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‘Listen How it Goes’: “ Oye Como Va ” and the Musics of Latin America

‘Listen How it Goes’: “ Oye Como Va ” and the Musics of Latin America. Chapter 11. Introduction. Chapter surveys a range of musicultural traditions from Latin America: Samba , bossa nova, and tropicália from Brazil S teel band from Trinidad and Tobago

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‘Listen How it Goes’: “ Oye Como Va ” and the Musics of Latin America

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  1. ‘Listen How it Goes’: “Oye Como Va” and the Musics of Latin America Chapter 11

  2. Introduction • Chapter surveys a range of musicultural traditions from Latin America: • Samba, bossa nova, and tropicália from Brazil • Steel band from Trinidad and Tobago • Tango traditions of Argentina and Uruguay • Folk and folkloric musics of the Bolivian and Peruvian Andes • Mexican mariachi • Primary focus, however, is on “a particular historical trajectory of Latin music that crystallized in Cuba out of a syncretism of West African and Spanish elements, experienced important developments in Puerto Rico, and was further cultivated and redefined in a myriad of ways in the United States” (p. 232), yielding Latin dance-music genres such as: • Rumba, danzón, son, danzón-mambo, cha chachá, mambo, Latin jazz, salsa, Latin rock, contemporary Latin popular music styles

  3. Focal Points • Recordings of the Tito Puente song “Oye Como Va” • The original Tito Puente recording from his 1963 album El Rey Bravo • Santana’s enormously popular, rock-infused version from the hit 1970 record Abraxas • A hip-hop and techno-inspired dance mix version from a 2008 Tito Puente Jr. • Musiculturalhistory of pan-Latino culture and society, especially in relation to: • Latin music, both broadly defined and in the more specific terms of key developments in Cuba, Puerto Rico, and the United States • The Cuban cha chachá: its musical and cultural roots and its historical transformation • Puerto Rican and Newyorican (New York/Puerto Rican; can also be spelled “Nuyorican”) society and musiculturallife • The life and career of Tito Puente (1923–2000) • The commercial music industry

  4. “Oye Como Va” and Latin Music in Context • Where does “Oye Como Va” come from? • New York? Puerto Rico? Cuba? • Latin music defined • Here, “Latin Music” = Latin American Music • 1. 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)

  5. Latin American Music (aka Latin Music) Defined • Latin America • A 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 • Latin American music (Latin 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

  6. Musics of South America, Mexico, and the Caribbean: A Selective Survey • “In this section, we survey several Latin American musicultural traditions that originated in and are principally identified with nations and regions outside of Cuba, Puerto Rico, and the United States. This survey encompasses selected musics of Brazil, Trinidad and Tobago, Argentina and Uruguay, Bolivia and Peru, and Mexico. It provides at least some sense of the immense diversity of musical and cultural expression that has issued from the many historical streams of Amerindian, African, and European influence in the region. It also offers several different windows through which to view the complex processes of tradition and transformation that have shaped and continue to shape musical life in this area of the world, and by extension internationally.” (p. 236)

  7. Brazil: Samba • Best-known Brazilian music internationally • 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 [PL 11-1] • Batucada [PL 11-2]

  8. Brazil: Bossa Nova • South Zone of Rio • Mainly middle-class, white • Samba from favelas surrounding city, as represented especially in the annual Carnaval samba parades, a key influence on the music • Refined chorostyle another major influence [PL 11-3] • Antonio Carlos (Tom) Jobim, Joãoand Astrud Gilberto, Stan Getz • 1964—Getz/Gilberto – “Girl from Ipanema” [PL 11-4] • Batidaguitar style • Laid-back vocals influenced by Frank Sinatra, Sarah Vaughan • TV broadcast video from same year • Many of the bossanovas (especially by Jobim) became part of the standard repertoire of American jazz • Paul Desmond Quartet, “Wave” (Jobim) [PL 11-5]

