"Although a great number of New York's stars and sidemen in the 1970s were Cuban and Puerto Rican, the basic musical elements of salsa were derived mainly from Cuba.". For example, Cuban-born Machito declared: "There's nothing new about salsa, it is just the same old music that was played in Cuba for over fifty years. Boggs 1992, p. 192. "Cuban Fire: The Story of Salsa and Latin Jazz." Brenda K. Starr, Son By Four, Víctor Manuelle, and the Cuban-American singer Gloria Estefan enjoyed crossover success within the Anglo-American pop market with their Latin-influenced hits, usually sung in English. [105], Along with the salsa-pop fusion of salsa romántica, the 1980s saw the combining elements of salsa with soul, R&B, and hip hop music. In November 1995, Compay recorded a new version in Madrid for his Antología, released on CD … Ist wohl der wichtigste Vorläufer der Salsa. He advocated a broader Latin American identity, while creating salsa that deliberately drew upon a variety of Latin American and Caribbean musics. In addition, the acceptance of son as a popular music genre in other countries contributed to more acceptance of son in mainstream Cuba. "[26] Journalist Scott Heller writes, "[Salsa music] circulates across national boundaries, becoming a useful example of the globalization of culture and of the ways that people build community in diaspora. "The Clave: Cornerstone of Cuban Music", Brill, Mark. [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. "[32] As an example of this, ethnomusicologist Ed Morales notes that the interaction of Latino rhythms and Jazz music in mid-twentieth century New York was crucial to the innovation of both forms of music. Most famous of these was Barry Rogers. Moore: "By the 1940s [there was] a trend toward the use of what Peñalosa calls the 'offbeat/onbeat motif.' Also available as App! In this usage salsa connotes a frenzied, "hot" and wild musical experience that draws upon or reflects elements of Latin culture, regardless of the style. 121. The trombone Moña consists of two parts, a call-and-response structure. "[95] While in Palmieri's band (1974-1976), the Gonzalez brothers started showing up in the DownBeat Reader's Poll. Típica 73 and Orquesta Broadway were two popular New York salsa bands in the charanga format. Many of them brought their Afro-Cuban rumba traditions, and others brought their rumbitas and montunos. As Washburne observes: Clapping clave at a concert in sync with the performing musicians provides for a group participation in music-making even for a novice. Washburne 2008 p. 191. The guajeo (shown above) for Issac Delgado's "La temática" (1997) demonstrates some of the innovations of timba piano. ", 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. This led to the development and mass distribution of newer types of Latin music. They synthesized the style of the sextets and septets, adapting it to their ensemble. "Chan Chan" is a 1984 son composition by Cuban trovador Compay Segundo. One of their biggest hits, "Cali Pachanguero" (1984), was seemingly arranged oblivious to clave. [63] The specific alignment between clave and the conga is critical. The following examples show clave with the bongo bell and timbale bell parts in both a 3-2 and a 2-3 sequence. QUALITÄT, FUNKTION & PLANUNGSTIPPS nobilia-Werke J. Stickling GmbH & Co. KG Waldstraße 53-57 D-33415 Verl Fon +49 (0)5246-508-0 Fax +49 (0)5246-508-96 999 e-mail: info@nobilia.de www.nobilia.de QualityGuide-DE 91630 QUALITY GUIDE [85] The boogaloo was a true Nuyorican music, a bi-lingual mix of R&B and Cuban rhythms. An open, ever-evolving musical, cultural, socio-political concept. Every salsa musician must know how their particular part fits with clave, and with the other parts of the ensemble. Díaz Ayala, Cristóbal: Discografía de la Música Cubana. Latin jazz (which was also developed in New York City) has had a significant influence on salsa arrangers, piano guajeos, and instrumental soloists.. Salsa is … The term salsa cubana which had barely taken hold, eventually fell out of favor, and was replaced with timba. One notable exception was Sonny Bravo of Típica '73, who arranged songs by contemporary Cuban charangas. [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. [87] But the establishment didn't have their hearts in it. Translate Viva. Other North American labels such as Qbadic and Xenophile also released CDs by