In 1979 Harlow released his critically acclaimed La Raza Latina, a Salsa Suite. "[111] The re-working of Afro-Cuban rhythmic patterns by Africans brings the rhythms full circle. Other notable composers include Palmer Hernandez and Jorge Luis Piloto. 1939 p. XV. Latin jazz, which was also developed in [40], Salsa lyrics range from simple dance numbers, and sentimental romantic songs, to risque and politically radical subject matter. collective result of the cultural and musical diversity of more than 50 ethnic divisions of the continent, largely functional in nature, used primarily in ceremonial rites, such as birth, death, marriage, succesion, worship and spirit invocations, has a basically interlocking structural format, due to mainly to its overlapping and dense texture as well as ots rhytmic complexity, fusion of West African with black American music, musical genre from Nigeria in the Yoruba tribal style, used to wake up the worshippers after fasting during Ramadan, popular musical genre from Salvador, Bahia and Brazil. Every salsa musician must know how their particular part fits with clave, and with the other parts of the ensemble. Ladzekpo cites several genres of music in Ghana alone that use both the triple and duple-pulse versions of 'son clave': the Ewe's fofui and alfi and the Ashanti's sekwi and akom. Latin jazz, which was also developed in [57][58], The contemporary Cuban practice is to write clave in a single measure of 44. Melodic variety is created by transposing the module in accordance to the harmonic sequence, as Rick Davies observes in his detailed analysis of the first moña: The moña consists of a two-measure module and its repetition, which is altered to reflect the montuno chord progression. George also produced the Japanese salsa band Orquesta de la Luz. Improvisation is within a framework of repetition and the melodic contour of the moñas. Clave is a Spanish word meaning 'code,' 'key,' as in key to a mystery or puzzle, or 'keystone,' the wedge-shaped stone in the center of an arch that ties the other stones together. The montuno section can be divided into various sub-sections sometimes referred to as mambo, diablo, moña, and especial. Boggs 1992, p. 192. As Sonny Bravo explains: "In salsa, the piano is more of a percussion instrument than a melodic one, especially in ensemble playing. The music was still defined as Latin music. When you're backing a soloist, you play a riff over and over again. It comprises various musical genres including the Cuban son montuno, guaracha, chachacha, mambo and bolero, basic underlying rhythm that typifies most Brazilian music. 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. "[24] Similarly, New York native Tito Puente stated: "The only salsa I know is sold in a bottle called ketchup. Washburne notes that Willie Colón is an exception. But in addition, throughout the 1970s, salsa groups from Colombia, the Dominican Republic, and Venezuela, among other Latin American nations, emerged, composing and performing music that related to their own specific cultural experiences and affiliations, which posited salsa as a cultural identity marker for those nations as well.[29]. The Cuban jazz pianist Gonzalo Rubalcaba developed a technique of pattern and harmonic displacement in the 1980s, which was adopted into timba guajeos in the 1990s. In his chapter "La Clave" (pp. They would take traditional piano figures based on simple tonic-dominant harmony and elaborate them with modern harmonies. The tumbadora ('conga') plays elaborate variations on the son montuno-based tumbao, rather than in the songo style. The timbale bell comes from a stick pattern (cáscara) used in the Afro-Cuban folkloric rhythm guaguancó. [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. 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. From New York, salsa quickly expanded to Puerto Rico, the Dominican Republic, Colombia, Nicaragua, Venezuela, and other Latin American countries. Salsa is the product of various musical genres including the Cuban son montuno, guaracha, cha cha chá, mambo, and to a certain extent bolero, and the Puerto Rican bomba and plena. We feel it, we don't talk about such things"—quoted by Washburne 2008 p. 190. [86] Some of the older, established band leaders took a stab at recording boogaloos—Tito Puente, Eddie Palmieri, and even Machito and Arsenio Rodríguez. Once the montuno section begins, it usually continues until the end of the song. Expressive and soulful sound. It comprises various musical genres including the Cuban son Salsa 楽曲の説明 Salsa music is a popular dance music that initially arose in New York City during the 1960s. That is how people learn Cuban music outside Cuba"—Timba.com 2002. Samba- is the basic underlying rhythm … 1991 p. 