  9. Insights and Perspectives: Steel Band Music of Trinidad and Tobago (pp. 238-39) • Samba traditions of Rio that are so internationally famous and that inspired bossa nova, choro, and many other traditions integral to Carnaval (Carnival) • Other Carnival traditions, likewise pre-Lenten celebrations, are equally rich musically • Mardi Gras (New Orleans) • Carnival (Trinidad and Tobago) • Highlight of Carnival in Trinidad is the Panorama steel band competition [PL 11-6] • Steel band • Pans (aka steel drums) • Tenors (main melody), double tenors, double seconds, plus pans called guitars, cellos, and basses, respectively • Made from 55-gallon oil drums • Engine room • Rhythm section of drum set, “irons” (usually automobile brake drums), conga drums, shakers, cowbells, and additional percussion instruments • Afro-Trinidadian innovation (post-WW II), though music draws from many sources, including calypso [PL 11-7], soca [PL 11-8], and Indo-Trinidadian chutney music [PL 11-9]

  10. Brazil: Tropicália • Post-1964 “period of crisis” in Brazil • Military coup and subsequent totalitarian regime (US supported); Beatlemania/British invasion • Cannibalism: • Cannibalist Manifesto, by Oswald de Andrade (1928), “attacked both a purist view of [Brazilian] 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.” (Lorraine Leu) • Tropicália • “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.” Caetano Veloso

  11. Caetano Veloso, Gilberto Gil (and OsMutantes) • Veloso and Gil the founders of tropicália • Veloso, “Alegria, Alegria” [PL 11-11] • Gil, “AqueleAbraço” [PL 11-12] • Both collaborated with OsMutantes; for example, Veloso, in the historic performance of his song “É ProibidoProibir” [PL 11-12] also described in Chapter 1: • “Backing Caetano Veloso on ‘É proibidoproibir’ [It’s forbidden to forbid], the band [OsMutantes] launches into an amplified barrage of distorted noise that immediately elicits a hostile response from the audience, which begins to boo and hurl tomatoes, grapes, and wads of paper at the performers.” (John J. Harvey, quoted on p. 241) • Veloso and Gil both spent two-plus years in exile (in London) during the Brazilian dictatorship years

  12. OsMutantes • Harvey: Cannibalism “was the most important weapon in OsMutantes’ cultural arsena . . . . Its members reconfigured French pop, American psychedelic rock, mode-de-viola music of Brazil, bossa nova, the Beatles [as well as Bob Dylan, the Beach Boys, and Sly and the Family Stone], Brazilian carnival music, and mod rock . . . . the motifs were cannibalized, mutated, defected, and signified upon so that they were almost emptied of content until redeployed in the mix and impregnated with a new meaning belonging wholly to the group.” (p. 240)

  13. “A MinhaMenina” • OsMutantes, “A MinhaMenina” [PL 11-13] • Lighter, happier than, for example, “Panis et Circenses” (music starts 1:00 into video) [PL 11-14] • “A MinhaMenina” actually composed by Jorge Ben, who also wrote “Mas Que Nada” [PL 11-15]; Sergio Mendes/Black Eyed Peas version [PL 11-16] • Percussionist Dirceu; also berimbau player (berimbau accompanies capoeira) [PL 11-17] • Gilberto Gil, OsMutantes, and Dirceu (berimbau): “Domingo no Parque” (music starts 2:40 into video) [PL 11-18] • Berimbau meets Bollywood, “Barso Re” [PL 11-19]

  14. Argentina/Uruguay: Tango • Argentina (Buenos Aires) • Dance: “vertical expression of a horizontal desire” • Emerged in the tough, poor, ethnically mixed port district of Buenos Aires among the porteños. Blended European and African music/dance elements with the milónga song tradition [PL 11-20] of the gaucho. • “Golden Age” of tango, 1920s-30s • Carlos Gardel[PL 11-21] • With his suave yet macho image, embodied the contradictions of tango • Died in a plane crash, 1935 • Rudolph Valentino • Dancing of the tango in stylized gaucho costume, Four Horsemen of the Apocalypse (1926)

  15. Astor Piazzolla and the Nuevo Tango • Astor Piazzolla • His Quinteto Nuevo Tango (formed 1960) and other groups revolutionized tango music • Controversial figure • Bandoneón virtuoso • Perfomed with Gardel, etc., early in career • Studied composition in Paris with Nadia Boulanger • Nuevo tango style: tango, jazz, new music synthesis [PL 11-22] • Yo-Yo Ma group performing Piazzolla’s“Libertango” • “Libertango” – Moscow Philharmonic and professional tango dancers

