1. Latin American Music
Chapter 11

2. Latin America/Latin Music
Here, “Latin Music” = Latin American Music
Latin America = “large and culturally diverse region of the world encompassing all of South America and the various nations and territories of Central America, Mexico, and the Caribbean”
(N. B. Some scholars include only Spanish/Portuguese-speaking nations – we’ll think more broadly)

3. Latin American Music Defined
1. Any music originating from anywhere in this vast region, as well as musics of diasporic Latino communities in North America, Europe, etc.
2. A host of popular dance-music genres that originated in or derived from the island of Cuba, having experienced significant histories of development in the United States and Puerto Rico, and with histories of transmission closely tied to the U.S./international commercial music industry and mass media distribution.
Hubs: NYC, Miami, SF, LA, plus Paris, London, and even Tokyo

4. Whirlwind Survey Brazil Portuguese Samba
Diverse styles, all with African musicultural roots
Common features:
Percussion instruments
Driving rhythms
Polyrhythmic textures
Call-and-response
Improvisational elements
Samba-enredo (theme samba) – Carnaval, Rio de Janeiro
Batucada

5. Bossa Nova South Zone of Rio
Mainly middle-class, white\
Samba from favelas surrounding city
Antonio Carlos (Tom) Jobim, Joao and Astrud Gilberto, Stan Getz
1964—Getz/Gilberto – “Girl from Ipanema”
Batida guitar style (Gilberto)
Laid-back vocals influenced by Frank Sinatra, Sarah Vaughan
CD Paul Desmond Quartet “Wave” (Jobim)
Getz, Banana, Jobim, Creed, Joao and Astrud Gilberto

6. Cannibalism Post-1964 “period of crisis” in Brazil
Military coup and subsequent totalitarian regime (US supported)
Beatlemania/British invasion
Cannibalist Manifesto (Oswald de Andrade – 1928)
Lorraine Leu: Manifesto “attacked both a purist view of national culture and wholesale imitation of foreign models….advocated a selective devouring of elements of foreign culture which would then be absorbed and transformed into Brazilian cultural products.”

7. Tropicália One musical outcome: tropicália
Caetano Veloso, Gilberto Gil
Veloso: “By using electric guitars in melodic compositions with elements of Argentine tango and African things from Bahia, we assumed a posture of ‘being-in-the world’—we rejected the role of the Third World country living in the shadow of more developed countries.”
Os Mutantes -- “A Minha Menina” (CD 1-1)
“Bat Macumba”
Mini-documentary:

8. Tango Argentina (Buenos Aires), Uruguay (Hugo Diaz, “Fueye,” CD 4-1)
Dance: “vertical expression of a horizontal desire”
Emerged in the tough, poor, ethnically mixed port district of Buenos Aires among the porteños.
“Golden Age” of tango, 1920s-30s
Carlos Gardél

9. Nuevo Tango Astor Piazzolla Bandonéon Perfomed with Gardel, etc.
Studied composition in Paris with Nadia Boulanger
Nuevo tango style: tango, jazz, new music synthesis
Yo-Yo Ma group performing Piazzolla’s “Libertango”
“Libertango” – Moscow Philharmonic, tango dancers

10. Andean Panpipes Andes: Peru, Bolivia, Ecuador
Ayllu performance, julajula, Bolivian Andes
CD 4-2 (Stobart)
Folkoric – CD 2-6 “Ratita” Ukamau
Roots: Abalos Brothers
Andean folkloric/pop
Simon & Garfunkel “El Condor Pasa/If I Could” (Los Incas) [“I’d Rather be a Hammer…”]

11. Mariachi CD 1-20 – “Cielito Lindo” Mariachi in Los Angeles
Stereotyping (Frito Bandito)
Mariachi in Los Angeles
Mariachi Los Camperos de Nati Cano
La Fonda (restaurant), Linda Ronstadt Canciones de Mi Padre

12. Steel Band (CD 1-30) Trinidad and Tobago Carnival
Steelpan (pan, steel drum, steel band)
55-gallon oil drums
Afro-Trinidadian innovation (post WW II)
Carnival
Like Carnaval in Brazil, associated with Pre-Lenten celebrations (also Mardi Gras, New Orleans)
Panorama competition

13. Cuban Roots of Latin Dance Music
Afro-Cuban
Batá drumming (CD 4-3)
Santéria (Regla de Ocha) – Orisha ritual music
Rumba (CD 4-4)
Rumba guaguancó
Clave (rhythm), claves (inst.), conga drums, palitos

14. Spanish Roots (Cuba) Creolized dance styles
Contradanza
Danzón
Danzón-mambo
Disenchantment with Spanish colonial rule partially inspired the grafting of African-derived elements onto these dances and their musics.