318. Morales' claim is confirmed by Unterberger's and Steward's analysis. Moore: "By the 1940s [there was] a trend toward the use of what Peñalosa calls the 'offbeat/onbeat motif.' Many leading salsa artists have described salsa in broad and inclusive, but vague terms, making no mention of the music's Cuban foundation. Salsa Salsa music is Cuban, Puerto Rican, and Colombian dance music. Salsa is the product of various musical genres including the Cuban son montuno, guaracha, cha cha chá, mambo, and to a certain extent bolero, and the Puerto Rican bomba and plena. Salsa Salsa music is Cuban, Puerto Rican, and Colombian dance music. John Santos stresses the importance of this skill: One of the most difficult applications of the clave is in the realm of composition and arrangement of Cuban and Cuban-based dance music. Popular dance music genre that initially arose in New York City during the 1960s. "[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. '", Gerard 1989, p. 7. "[33] He later notes that Mambo helped pave the way for the widespread acceptance of Salsa years later. The foremost issue in my mind is marketability. It had two Top 20 hits in 1963: Mongo Santamaría's performance of the Herbie Hancock piece "Watermelon Man" and Ray Barretto's "El Watusi", which in a sense, established the basic boogaloo formula. [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. Andy Gonzalez recounts: "We were into improvising ... doing that thing Miles Davis was doing—playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set. The term salsa cubana which had barely taken hold, eventually fell out of favor, and was replaced with timba. [115] More often than not, clave was not a major consideration in the composing or arranging of these hits. Samba It is a lively and rhythmical dance and music with three steps to every bar, making the Samba feel like a timed dance. The term salsa was initially promoted and marketed in New York City during the 1970s. For the most part, salsa music was not influenced by developments in Cuban popular music during the 1970s. [88] The young boogaloo upstarts were outselling their older counterparts. 7. Palmieri and Libre caught the attention of jazz critics and reached listening to audiences who were not necessarily a part of the salsa culture. In 1997, the film and CD Buena Vista Social Club, produced by Ry Cooder, was a big hit in the United States. "[31] Rubén Blades' definition of salsa is also inclusive: "Salsa music is urban folklore at the international level. Willie Colón introduced the cuatro, a rural Puerto Rican plucked string instrument, as well as some songs with jazz, rock, and Panamanian and Brazilian music influences.[94]. Washburne 2008, p. 40. In contrast to salsa though, NG's bass tumbaos are busier, and rhythmically and harmonically more complex than typically heard in salsa. However, the messages transmitted can be, and often are, imbued with more meaning than simply, 'Let's all participate!' When the song transitions into the montuno section, the bongo player picks up a large hand held cowbell called the bongo bell. Something changed after d'León's performance. [25] The practice did not catch on however. musical form of the late 19th century that had deep roots in African-American communities. 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. [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. 5. [59] Clave is written in this way in the following example in order to illustrate the underlying metric structure of four main beats, which is fundamental to the dynamism of the pattern.[60]. But promotion certainly wasn't the only factor in the music's success, as Sanabria makes clear: "Musicians were busy creating the music but played no role in promoting the name salsa. Its roots can be traced to Africa via the West African slave trade and African religious traditions particularly in Angola and the Congo. The most recognizable musical elements of reggae are its offbeat rhythm and staccato chords. Before salsa pianist Eddie Palmieri takes his first solo at a live concert, he will often stand up, and start clapping clave. I play Cuban music. Bobby Sanabria quoted by Peñalosa 2010 p. 248. There was one final distinct Latin music era in New York before salsa emerged, and it was an original, home-grown hybrid: the Latin boogaloo (or boogalú). The third measure outlines a G7 chord. Most salsa compositions follow the basic son montuno model of a verse section, followed by a coro-pregón (call-and-response) chorus section known as the montuno. 