  16. Hugo Diaz, “Fueye” [PL 11-23] • Diaz a Uruguayan bandoneón player • Extends the nuevo tango tradition of Piazzolla • “Fueye” a tango composed by Charlo Manzi • In this performance of “Fueye,” “the two melodic instruments, the bandoneón and the guitar, engage in an intimate and ever-changing musical dialogue that parallels the rich dynamics of interaction between male and female tango dancers. The bandoneón leads this musical dance, forming the ‘male’ dimension of the partnership with its strident tone and directive role. The guitar, in the ‘female’ role, follows the bandoneón’s lead with skill and grace, and moves with a sound of refinement and elegance that often seems to outclass the dominant bandoneón. One can almost imagine just from listening to this music how a couple might dance the tango to it.” (p. 244)

  17. Music of the Andes • Andes mountain range • Peru, Bolivia, Ecuador, and other countries • Extends 4500 miles north to south • Andean cultures • Languages: Quechua, Aymara • Ayllu: Native community, defined by extended family lineages, particular locations of residence and ancestry, and unique cultural practices (including musical ones) • Julajula panpipe performance (Bolivian Andes) • Music symbolizes egalitarian ideals • Yiya (D, G, B) and arka interlocking (E A E) • “Kacharpaya” [PL 11-25] (Bolivian Andes) • Andean panpipes with drums • Similar interlocking textures, cultural symbolism as in julajula video

  18. Folkoric Andean Music • Developed not in the Andes, but in Buenos Aires, then Paris • Abalos Brothers • A “modernist-cosmopolitan cultural formation” (Turino) • Kena, charango, guitar, bombo (plus other instruments like harp, piano) • Alpamayo’s performance of “Sikuri de Despedida” [PL 11-25] an example • Paris/Europe 1950s/1960s • Los Incas, “El Condor Pasa” (1963) [PL 11-26] • Recast as “El Condor Pasa/If I Could” by Simon & Garfunkel (1970) [PL 11-27] • Eventually music “returned” to rural Andean ayllus, where (ironically) comes to represent traditional, “authentic” culture • Los Jairas (The Lazy Boys), led by Bolivia-based, expatriate Swiss kena player Gilbert Favre [PL 11-28]

  19. Mariachi • Mexican musical diversity • Corridos, banda, norteño (Tex-Mex), Mexican-style cumbia, rocanrol • Mariachi best-known • “CielitoLindo” [PL 11-29] • Stereotyping (Frito Bandito) • Mariachi moderno • Trumpets (usually two or more), violins (typically three or more), vihuela, guitar, and guitarrón(sometimes harp as well, as in this video) • “CielitoLindo” (PL 11-29), as performed by Mariachi Sol • Roots in regional traditions, such as son jalisciencefrom Jalisco, e.g., “La Negra” [PL 11-30] • Mariachi became a huge international phenomeon, especially in U.S., and in Los Angeles most of all • L.A. band Mariachi Los Camperos de Nati Cano [PL 11-31] • Mariachi Los Camperos and Mexican band Mariachi Vargas de Tecalitlán both appeared on the landmark Linda Ronstadt album Cancionesde Mi Padre (Songs of My Father) [PL 11-32]

  20. Afro-Cuban Roots of Latin Dance Music • Afro-Cuban • Music, dancing closer to West African forms than in U.S. Why? • Batádrumming • Santería(Regla de Ocha) – Orisha ritual music [PL 11-33] • Rumba • Rumba guaguancó[PL 11-34] • Clave (rhythm), claves (instrument), conga drums, palitos • Clave rhythm: Figure 11.1, OMI #25 (p. 252) • Accompanies flirtatious dance • Note that in rumba, the highest-pitched drum improvises most, while in batá it is the lowest-pitched drum.

  21. Spanish-Cuban Roots of Latin Dance Music • 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. • Danzón • Essentially the national dance of Cuba by 1920s • Charanga ensemble • Wooden flute, two + violins, piano, string bass, guiro, timbales, (maracas) • “Sweet-sounding” ensemble (compared to louder conjunto)

  22. Son and the Danzón-Mambo • Son began to rival danzón in popularity starting 1920s • More heavily West African-influenced • Arsenio Rodríguez became iconic figure of son [PL 11-35] • Charanga groups eventually started adopting elements of instrumentation and style from son • Conga drums • Cowbell added to timbales (paving the way for timbales “drum set” of today) • Infusion of Afro-Cuban rhythms • Formal sections based on layered ostinatos, featuring improvised solos. These were called the mambo sections, or just mambos • Arrangements that highlighted this more son-influenced, African-infused approach forged a new genre, the danzón-mambo, a highly Afro-Cubanized version of the earlier danzón. • Arcaño y sus Maravillas, “Mambo”[PL 11-36] (arr. Orestes López, Israel “Cachao” López) • Danzón-mambo would ultimately feed into both cha chachá and big band mambo, which would in turn coalesce in the style of Tito Puente’s “Oye Como Va,” to which we will return.

