By Raul A. Fernandez

This e-book explores the complexity of Cuban dance track and the webs that attach it, musically and traditionally, to different Caribbean song, to salsa, and to Latin Jazz. developing a scholarly beginning for the examine of this track, Raul A. Fernandez introduces a suite of phrases, definitions, and empirical details that permit for a broader, extra proficient dialogue. He offers interesting musical biographies of admired performers Cachao L?pez, Mongo Santamar?a, Armando Peraza, Patato Vald?s, Francisco Aguabella, C?ndido Camero, Chocolate Armenteros, and Celia Cruz. in accordance with interviews that the writer carried out over a nine-year interval, those profiles supply in-depth exams of the musicians' sizeable contributions to either Afro-Cuban tune and Latin Jazz. furthermore, Fernandez examines the hyperlinks among Cuban track and different Caribbean musics; analyzes the musical and poetic foundations of the Cuban son shape; addresses the salsa phenomenon; and develops the classy build of sabor, important to Cuban song. Copub: middle for Black song examine

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Extra info for From Afro-Cuban Rhythms to Latin Jazz (Music of the African Diaspora)

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Chapter three The Aesthetics of Sabor People walk with rhythm, talk with rhythm, . . eat with rhythm. —Mario Bauzá, Jazz Oral History Program interview, Smithsonian Institution Sin ritmo no hay ná. —Carlos “Patato” Valdés, in Sworn to the Drum, a documentary by Les Blank The son, and Cuban popular music as a whole, stands out as one of the magical cultural products of the twentieth century. 1 Certainly more than any other cultural form, music has been constructed as a synonym for Cuban national identity by Cubans and non-Cubans alike.

As a leader, he expanded the format of the earlier son septets by adding a conga drum, a piano, and up to three trumpets, creating what is still known as the conjunto format. While other groups had played around with the addition of the conga drum, it was Arsenio who succeeded in Ontology of the Son / 39 coordinating the sounds of the conga, bongo, cowbell, piano, and bass to develop a cohesive, driving rhythm in his group. With this format, the son took a major step toward becoming an instrumental music.

2 One of the best Cuban percussionists of all time, Peraza went on to succeed as Kubavana’s bongosero and contributed to the success of jazzmen George Shearing and Cal Tjader as well as rockero Carlos Santana in the United States in subsequent decades. To complete this socioeconomic sketch, one needs to point out that educated musicians sometimes fared better but often managed only by becoming jacks-of-all-trades: the same individual might, for example, play bass for a charanga, cello for the symphony, violines for fiestas de santo, and live jingles on radio stations in order to survive.

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