Ellas Otha Bates, known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, the Beatles, the Rolling Stones, the Animals, George Thorogood, Syd Barrett, and the Clash.
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within the African-American community in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was starting to become more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
Salsa music is a style of Caribbean music, combining elements of Cuban, Puerto Rican, and American influences. Because most of the basic musical components predate the labeling of salsa, there have been many controversies regarding its origin. Most songs considered as salsa are primarily based on son montuno and son Cubano, with elements of cha-cha-chá, bolero, rumba, mambo, jazz, R&B, rock, bomba, and plena. All of these elements are adapted to fit the basic Son montuno template when performed within the context of salsa.
The clave is a rhythmic pattern used as a tool for temporal organization in Brazilian and Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban music, and how it influences the mood of a piece is known as clave theory.
Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.
Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section are all rooted in traditions of Bantu origin.
Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.
The cha-cha-cha is a dance of Cuban origin. It is danced to cha-cha-cha music introduced by the Cuban composer and violinist Enrique Jorrin in the early 1950s. This rhythm was developed from the danzón-mambo. The name of the dance is an onomatopoeia derived from the shuffling sound of the dancers' feet when they dance two consecutive quick steps that characterize the dance.
Afro-Caribbean music is a broad term for music styles originating in the Caribbean from the African diaspora. These types of music usually have West African/Central African influence because of the presence and history of African people and their descendants living in the Caribbean, as a result of the trans-Atlantic slave trade. These distinctive musical art forms came about from the cultural mingling of African, Indigenous, and European inhabitants. Characteristically, Afro-Caribbean music incorporates components, instruments and influences from a variety of African cultures, as well as Indigenous and European cultures.
Kpanlogo is a recreational dance and music form originating from the 1960s among urban youth in Accra, Ghana.
Frank Grillo known professionally as Machito, was a Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music. He was raised in Havana with his sister, singer Graciela.
Prudencio Mario Bauzá Cárdenas was an Afro-Cuban jazz, and jazz musician. He was among the first to introduce Cuban music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had had popular jazz tunes in their repertoire for years, Bauzá's composition "Tangá" was the first piece to blend jazz harmony and arranging technique, with jazz soloists and Afro-Cuban rhythms. It is considered the first true Afro-Cuban jazz tune.
The Juba dance or hambone, originally known as Pattin' Juba, is an African-American style of dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks (clapping). "Pattin' Juba" would be used to keep time for other dances during a walkaround. A Juba dance performance could include steps such as the "Jubal Jew", "Yaller Cat", "Pigeon Wing" and "Blow That Candle Out".
"I'm a Man" is a rhythm and blues song written and recorded by Bo Diddley in 1955. Inspired by an earlier blues song, it was one of his first hits. "I'm a Man" has been recorded by a variety of artists, including the Yardbirds, who adapted it in an upbeat rock style.
"Bo Diddley" is a song by American rock and roll pioneer Bo Diddley. It introduced the rhythm that became known as the Bo Diddley beat and topped the Billboard R&B chart for two weeks in 1955. The song is included on many of Diddley's compilation albums including Bo Diddley (1958) and His Best (1997). Buddy Holly recorded a version that posthumously became his 2nd highest-charting single in the UK after "It Doesn't Matter Anymore".
"Who Do You Love?" is a song written by American rock and roll pioneer Bo Diddley. Recorded in 1956, it is one of his most popular and enduring works. The song represents one of Bo Diddley's strongest lyrical efforts and uses a combination of hoodoo-type imagery and boasting. It is an upbeat rocker, but the original did not use the signature Bo Diddley beat rhythm.
"Diddley Daddy" is a song by Bo Diddley. The song was issued as a single on Checker Records in June 1955. His second single, it followed on the heels of the success of the eponymous "Bo Diddley." The song spent four weeks on the Billboard R&B chart in the summer of 1955, peaking at No. 11.
"You Can't Judge a Book by the Cover" is a 1962 song by rock and roll pioneer Bo Diddley. Written by Willie Dixon, the song was one of Diddley's last record chart hits. Unlike many of his well-known songs, "You Can't Judge a Book by the Cover" does not rely on the Bo Diddley beat. A variety of rock and other performers have recorded renditions of the song.
A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term guajeo for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones. Piano guajeos are one of the most recognizable elements of modern-day salsa. Piano guajeos are also known as montunos in North America, or tumbaos in the contemporary Cuban dance music timba.
Tresillo is a rhythmic pattern used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera.
