Below is
a general synopsis of the history
of Salsa. For a detailed
insight into Salsa's history,
check out
David
Ortiz's Music Notes.
It's impossible to
say the whole history of Salsa
here, there would not be
enough space on this server to
say it, so a short HISTORY OF
SALSA is provided.
During the early
1970's, a new kind of rhythm
could be heard playing in New
York. The name “Salsa”
was given to it.
It is not
known how Salsa got its name
or who named it. Never
before was this word used to
denote a type of music,
although the term “sabor”
which means flavor, was used
to indicate any type of music
that had a really good beat.
Perhaps that is where it
originated.
In the November 11,
1966, issue of Bohemia
magazine, there is a caption
under a photo of a singer that
says: Pedro Gomez in full
salsa. Young musicians
from different districts and
other Latin nuclei in New York
started producing innovating
Latin music with jazz and a
mix of instruments used in a
new way, keeping classic Cuban
rhythms as a base, especially
“son.”
“Salseros” or salsa musicians
such as Eddie and Charlie
Palmieri, Willie Colon, Ray
Barreto, Ricardo Rey and Bobby
Valentin from New York, and
later, Mon Rivera, Roberto
Roena, Cheo Feliciano, Hector
Lavoe, Rafael Itier, Andy
Montañéz, Pellin Rodríguez ,
Ismael Miranda, Ismael Rivera
from Puerto Rico and many
others including Americans
like Larry Harlow started
playing this new beat.
At first,
salsa took two forms. One,
over the Cuban son base with
songs that reflected sorrow or
joy. The other, with old
sones or old Cuban songs that
mixed with the new
instrumentation. Both
forms coexisted and both
innovated the orthodox Cuban
instrumentation; parting from
the musical form of the group,
but reinforcing its classical
percussion of bongo and
tumbadora, with the paila.
This was done in Puerto Rican
orchestras, but not Cuban; or
it used bongo or paila but not
both. This percussion
trio converted itself into
something consistent of the
salsero movement.
The old
base many times was
substituted for the electronic
base and the major change was
in the metals; the two or
three trumpets of the
classical group was
substituted for two trombones
and a trumpet.
As a
result, the salsero group had
a sound that was much stronger
than the traditional Cuban.
The “tres” gained importance
in salsa and later so did
charangas salseras, which
could be distinguished for not
respecting the classical
traditions of the Cuban
instrumentation.
Charangas with trumpets and
salsa orchestras with flute
emerged.
Salsa is
a musical form that was
created in New York with
something new added to the
Cuban base. This new musical
movement emerged with its
commercialization and
production in New York, with
records like Allegro, Tico and
most of all Fania, created by
the Dominican musician Johnny
Pacheco and the American Jerry
Masucci. Fania had an
almost monopoly, since they
controlled the majority of
Salsero artists. By
1975, Salsa was heard all over
the world with New York being
known as the Salsa capital.
Salsa
received acceptance in Puerto
Rico, Venezuela and Santo
Domingo but especially in
Puerto Rico where a large
amount was contributed to the
creation of the music with
distinguished musicians like
Papo Lucas, Luis Perico Ortiz,
Ismael Miranda, the composer
Tito Curet Alonso, etc.
Venezuela
also created its salsero
movement, like the Latin
Dimension Orchestra and Oscar
D’Leon and his orchestra.
Notably, Cubans in and out of
the island were against Salsa,
considering that it is the old
son adulterated and exploited
commercially. What
bothered most Cubans was that
it tried to ignore the base
most evidently Cuban.
Inclusively, Fania in one of
it's films, pretended that
Salsa had come almost directly
from Africa to New York.
Now
no-one denies that Salsa is a
remnant of the old Cuban
music, but also interestingly,
over a Cuban base also derives
many different things like
“Salsa Consciente” best
composed and sung by Ruben
Blades from Panama.
Salsa also
revalorized many Cuban
musicians that were residents
in the United States like
contrabass player Israel López
(Cachao), percussionists
Orestes Vilató, Patato Valdés,
Julito Collazo, Mario Papaíto
Muñoz, Virgilio Martí,
pianists Javier Vázquez and
Lino Frías, trumpet players
del Negro Vivar and Chocolate
Armenteros, soneros like
Roberto Torres, Pete “El Conde”
Rodríguez, Miguel Quintana,
Justo Betancourt and Felo
Barrios, young artists like
violinist Alfredito de la Fe,
pianist Alfredo Valdés, sonero
Fernando Lavoy, la Lupe and
above all Celia Cruz.
Salsa has evolved to
unite diverse ethnic groups
from Latin America, such as
people from Puerto Rico,
Venezuela, Panama, Santo
Domingo and Colombia where
magnificent musical groups
such as “El Grupo Niche,”
“Guayacan” and many others
have come from.
The impact of Salsa
has grown to be a world-wide
phenomenon where folks from
all over the world are
playing, dancing, and enjoying
this music called
Salsa. |