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. [14] In the 20th century, salsa acquired a musical meaning in both English and Spanish. [37], The salsa controversy is also closely tied to the decades-long estrangement between the governments of the United States and Cuba, and the United States embargo against Cuba. [91] The Manhattan-based recording company Fania Records introduced many of the first-generation salsa singers and musicians to the world. In 1979 Típica '73 travelled to Havana to record Típica '73 en Cuba, a collaboration between the band and Cuban musicians. The Cuban horn section traditionally consists of trumpets, but trombones are frequently used in salsa. The bands that were playing in Havana had meanwhile been steadily evolving into something quite distinctly Cuban, and less like salsa. The marketing of salsa romántica singers has often been based more on their youthful sex appeal than on the quality of their music. Washburne recounts: "As arrangers struggled to 'fit' these music styles into a salsa format, a variety of 'clave discrepancies,' or clashes, like in 'Cali Pachanguero,' often resulted. [27][28], The salsa conflict can be summarized as a disagreement between those who do not recognize salsa as anything other than Cuban music with another name,[15][26] and those who strongly identify with salsa as a music and culture distinct from its Cuban primogenitor.[26]. The next Cuban "dance craze" to hit the United States was the chachachá. 495-496 Steward mentions Celia Cruz as not being an adherent of Santeria, yet who refers to the goddess, Jones refers to both "clave" patterns, and the seven-stroke ", Peñalosa: "[C.K.] The dilution of Afro-Cuban rhythmic principles created problems for some. Ironically, Cuban-based music was promoted more effectively worldwide in the 1970s and 1980s by the salsa industry, than by Cuba. Soon, they were creating their own original Cuban-like compositions, with lyrics sung in French or Lingala, a lingua franca of the western Congo region. Piano guajeos are one of the most recognizable elements in salsa music. In Cuban popular music, the first three strokes of son clave are also known collectively as tresillo, a Spanish word meaning 'triplet' (three equal beats in the same time as two main beats). [42] Salsa lyrics also exhibit Puerto Rican influences. For a brief time in the early 1990s a fair number of Cuban musicians embraced the term, calling their own music salsa Cubana. Globally, the term salsa has eclipsed the original names of the various Cuban musical genres it encompasses. Salsa is the product of various musical genres including the Cuban son montuno, guaracha, cha cha chá, mambo, and to a certain extent bolero, and the Puerto Rican bomba and plena. This is a classic example of how moñas are layered. "[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. He advocated a broader Latin American identity, while creating salsa that deliberately drew upon a variety of Latin American and Caribbean musics. Several Cuban New York musicians who had already been performing Cuban dance music for decades when salsa was popularized initially scoffed at the term. Music author Isabelle Leymarie notes that salsa performers often incorporate machoistic bravado (guapería) in their lyrics, in a manner reminiscent of calypso and samba, a theme she ascribes to the performers' "humble backgrounds" and subsequent need to compensate for their origins. Dawson helped to broaden New York's salsa audience and introduced new artists such as the bi-lingual Angel Canales who were not given play on the Hispanic AM stations of that time. Washburne 2008 p. 191. [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). Salsa lost popularity among many Latino youth, who were drawn to American rock in large numbers, while the popularization of Dominican merengue further sapped the audience among Latinos in both New York and Puerto Rico. It has a lively and rhythmical beat with three steps to every bar, making it like a timed dance, "soul of calypso". 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. This new music shared more with salsa than the Cuban music of the previous decade. [13], Salsa means 'sauce' in the Spanish language, and carries connotations of the spiciness common in Latin and Caribbean cuisine. In the first module, this note is the Bb3 third of the tonic harmony; in the module repetition, the A3 is the fifth of the dominant. Oscar D'León from Venezuela is a huge salsa star. Kevin Moore states: "There are two common ways that the three-side is expressed in Cuban popular music. Ironically, Cuban popular music during the 1970s incorporated North American jazz, rock, and funk in much more significant ways than did salsa. Santos, John 1986. The term "salsa" was initially promoted and marketed in New York City during the 1970s. The Palladium Ballroom was the epicenter of mambo in New York. 