  23. Cha ChaChá • Enrique Jorrin (violinist with Arcaño y susMaravillas) went in a new direction • 1950: Recording of“La Engañadora” (The Beguiler) with his own charanga group, OrquestaAmérica [PL 11-37] – first recorded cha chachá • Cha chachá fused • Older danzón sensibilities • Some danzón-mambo elements (conga drums) • Four-square rhythm, rhythmic simplification (easy to dance to) • Simple, mainly unison singing by the instrumentalists • Fueled a major dance craze in 1950s – N. America, Europe • Eventually fizzled, but didn’t die; rather, recast in arrangements like Tito Puente’s “Oye Como Va” (to which we shall return)

  24. Musical Guided Tour: “Latin Percussion Rhythms of the Cha ChaChá” • Access at the OLC (www.mhhe.com/bakan3e) • Text transcript on p. 256 • This tour introduces and illustrates the percussion instruments and basic rhythms of the cha chachá: • Timbales • Güiro • Maracas • Congas (tumbao rhythm) • Bongó • Clave

  25. Mambo (Big Band Mambo) • Pérez Prado, “Mambo No. 5” (1949) [PL 11-38] • Lou Bega version from 1999 [PL 11-39] • Mambo kings (mambo craze) – early 1950s, New York • Tito Puente, Tito Rodríguez, Machito (on Japanese TV, music starts at 0:24) • Palladium – Latin dance bands • 1950s mambo style • Big band instrumentation • Layered ostinatos (riffs) throughout band • Driving, Afro-Cuban rhythms • Jazz influences • Fast tempos, high energy • Absence (or limited use) of singing • Machito and the Afro-Cubans , “Sambia” [PL 11-40] • Layered riffs (0:19-0:52)

  26. Inisights and Perspectives: Machito and the Afro-Cubans in the History of Latin Music (p. 259) • Videoof Machito and his band in Japan (TV) (music starts at 0:24) • Machito and the Afro-Cubans formed in 1940, two years after Machito arrived in NYC from Cuba • Antidote to the more “watered-down” Latin bands of Xavier Cugat [PL 11-41], Desi Arnaz [PL 11-42]. Machito and his bands • “forged an innovative musical approach that was rooted in the classic son style of Cuban masters like Arsenio Rodríguez [PL 11-43], but that also incorporated the sonic force of the jazz big band and the influences of jazz improvisers like Dizzy Gillespie and Charlie Parker, the future founders of bebop jazz. ‘With powerful horns and a hell-fired rhythm section, the band immediately captured the attention of the Latino community in New York’ (Leymarie 2002:4).” (p. 259)

  27. George Clinton on Mambo • Funk legend George Clinton [PL 5-32] on the impact of mambo in the 1950s: • “Another big influence on me, at least in terms of understanding how people responded to music, was mambo, both the music and the dance. Back in the fifties, mambo was like our disco. Everybody got dressed up, really suited, for the mambo scene…. ordinary people became celebrities by showing how they could move on the floor. Mambo was the universal language. Mambo would stop a gang fight. A hot girl who could dance could go across gang lines to get herself a dance partner. The gangs would call a temporary truce, letting this kind of thing happen, when they went to the gym to dance mambo.” • On the Palladium in the 1950s, see also the I&P box on p. 261

  28. Tito Puente: Early Years • Puente early biography • Born in Spanish Harlem (El Barrio), NYC, 1923 • Puerto Rican descent, musically “Cuban” • Joined Machito’s band briefly (1942) before joining U.S. Navy band • Studied at Julliard School (1945); serious interest in vibraphone – “Ran KanKan” [PL 11-44] • Studied and performed with NY-based Cuban percussionists: ChanoPozo (“Manteca,” with Dizzy Gillespie), Mongo Santamaría, Francisco Aguabella • Would later work with another great Latin percussionist, Ray Barretto, who spearheaded boogaloo craze of the 1960s • By 1963, when “Oye Como Va” was first released on his 1963 album El Rey Bravo, Puente had 40 albums to his credit, including top seller Dance Mania (1958)

