and the feelings and arrangements [haven't] changed. "Cuban Fire: The Story of Salsa and Latin Jazz." Centro de Investigación de la Música Cubana 1997. [22], Sanabria's Latin New York magazine was an English language publication. The pachanga was popularized by Orquesta Sublime and other Cuban charangas. He made the bold move of adding the conga drum, the quintessential Afro-Cuban instrument. [74][75], A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Sometimes there are references to Afro-Cuban religions, such as Santeria, even by artists who are not themselves practitioners of the faith. These include son montuno, son oriental, son santiaguero and son habanero. When I stopped trying to impress musicians and started getting in touch with what the people on the street were listening to, I started writing hits. The son grew more sophisticated as it was adopted by conjuntos, which displaced sextetos and septetos. [9][10][11] The music eventually spread throughout the rest of the Americas. Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. At the height of its popularity, the Palladium attracted Hollywood and Broadway stars, especially on Wednesday nights, when a free dance lesson was offered. [47], The most fundamental rhythmic element in salsa music is a pattern and concept known as clave. It would seem at last that Cuban popular music could be marketed as salsa. This process eventually resulted in the establishment of several different distinct regional genres, such as soukous.[110]. "[79] The following guajeo example is based on a clave motif. All musicians who write and/or interpret Cuban-based music must be 'clave conscious,' not just the percussionists.[65]. The foremost issue in my mind is marketability. The following 2-3 bass line coincides with three of the clave's five strokes. ", The Centro de Investigación de la Música Cubana (CIDMUC) refers to son clave as, Kevin Moore: "In reality, as Peñalosa explains in great detail in. After trovador Sindo Garay settled in Havana in 1906, many other trovadores followed him hoping to obtain a recording contract with one of the American Companies such as RCA Victor and Columbia Records. He was perhaps the greatest sonero ("Castellano que bueno baila usted", "Vertiente Camaguey"); another important sonero was Roberto Faz. The bands Batacumbele and Zaperoko of Puerto Rico fully embraced songo. In this sense salsa has been described as a word with "vivid associations". If these procedures are not properly taken into consideration, then the music is 'out of clave' which, if not done intentionally, is considered an error. Kleine Gruppen und flexible Angebote, mit den für mich absolut besten Tanz Trainern, die ich kenne, … However, the messages transmitted can be, and often are, imbued with more meaning than simply, 'Let's all participate!' [57][58], The contemporary Cuban practice is to write clave in a single measure of 44. Offering forums, vocabulary trainer and language courses. The 1980s saw salsa expand to Nicaragua, Argentina, Peru, Europe and Japan, and diversify into new stylistic interpretations. These bands consisted of a relatively small horn section, piano, double bass, a full array of Cuban percussion instruments and a vocalist fronting the ensemble. The new school of hip hop was a movement in hip hop music starting 1983–84 with the early records of Run–D.M.C. "[33] He later notes that Mambo helped pave the way for the widespread acceptance of Salsa years later. [24] Those members were: Ricardo Martínez from Santiago de Cuba (conductor and tres), Gerardo Martínez (first voice and clave), Guillermo Castillo (botijuela), and Felipe Neri Cabrera (maracas). See More triangle-down; Places. Moore states: "The harmonies, never before heard in Cuban music, were clearly borrowed from North American pop [and] shattered the formulaic limitations on harmony to which Cuban popular music had faithfully adhered for so long. While salsa achieved international popularity during the second half of the 20th century, in Cuba son evolved into other styles such as songo and timba, the latter of which is sometimes known as "Cuban salsa". We moms love our sons and daughters that way. Kevin Moore states: "There are two common ways that the three-side is expressed in Cuban popular music. [12] Ultimately, it became a global phenomenon. 13-32), Gerard only address duple-pulse son clave. America "discovered" Cuban music once again. "[114] Since the mid-1990s African artists have also been very active through the super-group Africando, where African and New York musicians mix with leading African singers such as Bambino Diabate, Ricardo Lemvo, Ismael Lo and Salif Keita. Older generations continue to preserve the son as one of the music genres they listen to, specifically in Oriente, where they tend to maintain more traditional versions of the son compared to Havana.