contemporary Cuban bands. The marketing of salsa romántica singers has often been based more on their youthful sex appeal than on the quality of their music. [10] Such early guitars are thought to have given rise to the tres some time around 1890 in Baracoa. The basic son ensemble of early 20th-century Havana consisted of guitar, tres, claves, bongos, marímbula or botija, and maracas. Most salsa bands are based on the conjunto model, but the tres is almost never used. "[76], Clave and guajeos are commonly written in two measures of cut time (22) in salsa charts. In this sense salsa has been described as a word with "vivid associations". For example, several of Arsenio Rodriguez's son montunos from the 1940s, such as "Fuego en el 23" (recorded by Sonora Ponceña) and "El divorcio" (recorded by Johnny Pacheco) were modernized by salsa arrangers. Moore: Venezuelan salsa star Oscar D'León's 1983 tour of Cuba is mentioned prominently by every Cuban I've ever interviewed on the subject. The U.S. embargo against Cuba (1962) halted the two-way flow of music and musicians between Cuba and the United States. That is why some salsa musicians refer to piano guajeos as montunos. Salsa is made up of various rhythms, mambo, guaracha, son, cha-cha, etc.., and the difference between these rhythms and Reggaeton / Rap as examples, is that salsa music has musical substance. In one scene, the Afro-Cuban folkloric genres of batá and rumba are shown being performed in Puerto Rico, implying that they originated there. Palmieri and Libre caught the attention of jazz critics and reached listening to audiences who were not necessarily a part of the salsa culture. Charanga Habanera, Havana d'Primera, Klimax, Paulito FG, Pupy y Los Que Son, Salsa Mayor, and Tiempo Libre. [92] By the early 1970s, the music's center moved to Manhattan and the Cheetah, where promoter Ralph Mercado introduced many future Puerto Rican salsa stars to an ever-growing and diverse crowd of Latino audiences. Most guajeos have a binary structure that expresses clave. Thanks to the Buena Vista Social Club album, film, and follow-up solo albums there has been a revival of the traditional son and a rediscovery of older son performers who had often fallen by the wayside. [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. [118] Cabijazz from Venezuela plays a unique blend of timba-like salsa with a strong jazz influence. There is considerable controversy surrounding the term salsa and the idea that it is its own distinct genre. Arroyo worked for many years with the Colombian arranger Fruko y sus Tesos (Fruko and his band Los Tesos). Marketing Department export.marketing@kross.pl. A Bb3 is sounded twice on the two [offbeats] in the module's repetition and represents the third G minor tonic chord. These include son montuno, son oriental, son santiaguero and son habanero. Tito Puente worked for a time in the Afro-Cubans before starting up his own successful band. Chicago Review Press, Inc., 2004. Sublette, Ned: Cuba and its music. Bobby Sanabria: "The concept of utilizing 3-2 and 2-3 as a terminology developed in New York City. Tito Puente recorded the Irakere composition "Bacalao con pan" (1980), and Rubén Blades covered Los Van Van's "Muevete" (1985). My girlfriend can dance the salsa. Washburne notes that Willie Colón is an exception. The music and the feelings and arrangements [haven't] changed. Editorial Corripio C. por A., República Dominicana, 1994. This project was joined by such important figures as Lorenzo Hierrezuelo, Francisco Repilado (Compay Segundo) and Beny Moré. "[40] Izzy Sanabria responds that Martínez was likely giving an accurate Cuban viewpoint, "but salsa was not planned that way". Editorial Letras Cubanas, La Habana, Cuba, 1998, The montuno section can be divided into various sub-sections sometimes referred to as mambo, diablo, moña, and especial. The first post-Revolution Cuban dance music genre was the short-lived, but highly influential mozambique (1963). Cueto plucked the strings of his guitar instead of strumming them as it was usual, providing the patterns of the guajeo in the treble range, and the syncopated rhythms of the tumbao on the bass strings. Salsa music is a popular dance music genre that initially arose in New York City during the 1960s. Sublette, Ned: Cuba and its music. Quiz for Spanish vocabulary to do with computers. A newcomer to salsa, whether performer, dancer, listener, or consumer, must acquire some level of clave competence before engaging in these 'clave dialogues' in a deeper, more significant way.