  29. GLE: Tito Puente, “Oye Como Va” [PL 11-45], Pt. 1 INTRODUCTION (INSTRUMENTAL) • 0:00–0:45 • Piece begins with syncopated organ riff over straight cha chachá rhythm (the latter initially marked out just by clicked wooden sticks and handclaps). • Full percussion section and horn section enter at 0:15 (following a lead-in played on the timbales): timbales, congas, and güiro play standard cha chachá rhythmic patterns; horns (saxophones, trombones, trumpets) double organ riff rhythm. • Flute takes main melody beginning at 0:23 (charanga-esque). • Signature unison figure played at 0:38. SINGING OF MAIN TUNE, FIRST TIME • 0:46–1:04 • “Oye Como Va” tune sung by group of male singers (unison/harmonized vocal texture; cha chachá groove). • Partial return of signature unison figure at 1:01. FIRST MAMBO SECTION (MAMBO I) • 1:05–1:55 • Saxophone riff (1:05), trombone riff (1:20), trumpet riff (1:36).

  30. GLE: Tito Puente, “Oye Como Va,” Pt. 2 • Another partial return of signature unison figure (1:51) SINGING OF MAIN TUNE, SECOND TIME • 1:56–2:18 • As before, but ends with big instrumental crescendo (2:11) leading up to second mambo section. SECOND MAMBO SECTION (MAMBO II) • 2:19–3:13 • More syncopated and complex horn riffs than in first mambo section; building intensity. • Flute, vocal shouts, and whistling create party-like atmosphere. • Section concludes with full statement of the signature unison figure at 3:06. • ENCORE MAMBO SECTION (MAMBO III) • 3:14–end • Music stops; cheering, applause suggest we have reached the end, but then band launches into an encore mambo at 3:26 to conclude. Final signature unison figure at 4:19 brings performance to a close. • Video of Tito Puente, “Oye Como Va,” live

  31. New Sounds, New Times: “Oye Como Va,” the Santana Version • Santana’s second album, Abraxas (1970) yielded two Latin rock hits: “Oye Como Va” and “Black Magic Woman/Gypsy Queen” • Carlos Santana • Born 1947, Mexico • Grew up listening to various kinds of music, including Chicano rock of Ritchie Valens – “La Bamba” [PL 11-47] • Gigged in Tijuana, early teens • Moved to San Francisco, age 15, where he discovered the jazz of Miles Davis and John Coltrane [PL 11-48], the blues of Muddy Waters [PL 11-49], and the new rock sounds of Janis Joplin [PL 11-50], Jimi Hendrix [PL 11-51], Sly and the Family Stone [PL 11-52] • Formed band Santana 1968 • 1969: Woodstock and release of Santana, with first Latin rock hit, “Evil Ways” [PL 11-53], a rock-infused cover of the Willie Bobo original [PL 11-54], featured on boths

  32. Santana, Puente “Oye Como Va” Comparison

  33. GLE: Santana, “Oye Como Va” [PL-55], Pt. 1 INTRODUCTION • 0:00–0:37 • Opens with the standard “Oye” organ riff (as in Puente original), but with the distinctive Hammond B-3 organ timbre creating a very different effect; also, no clicked sticks/clapping groove here, and the bass part is more prominent in the mix. • Standard cha chachá groove established with entry of percussion section at 0:08; no horns; electric guitar (played by Carlos Santana) replaces the flute of Puente’s version on the melody and bluesy guitar licks give the music a different character as well. • Signature unison figure arrives at 0:30. SINGING OF MAIN TUNE, FIRST TIME • 0:38–0:56 • Singing is similar to that heard in the Puente version, though the vocal timbre is different. • Partial return of signature unison figure at 0:53.

