Both vocally and rhythmically they developed a “sauce” of Caribbean music

Both vocally and rhythmically they developed a “sauce” of Caribbean music

Puerto Rico have its very own traditions of “bomba” and “plena”, to which percussionist Rafael Cortijo, chief of a conjunto since 1954, had put trumpets and saxophones (El Bombon De Elena). Their conjunto with his husky vocalist Ismael Rivera (El Nazareno, Quitate de la thru Perico), well known when it comes down to improvised call-and-response vocals regarding the “sonero” tradition, harked back again to the African sources of Caribbean audio without any distinction between styles. El enorme combination, developed by pianist Rafael Ithier, proceeded Cortijo’s purpose in a lighter vein, with La Muerte (1962) and Ojos Chinos (1964).

In Puerto Rico salsa can generally “guaguanco”, a term that initially referred to a kind of rumba dance

During the 1960s, the bomba-son crossbreed hit the Puertorican nest in nyc. Right here, the daughter adopted the structure with the large band, as in Jimmy Sabater’s Salsa y Bembe (1962) and vibraphonist Cal Tjader’s Salsa del Alma (1964).

The Cuban expatriates that moved in ny provided greatly toward absorption in the genre when you look at the American traditions: vocalist Celia Cruz (Burundanaga, 1956; Yerbero Moderno, 1956), flutist Jose-Antonio Fajardo (La Charanga), flashy congueros Candido Camero and Ramon “Mongo” Santamaria (Mazacote, 1958; Afro azure, 1959; Herbie Hancock’s Watermelon people, 1963), violinist Felix “Pupi” Legarreta, whom fused charanga and jazz on Salsa aria, which found its way to nyc in 1950, settled tribute to his Cuban sources on Yambu (1958) and Mongo (1959), that were done with other Latin percussionists.

The development of boy carried on in ny via Dominican flutist Johnny Pacheco, leader associated with quintessential charanga (featuring vocalist Pete “El Conde” Rodriguez) but in addition the frontrunner on the “Africanization” associated with the charanga (arrangements restricted to trumpets, cello and percussion), ny’s pianist Charlie Palmieri, whom formed in 1959 the influential charanga Duboney (four violins and Pacheco on flute), New York’s pianist Eddie Palmieri, just who in 1962 pioneered “trombanga”, a sound centered on two trombones and a flute (in replacement for the charanga sound), nyc’s percussionist Ernesto “Tito” Puente (Oye Como Va, 1962), nyc’s drummer Ray Barretto, whom tried rhythm’n’blues and jazz, Puertorican bongo member Roberto Roena (Mi Desengano, 1976). They all crossed more than into jazz and rhythm’n’blues. Noteworthy albums incorporate Puente’s party Mania (1958), Pablo “Tito” Rodriguez’s western part Beat (1961), Bobby Valentin’s Ritmo Pa Goza (1966), Eddie Palmieri’s Lo los cuales Traigo Es Sabroso (1964) and Superimposition (1969), Barretto’s Acid (1967) and also the content (1972), Cortijo’s Maquina de Tiempo (1974). Latin nyc additionally secreted the boogaloo, a fusion of black spirit musical and Cuban mambo, such as Eddie Palmieri’s Ay Qye Rico (1968). New York-born Willie Colon, at first a trombonist, was actually the most important big Puertorican celebrity, his orchestra and his awesome performer Hector Lavoe with the capacity of records such El Malo (1967) and El Bueno, El Malo y El Feo (1975), form classics Che Che Cole (1969) and Gitana (1984).

A key event in 1967 was actually the appointment between Puertorican vocalist Ismael Miranda (next nonetheless an blackpeoplemeet oturum aГ§Д±n adolescent) additionally the orchestra of the latest York’s pianist Larry Harlow, ideal recorded on Abran Paso (1970). They revitalized the CUban noises for audience of rock tunes.


In 1973 the North-American son had been renamed “salsa” for a tv special (by Izzy Sanabria of Fania files, roughly the same as Motown for Latin songs). Larry Harlow’s band rediscovered the combination of charanga violins and conjunto trumpets (by adding electric tools) on his milestone recording Salsa (1974) with vocalist Junior Gonzalez. The 1976 performance “Salsa” arranged in nyc by the label Fania established the fad nation-wide. Within the 70s, the main facilities for salsa are New York, Miami, and Colombia.

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