[66]. The other measures outline C. Most salsa bass tumbaos are based on the tresillo pattern. [57][58], The contemporary Cuban practice is to write clave in a single measure of 44. "[26] Eventually though, both Machito and Puente embraced the term as a financial necessity. Were the pattern to be suddenly reversed, the rhythm would be destroyed as in a reversing of one magnet within a series ... the patterns are held in place according to both the internal relationships between the drums and their relationship with clave ... Should the [music] fall out of clave the internal momentum of the rhythm will be dissipated and perhaps even broken.[71]. 8–9. [9][10][11] The music eventually spread throughout the rest of the Americas. Abelardo Barroso, one of the most famous soneros, joined the group in 1925.[28]. [32] They also occasionally included other instruments such as the bongo, and later they decided to expand the trio format to create a son conjunto by adding a piano, more guitars, tres and other voices. Peñalosa 2010 p. 248. [41] Although most Cubans don’t see the value of the Buena Vista Social Club album and feel it doesn't represent present-day Cuba,[citation needed] it has introduced the Cuban son to younger generations of people from around the world who had never heard of son. Hamburg, Germany ... Super klasse Tanzlehrer! [83], A section of layered, contrapuntal horn guajeos is also referred to sometimes as a moña. For these reasons, the form sometimes has been derided as salsa monga (limp or flaccid salsa), as opposed to salsa gorda or salsa dura (fat or 'hard salsa').Omar Alfanno is probably the most prolific songwriter in the salsa romántica genre he was hand held into the business by Salsa Dura songwriter Johnny Ortiz. During this same period, Tito Puente changed to performing and recording primarily Latin jazz for the remainder of his career. Cuban popular music played a major role in the development of many contemporary genres of African popular music. Steward, pp. However, EGREM did not release these recordings until the second half of the 1990s. [109], Congolese bands started doing Cuban covers and singing the lyrics phonetically. Hits by other groups included Johnny Colón's "Boogaloo Blues", Pete Rodríguez's "I Like It like That", and Hector Rivera's "At the Party". 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. [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]. 2 talking about this. The following guajeo is based on the clave motif in a two-three sequence. Several Cuban New York musicians who had already been performing Cuban dance music for decades when salsa was popularized initially scoffed at the term. '", Gerard 1989, p. 7. Some Cuban musicians referred to this late-80s sound as salsa cubana, a term which for the first time, included Cuban music as a part of salsa. The fact is that bachata is currently booming and regardless of the trend or … They also featured some of the best trombone soloists in the business, several of whom were "Anglo" jazz musicians who had mastered the típico style. Create an account or log in to Instagram - A simple, fun & creative way to capture, edit & share photos, videos & messages with friends & family. [citation needed] Neither the dance, nor the music caught on outside of Cuba. [13], Salsa means 'sauce' in the Spanish language, and carries connotations of the spiciness common in Latin and Caribbean cuisine. Offering forums, vocabulary trainer and language courses. 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. Diese unterscheiden sich durch das "Timing". Salsa ensembles are typically based on one of two different Cuban instrument formats, either the horn-based son conjunto or the string-based charanga. Adalberto Alvarez y su Son. The instrumentation was expanded to include cornets or trumpets, forming the sextets and the septets of the 1920s. [12] Nonetheless, it has become increasingly clear for musicologists that different versions of the son, i.e. The Trío Matamoros maintained great prominence until their official retirement in 1960.