  34. GLE: Santana, “Oye Como Va,” Pt. 2 FIRST IMPROVISED SOLO (ELECTRIC GUITAR) • 0:57–1:44 • Played by Carlos Santana; electronic distortion enhances the basic timbre of the instrument. • Replaces the first mambo section (Mambo I) of the Puente arrangement. • Though horn section is absent, Carlos Santana’s guitar solo actually builds mainly from lines adapted from the original Puente horn riffs (enhanced by occasional bluesy riffs at the ends of phrases). • Percussion instruments played more freely here than in Puente (e.g., improvised drum fills in conga and timbales parts) and more of a rock feel is evident in the rhythmic groove, though a cha chachá foundation still predominates. INTERLUDE/TRANSITION #1 • 1:45–2:06 • First, return to opening organ riff (over cha chachá rhythmic groove). • Second, contrasting section (1:53) with very different mood and style. • Third, dramatic crescendo at 2:04 (akin to the big crescendo at the comparable point in the Puente arrangement).

  35. GLE: Santana, “Oye Como Va,” Pt. 3 SECOND IMPROVISED SOLO (HAMMOND B-3 ELECTRIC ORGAN) • 2:07–2:47 • Played by Gregg Rolie; note distinctive timbre of the Hammond B-3. • Replaces second mambo section (Mambo II) of Puente arrangement. • Rolie immediately rips into a heavy, rock- and blues-style solo that takes the piece far from its Latin roots and into new musical territory. INTERLUDE/TRANSITION #2 • 2:48–2:58 • Shorter than first Interlude/Transition section. • Partial return of signature unison figure at 2:56. SINGING OF MAIN TUNE, SECOND TIME • 2:59–3:21 • Sung as before. • Singing followed by an extended crescendo build-up at 3:14 (again reminiscent of the Puente recording).

  36. GLE: Santana, “Oye Como Va,” Pt. 4 THIRD IMPROVISED SOLO (ELECTRIC GUITAR) • 3:22–end • Played by Carlos Santana. • Begins like the first guitar solo, but then ventures further afield into rock-blues territory; as solo progresses, Santana shifts back and forth between Latin, rock, and blues styles, creating a highly effective and fluid blend of stylistic elements. • Performance concludes with a final full statement of the signature unison figure at 4:06. • Video of Santana, “Oye Como Va,” live

  37. Beyond the Music • Santana “Oye” success indirectly revitalizes Tito Puente’s career • Latin bands declined through 1960s • Cuba, Castro, Cold War politics • Rock-and-roll, rock, Beatlemania • Santana shifted pendulum • Puente post-1970 – 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

  38. Salsa • Salsa “basically adheres to the traditional structure and instrumentation of Afro-Cuban dance forms [like son], but with significant embellishments, adaptations, and new formats and influences.” Steven Loza (see p. 270) • “Salsa explosion,” 1970s • Fania Records (Johnny Pacheco, Jerry Masucci), Fania All-Stars • Eddie Palmieri [PL 11-56] • Johnny Pacheco [PL 11-57] • Ray Barretto [PL 11-58] • Willie Colón [PL 11-59] • Mongo Santamaría [PL 11-60] • Celia Cruz with the Fania All-Stars [PL 11-61]; “Qimbara”(Cruz, Puente, Poncho Sánchez) • Rubén Blades – Panamanian salsa/Latin jazz star (also social activist, lawyer, politician, actor; lyrics with poignant social commentary) [PL 11- 64] • Like Puente, C. Santana, key to pan-Latino movement internationally (pp. 272-74)

  39. Latin Jazz • Much overlap with salsa, but: Mainly instrumental, emphasizes improvised solos, caters more to non-Latino audiences (and is less dancing-oriented); salsa, in contrast, is more singing-oriented, has less emphasis on improvised solos, and caters more to Latino audiences (including dancers) • Leading figures: • Dizzy Gillespie • “Manteca,” live w. Giovanni Hidalgo, congas • Tito Puente • “Take Five,” by Dave Brubeck (not played in 5!) • Eddie Palmieri • “De Palo Pa' Rumba” (Herman Olivera, singer) • Irakere (PaquitoD’Rivera, Chucho Valdes, Arturo Sandoval -- Cuba) • “Ilya” (from The Best of Irakere, 1979) • Poncho Sánchez, • “A Night in Tunisia,” by Dizzy Gillespie • Rebeca Mauleon and Afro Kuban Fusion • Live in San Francisco