[39]. Bobby Sanabria: "The concept of utilizing 3-2 and 2-3 as a terminology developed in New York City. Even so, salsa caught on in many African countries, especially in the Senegambia and Mali. The marketing of salsa romántica singers has often been based more on their youthful sex appeal than on the quality of their music. [39], Mayra Martínez, a Cuban musicologist, writes that "the term salsa was used to obscure the Cuban base, the music's history or part of its history in Cuba. The different rhythmic layers of the son style were distributed between their three voices, guitars and maracas. Es gibt verschiedene Arten (= Stile = Styles) wie Salsa getanzt werden kann. Ist wohl der wichtigste Vorläufer der Salsa. "Teodora Ginés ¿mito o realidad histórica? A wave of romantica singers, found wide audiences with a new style characterized by romantic lyrics, an emphasis on the melody over rhythm, and use of percussion breaks and chord changes. Unexpectedly, a fifth member of the quartet is mentioned, Carlos Godínez, who was a soldier in the standing army (Ejército Permanente). A large number of former black slaves, recently liberated after the abolition of slavery in 1886 went to live in the slums "solares" of low class neighborhoods in Havana, and numerous laborers also arrived from all over the country and some rural areas, looking to improve their living conditions. [40], Salsa lyrics range from simple dance numbers, and sentimental romantic songs, to risque and politically radical subject matter. The two bands were the main proponents of NY-style Mozambique, drew inspiration from the classic Cuban composers, and Afro-Cuban folkloric rhythms, while pushing the limits of salsa, and incorporating jazz elements. Chicago Review Press, Inc., 2004. After the boatlift though, there was obviously more awareness of the modern Cuban styles. [36] Today, competing nationalities claim ownership of the music, as there are musicians in New York City, Puerto Rico, Colombia, and Venezuela, who claim salsa was invented in their country. This is a classic example of how moñas are layered. Sonny Bravo quote in "Secrets of Salsa Rhythm. "El Pito" was another hit by this popular combo. The verse section can be short, or expanded to feature the lead vocalist and/or carefully crafted melodies with clever rhythmic devices. This group established the "classical" configuration of the son sextet composed of guitar, tres, bongos, claves, maracas and double bass. The concept of clave as a form of music theory with its accompanying terminology, was fully developed during the big band era of the 1940s, when dance bands in Havana and New York City were enlarged. The most recent innovations in salsa genre include hybrids like Latin house, salsa-merengue and salsaton, alongside salsa gorda. #1 Marketing-Plattform für soziales Netzwerk. Rubén Blades' album Siembra was heard everywhere on the island throughout the mid-80s and has been quoted extensively in the guías and coros of everyone from Van Van's Mayito Rivera (who quotes [Blades'] 'Plástico' in his guías on the 1997 classic Llévala a tu vacilón), to El Médico de la Salsa (quoting another major hook from 'Plástico'—'se ven en la cara, se ven en la cara, nunca en el corazón'—in his final masterpiece before leaving Cuba, Diós sabe).[107]. [15][16], Musicologist Peter Manuel proposed an alternative hypothesis according to which a great deal of the son's structure originated from the contradanza in Havana around the second half of the 19th century. Washburne 2008, p. 40. [14] For this reason, some academics such as Radamés Giro and Jesús Gómez Cairo indicate that awareness of the son was widespread in the whole island, including Havana, before the actual expansion of the genre in the 1910s. "[95] While in Palmieri's band (1974-1976), the Gonzalez brothers started showing up in the DownBeat Reader's Poll. I recorded it to keep up with the times. Salsa also occasionally incorporates elements of Latin jazz, bomba and plena. That is why some salsa musicians refer to piano guajeos as montunos. Comparing Perspectives on the 'Standard Pattern' of West African Rhythm". "Salsa Losing Popularity To Ballads On City Airwaves", http://www.timba.com/artist_pages/alain-p-rez-interview-part-2?lang=en-US, "Cali ratificó ser la capital mundial de la salsa", "Mambo On 2: The Birth of a New Form of Dance in New York City", https://web.archive.org/web/20160304193521/http://www.timba.com/musician_pages/3, http://launch.groups.yahoo.com/group/latinjazz/, "What is Salsa? The mambo and its "temple", the Palladium, were racially and ethnically integrated phenomena. It is a syncretic genre that blends elements of Spanish and African origin. 272–273, Leymarie cites the 1972 double Christmas album, Steward 2000, p. 493; The crux of Steward's claims are confirmed by Leymarie 2003, p. 287, who nevertheless describes, Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins 1992 p. 62. "It is ironic that in a music dominated by Nuyorican and Puerto Rican musicians, the use of the folk music of Puerto Rico has never been very popular. The next Cuban "dance craze" to hit the United States was the chachachá. Can already lead/follow all basic combinations and turns with in cuban Salsa, or are relatively new to L.A. style/Cross-body Salsa (improver level) As LA style is a specific way to dance On1, as far as French are concerned (and with the terminology they use) Johnny Vasquez is dancing salsa portoricaine sur le 1 which is a special case of salsa portoricaine, but salsa portoricaine is not synonymous with LA style Q … Critics of salsa romántica, especially in the late 80s and early 90s, called it a commercialized, diluted form of Latin pop, in which formulaic, sentimental love ballads were simply put to Afro-Cuban rhythms—leaving no room for classic salsa's brilliant musical improvisation, or for classic salsa lyrics that tell stories of daily life or provide social and political commentary.