15. Charanga Charanga “sweet-sounding” ensemble
Wooden flute, two + violins, piano, string bass, guiro, timbales, (maracas)
Became standard ensemble for danzón and later danzón-mambo (which added conga drums, bongos, cowbell to timbales “drum set”—influences from son)
Danzón-mambo would ultimately feed into both cha cha chá and big band mambo, which would in turn coalesce in the style of Tito Puente’s “Oye Como Va,” to which we will return.

16. Cha Cha Chá
“El Bodeguero,” by Enrique Jorrin, performed by Orquesta Aragon (1979)
CD 4-5 – “El Bodeguero” (Grupo Cimarrón, Cuba)
Traditional arrangement but with synthesizers, no violins

17. MGT: Latin Percussion Rhythms of the Cha Cha Chá
Timbales
Guiro
Maracas
Congas (tumbao)
Bongó
(Clave)

18. Mambo (Big Band Mambo) Pérez Prado “Mambo #5” (1949)
Mambo kings (mambo craze) – early 1950s, New York
Machito, Tito Puente, Tito Rodríguez
Palladium – Latin dance bands

19. Big Band Mambo – Musical Style
Mambo style
Big band instrumentation, plus Cuban son percussion section (timbales, congas, bongo, plus cowbells, claves, guiro, maracas, etc.)
Textures—layered ostinatos throughout band, riffs
Driving, Afro-Cuban percussion rhythms
Jazz influences
Fast tempos, highly energetic playing
Absence, or at least limited use, of singing

20. Mambo Examples CD 4-6, “Sambia,” by Machito and the Afro-Cubans.
Jazz-style intro, layered riffs/C&R (horns), rhythms
Tito Puente, “Mambo Gozon”

21. “Oye Como Va” – Tito Puente
Brought together the cha cha chá, big band mambo instrumentation, textures, and stylistic elements
CD 4-7 Original Tito Puente “Oye Como Va” (1963, El Rey Bravo, pp )
Syncopated organ and bass riffs
Minor key (A minor) distinctive re: other cha chas
Instrumental mambo sections (w. layered horn riffs)
Flute cha cha/charanga-like

22. “Oye Como Va” – Santana CD 4-8 (1970, Abraxas, pp. 255-61) Latin rock
Same: Tune, key, tempo, text, singing style, cha cha chá groove, basic form of arrangement
Different: Electric guitar (Carlos S.) part “replaces” horn section and flute, cha cha chá + rock drum set, Hammond B-3 (blues/rock style of solo), inst. mambo sections of arrangement “replaced” by improvised guitar and organ solos

23. Santana – videos Santana live at Woodstock (“Soul Sacrifice”)
Santana live, “Oye Como Va”

24. Beyond the Music Santana “Oye” success “revives” Puente’s career
Latin bands decline through 1960s
Cuba, Castro, Cold War politics
Rock ‘n’ roll, rock, Beatlemania
Santana shifted pendulum
Puente – larger venues, festivals, etc.
Renewed interest in Latin music in U.S. led to salsa and Latin jazz (NYC), 1970s, with Puente as “king” of both
“Salsa explosion,” 1970s
Pan-Latino movement
Crystallized 1970s
Music, Puente, Santana, plus others (Ruben Blades) significant

25. Salsa, Latin jazz
Overlapping genres: salsa more singing and dance-oriented, Latin jazz more instrumental and improvisation-oriented
“Salsa explosion,” 1970s
Puente, Cruz, Blades, Fania All-Stars, Aguabella, etc.
“Qimbara” – Celia Cruz, Tito Puente, Poncho Sanchez
Fania All-Stars, Yankee Stadium, 1973 (start at 4:54)
Rubén Blades (start at 6:17), Panama
Francisco Aguabella (CD 4-9 “Nena” )Latin Jazz Band, “Yesterdays”
Aguabella, Giovanni Hidalgo, Anthony Carrillo (bongó) feat. w. Eddie Palmieri (percussion feature 3:07-4:32)

26. Stars and Legends
Clockwise L to R: Celia Cruz, Fania All-Stars, Willie Colon and Hector Lavoe, Francisco Aguabella, Giovanni Hidalgo, Eddie Palmieri, Ruben Blades

27. Tito Puente Jr. “Oye Como Va”
CD 4-10 Tito Puente Jr. “Oye Como Va” (2004 – TPJ: Greatest Club Remixes)
Original: Guarachando (1996)
La India, Tito Puente (Sr.)
Synths replace horns (simplified riffs)
Solos: timbales (no melodic insts)
Sampled/heavily processed B3
“Latin dance”/cha cha chá grooves
TPJ band live “Oye Como Va” (traditional style)
Last-ever live performance of “Oye” by Tito Puente