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Salsa music is a style of Latin American 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, with elements of mambo, Latin jazz, bomba, plena and guaracha. All of these elements are adapted to fit the basic son montuno template when performed within the context of salsa.
The term rumba may refer to a variety of unrelated music styles. Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all. The vague etymological origin of the term rumba, as well as its interchangeable use with guaracha in settings such as bufo theatre, is largely responsible for such worldwide polysemy of the term. In addition, "rumba" was the primary marketing term for Cuban music in North America, as well as West and Central Africa, during much of the 20th century, before the rise of mambo, pachanga and salsa.
Salsa is a Latin dance, associated with the music genre of the same name, which was first popularized in the United States in the 1960s in New York City. Salsa is a mixture of Cuban dances, such as mambo, pachanga and rumba, as well as American dances such as swing and tap.
The Music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources of Puerto Rico have primarily included European, Indigenous, and African influences, although many aspects of Puerto Rican music reflect origins elsewhere in the Caribbean. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially native genres such as bomba, danza, and plena to more recent hybrid genres such as salsa, Latin trap and reggaeton. Broadly conceived, the realm of "Puerto Rican music" should naturally comprise the music culture of the millions of people of Puerto Rican descent who have lived in the United States, especially in New York City. Their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself.
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.
Boogaloo or bugalú is a genre of Latin music and dance which was popular in the United States in the 1960s. Boogaloo originated in New York City mainly among teenage African Americans and Latinos. The style was a fusion of popular African American rhythm and blues (R&B) and soul music with mambo and son montuno, with songs in both English and Spanish. The American Bandstand television program introduced the dance and the music to the mainstream American audience. Pete Rodríguez's "I Like It like That" was a famous boogaloo song.
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.
Ramón "Mongo" Santamaría Rodríguez was a Cuban percussionist and bandleader who spent most of his career in the United States. Primarily a conga drummer, Santamaría was a leading figure in the pachanga and boogaloo dance crazes of the 1960s. His biggest hit was his rendition of Herbie Hancock's "Watermelon Man", which was inducted into the Grammy Hall of Fame in 1998. From the 1970s, he recorded mainly salsa and Latin jazz, before retiring in the late 1990s.
Raymundo "Ray" Barretto Pagán was an American percussionist and bandleader of Puerto Rican descent. Throughout his career as a percussionist, he played a wide variety of Latin music styles, as well as Latin jazz. His first hit, "El Watusi," was recorded by his Charanga Moderna in 1962, becoming the most successful pachanga song in the United States. In the late 1960s, Barretto became one of the leading exponents of boogaloo and what would later be known as salsa. Nonetheless, many of Barretto's recordings would remain rooted in more traditional genres such as son cubano. A master of the descarga, Barretto was a long-time member of the Fania All-Stars. His success continued into the 1970s with songs such as "Cocinando" and "Indestructible." His last album for Fania Records, Soy dichoso, was released in 1990. He then formed the New World Spirit jazz ensemble and continued to tour and record until his death in 2006.
Joe Cuba, was an American conga drummer of Puerto Rican descent widely regarded as the "Father of Latin Boogaloo".
African popular music, like African traditional music, is vast and varied. Most contemporary genres of African popular music build on cross-pollination with Western popular music. Many genres of popular music like blues, jazz, afrobeats, salsa, zouk, and rumba derive to varying degrees on musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like rock, and rhythm and blues. Likewise, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of the Western music industry. The term does not refer to a specific style or sound but is used as a general term for African popular music.
Salsa Romántica is a soft form of salsa music that emerged between the mid-1980s and early 1990s in New York City, Puerto Rico and the Dominican Republic. It has been the most commercially successful form of salsa in the last 20 years, despite criticism that it is a pale imitation of "real" salsa, often called "salsa dura".{{Citation needed|reason=There is no source to this fact|date=February 2023}}
Juan Pablo Knipping Pacheco, known as Johnny Pacheco, was an American musician, arranger, composer, bandleader, and record producer. Born in the Dominican Republic, Pacheco became a leading figure in the New York salsa scene in the 1960s and 1970s as the founder and musical director of Fania Records.
Gerald "Jerry" Masucci was an American attorney, businessman and was co-founder of Fania Records.
Tropical music is a term in the Latin music industry that refers to music genres deriving from or influenced by the Spanish-speaking areas of the Caribbean. It includes the islands of Cuba, Puerto Rico, the Dominican Republic, and the Caribbean coastal regions of Colombia and Venezuela.
Louie Ramirez was an American boogaloo, salsa and latin jazz percussionist, vibraphonist, band leader and composer. He co-wrote with Johnny Pacheco the 1961 hit "El Güiro De Macorina". He has been called "the Quincy Jones of Salsa."
The Lebrón Brothers are a musical family born in Puerto Rico and raised in Brooklyn, New York. The brothers are Pablo, Jose, Angel, Carlos and Frankie. They provide the vocals and rhythm section of the band. Members of the original band were Gabe Gil - alto sax, Tito Ocasio - Timbales, Hector Lebron - Congas, Eddie DeCupe - Trumpet, Elliot Rivera, vocals, Felix Rivera, trumpet. Frankie LeBron later replaced Frankie Rodriguez who replaced his cousin Hector LeBron on congas.
Jala Jala y Boogaloo is an album released by the salsa music duet Richie Ray & Bobby Cruz. Released in 1967, the album is influenced not only by Latin rhythms such as the Puerto Rican Jala Jala, but also by beat music.
Latin music is a term used by the music industry as a catch-all category for various styles of music from Ibero-America, which encompasses Latin America, Spain, Portugal, and the Latino community in Canada and the United States, as well as music that is sung in either Spanish and/or Portuguese.
References
- ↑ Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. Lise Waxer. Routledge, 2002. Pg 33. ISBN 0-8153-4019-2.
- ↑ Allmusic: The Definitive Guide to Popular Music. Vladimir Bogdanov, Chris Woodstra, Stephen Thomas Erlewine. Backbeat Books, 2001. Pgs 122 - 124. ISBN 0-87930-627-0, ISBN 978-0-87930-627-4