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. The trumpet figure is one clave in length, while the trombone figure is two claves. [63] The specific alignment between clave and the conga is critical. In advancing the concept of salsa as a musical "sauce", containing many different ingredients from various cultures mixed together, some point to the occasional use of non-Cuban forms in salsa, such as the Puerto Rican bomba. Clave resolves in the second measure when the last stroke coincides with the last main beat of the cycle. It begins with an offbeat pick-up on the pulse immediately before beat 1. The Fania team released a string of successful singles, mostly son and plena, performing live after forming the Fania All-Stars, In 1971 the Fania All-Stars sold out Yankee Stadium. The 1970s saw a number of musical innovations among salsa musicians. Popular dance music genre that initially arose in New York City during the 1960s. largely functional in nature, being used for religious worship and ceremonies. In salsa "one" can be on either side of clave, because the harmonic progression, rather than the rhythmic progression is the primary referent. Other North American labels such as Qbadic and Xenophile also released CDs by contemporary Cuban bands. The interlocking counterpoint of the timbale bell and bongo bell provides a propelling force during the montuno. 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. Inspired by these movements, Latinos in New York formed the Young Lords, rejected assimilation and "made the barrio a cauldron of militant assertiveness and artistic creativity". The following example shows the most common conga (two drums), timbale bell, and bongo bell pattern combination used in salsa music. Ironically, although New York's Hispanic population at that time was over two million, there had been no commercial Hispanic FM. As the salsa style became more culturally diverse, Nuyorican and Puerto Rican traditionalists often reacted by emphatically positing clave as a representative of, or essential to, Puerto Rican cultural identity."[106]. Izzy Sanabria: "In Santo Domingo ... they told me that they don't recognize a Dominican artist as having made it in New York City unless a photograph and something written on this artist appears in, In 1983, Machito won a Grammy Award in the Best Latin Recording category for, Izzy Sanabria 2005. Those beats within a measure not sounded by the moña are often "filled" by a chorus, or counter moña. By the end of the decade, Fania Records' longtime leadership of salsa was weakened by the arrival of the labels TH-Rodven and RMM. The other measures outline C. Most salsa bass tumbaos are based on the tresillo pattern. 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]. "[61] Every ostinato part which spans a cycle of four main beats, has a specific alignment with clave, and expresses the rhythmic qualities of clave either explicitly or implicitly. The basic conga tumbao, or marcha sounds slaps (triangle noteheads) and open tones (regular noteheads) on the "and" offbeats. There are those who say that Salsa is an evolution of Cuban music, however the sound originates from Puertorican composer and musician Louie Ramirez. The tempo may gradually increase during the montuno in order to build excitement. It is still common today for an African artist to record a salsa tune, and add their own particular regional touch to it. Morales dates the song to 1932. The following guajeo is based on the clave motif in a two-three sequence. One of their biggest hits, "Cali Pachanguero" (1984), was seemingly arranged oblivious to clave. The Cuban connection began very early and was to last at least twenty years, being gradually absorbed and re-Africanized. The concept of salsa music which began as a marketing ploy created by Izzy Sanabria was successfully exploited by Fania Records, then eventually took on a life of its own, organically evolving into an authentic pan-Latin American cultural identity. The timbales play the bell pattern, the congas play the supportive drum part, and the bongos improvise, simulating a lead drum. I have done research on this with many of the legendary figures in this tradition, most notably Mario Bauzá, who I played with for eight years." Shortly thereafter during a radio interview in San Juan Puerto Rico, he exclaimed that his commercial success proved that you did not need to know about clave to make it in Latin music. The 1970s also brought new semi-known Salsa Bands from New York City, Bands like Angel Canales, Andy Harlow (Larry Harlow's brother), Chino Rodriguez y su Consagracion (Chino Rodriguez was one of the first Chinese Puerto Rican artist that cued the eye of Fania Record's owner Jerry Masucci and later became the Booking Agent for many of the Fania Artists.
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