  40. Francisco Aguabella, “Nena” and More • Francisco Aguabella (1925-2010) • Born and raised in Matanzas, Cuba • Moved to New York in 1957 (eventually settled in Los Angeles) • That same year (1957), he was part of the all-star lineup for Tito Puente’s Top Percussion album (also with Mongo Santamaría, Willie Bobo, etc.) [PL 11-63] • Master performer and teacher of batá and rumba drumming • Performed with Dizzy Gillespie, Tito Puente, Frank Sinatra, Peggy Lee, Machito, Tito Rodríguez, Carlos Santana, Mongo Santamaría, Poncho Sánchez, etc. • Main subject of the documentary film Sworn to the Drum (Les Blank) and the book Divine Utterances: The Performance of Afro-Cuban Santería (Katherine Hagedorn) • “Nena” [PL 11-62] • Discussed in I&P box, p. 271-72; From his 1986 album H2O • “…pluralistic Latin jazz of the salsa persuasion” (p. 272) • Video with Eddie Palmieri – amazing percussion feature (Aguabella, Giovanni Hidalgo, and Anthony Carrillo [bongo])

  41. “Oye Como Va,” the Next Generation • Tito Puente Jr. • Born 1971, NYC; now based in Miami • Studied percussion with his father from a young age; also songwriting, producing, piano; has performed w. many top artists, including Celia Cruz • Calls his musical style Latin Dance: “a hybrid of diverse contemporary music styles—pop, rock, hip-hop, techno, Latino pop—‘laced with influences of Mambo, Cha Cha and [Dominican] Merengue’” (Puente Jr. 2004). • Breakthrough hit version of “Oye Como Va” released in 1996 on Guarachando; remix version of 2008 the focus of GLE (see next slide) • Other projects: • Remakes, in traditional style, of his father’s classic works, such as “Mambo Gozón” [PL 11-67] (TP Jr., “Oye Como Va,”traditional style) • Big 3 Palladium Orchestra with “Machito” Grillo and Tito Rodríguez (sons of the two other “mambo kings”), “Palladium Days” [PL 11-68]

  42. GLE: Tito Puente Jr., “Oye Como Va” [PL 11-65], Pt. 1 INTRODUCTION • 0:00–0:06 • Begins with the standard “Oye” organ riff, this time in the form of a heavily processed digital sample of the Hammond B-3 organ from the Santana recording (Note: The key is A♭ minor, in contrast to the Puente [Sr.] and Santana versions, which are both in A minor). SINGING OF MAIN TUNE, FIRST TIME • 0:07–0:24 • Standard singing style (unison/harmonized texture; male singers); electronically enhanced cha chachá groove (especially from 0:15). • Electronically processed güiro timbre, along with other digitally sampled and synthesized Latin percussion sounds. • Partial statement of “Oye” signature unison figure at 0:22. FIRST MAMBO SECTION (MAMBO I) • 0:25–0:49 • Melodic material based on horn riffs from Tito Puente’s original version (sometimes including bluesy embellishments, à la Santana), but with simpler, shorter riffs and use of synthesizer timbres in place of actual horns. • Section concludes with partial statement of signature unison rhythmic figure; call-and-response vocal exclamation “Everybody say WHOA-paaa!”

  43. GLE: Tito Puente Jr., “Oye Como Va,” Pt. 2 SINGING OF MAIN TUNE, SECOND TIME • 0:50–1:11 • Off-beat electronic hi-hat cymbal rhythm (like that heard earlier, at 0:15) fortifies cha chachá groove; some solo timbales improvisation interspersed. • Return of signature unison figure (complete) at 1:05 FUNK/CHA CHA CHÁ SECTION • 1:12–2:24 • Cha chachá groove radically transformed by funky, electronic percussion/bass groove. • New melody introduced by female vocalist, La India [PL 11-66], at 1:25 (“Ritmo Latino”) becomes countermelody to the main “Oye” tune. • Main “Oye” tune sung again as heavy funk/cha chachá groove continues at 1:41; syncopated interjections by La India between phrases. • From 1:55, mambo-like riffs from synthesized “horns,” group of male singers; La India continues. • Short, improvised timbales solo (2:10–2:16), leading directly back to the signature unison figure (complete) at 2:17. • 2:25–3:50 • Contrast provided by introduction of new “bass” synthesizer ostinato, then heavy, steady-beat bass drum pattern under a return of the main sung tune (at 2:32); texture changes again briefly at 2:40. • 3:51–end • Improvised timbales soloing (Tito Puente and Tito Puente Jr. together) adds energy and excitement as the music builds toward the close.

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