[28]. The tempo may gradually increase during the montuno in order to build excitement. Although the first, third, and fourth notes (G3, C4, and Eb4) are identical in both modules, the second note reflects the change in harmony. [89] Some of the young boogaloo artists, like Willie Colón, were able to transition into the next phase—salsa. Salsa is a potent expression of clave, and clave became a rhythmic symbol of the musical movement, as its popularity spread. "[116] As Washburne points out however, a lack of clave awareness does not always get a pass: Marc Anthony is a product of George's innovationist approach. 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. For that recording, the new group was called "Sexteto Habanero Godínez", which included: Carlos Godínez (conductor and tresero), María Teresa Vera (first voice and clave), Manuel Corona (second voice and guitar), Sinsonte (third voice and maracas), Alfredo Boloña (bongo), and another unknown performer who was not included in the list. The guitar-based music gradually spread out from the Congo, increasingly taking on local sensibilities. Díaz Ayala, Cristóbal: Música cubana, del Areyto a la Nueva Trova, Ediciones Universal, Miami Florida, 1993, p. 116. [56] Salsa uses duple-pulse son clave almost exclusively. In contrast to salsa though, NG's bass tumbaos are busier, and rhythmically and harmonically more complex than typically heard in salsa. The five-stroke clave represents the structural core of many Afro-Cuban rhythms, both popular and folkloric. The re-working of the harmonic patterns reveals a striking difference in perception. "[79] The following guajeo example is based on a clave motif. Original son conjuntos were faced with the options of either to disband and refocus on newer styles of Cuban music, or go back to their roots. Regionen unterschied. This is a classic example of how moñas are layered. Once the audience is clapping clave along with him, Palmieri will sit back down at the piano and proceed to take his solo. Musicians who would become great innovators of Salsa, like Mario Bauza and Chano Pozo, began their careers in New York working in close conjunction with some of the biggest names in Jazz, like Cab Calloway, Ella Fitzgerald, and Dizzy Gillespie, among others, Morales noted that: "The interconnection between North American jazz and Afro-Cuban music was taken for granted, and the stage was set for the emergence of mambo music in New York, where music fans were becoming accustomed to innovation. Salsa ist ein lebendiger Tanz, eine ständige Improvisation in einer klaren rhythmischen Form. Prior to the founding of Libre, they had played in one of Palmieri's most experimental salsa bands. 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. Clave awareness within the salsa community has served as a cultural "boundary marker", creating an insider/outsider dichotomy, between Cuban and non-Cuban, and between Latino and non-Latino. 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. [81] The offbeat and onbeat pick ups begin at their extreme limit in the preceding measures. eur-lex.europa.eu The dispute concerns the control measures taken by the applicant under Article 23 of Commission Regulation No 2571/97 (2 ) ('the Commission regulation') which prescribes measures to be taken by Member States inter alia in respect of the manufacture and use of concentrated butter "Cuban Fire: The Story of Salsa and Latin Jazz." 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. Jahrhunderts in den Ostprovinzen Kubas ( Oriente ) durch die Verbindung von afrokubanischen Trommelrhythmen mit der Gitarrenmusik der spanischen Farmer. Moore, Robin. In his chapter "La Clave" (pp. [40], Salsa lyrics range from simple dance numbers, and sentimental romantic songs, to risque and politically radical subject matter. Service Department serwis@kross.pl [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. For example, Johnny Pacheco has consistently articulated a vision of salsa as a broad, multi-ethnic movement: "Salsa was, and still is, a Caribbean musical movement. Mongo Santamaria: "Don't tell me about 3-2 or 2-3! 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. ... und Spontanität. Popularization began in earnest with the arrival of radio broadcasting in 1922, which came at the same time as Havana's reputation as an attraction for Americans evading Prohibition laws. [44] Politically and socially activist composers have long been an important part of salsa, and some of their works, like Eddie Palmieri's "La libertad - lógico", became Latin, and especially Puerto Rican anthems.