Chapter 8Latin Music in the U.S.

First Half of 20th Century

Latin music = any Spanish sounding music

Music for dancing Originated in US (musicians

within the Hispanic culture) Outside Latin community (non-

Hispanic musicians) Using Latin elements

Slave trade brought Africans to US, Caribbean and Brazil Unlike southern slaves,

Latin/Caribbean kept their culture Slaves in southern US were not

allowed to have drums Mixture of culture/religion/more

rhythmic texture/percussion instr.

Latin elements in American pop music3 Phases

Exotic novelties – up to 1940 Hybrid/transformed styles – grew

out of interpretations 1930-50 Part of the fabric of pop music –

1950s onward

First Stage: Exotic Novelty

Latin dance music/rhythm entered US by Cuban habanera

This is one of the first recorded instances of African influence on European music

1st Dance Fad

Tango was first dance fad Irene and Vernon Castle

Don Azpiazu (1930) “El Manisero” (the Peanut

Vendor) Similarities to swing/sweet

touched off widespread enthusiasm for Latin music

2nd Latin Dance Fad

Rumba grew out of “son” “Son” – most characteristic style

of Afro-Cuban music Rural song/dance form with

African/Hispanic elements Rumba – simplified for social

dancing Cuban radio – live performers –

allowed Afro-Cuban to perform

Clave rhythm

Is to Cuban music what back-beat is to rock

Second Stage Hybrids and Transformations By 1930s Latin influence was

prominent in pop music http://www.youtube.com/watch?v=f-didTK_g

-Y&feature=related

Xavier Cugat (1900-1990)

Helped establish a commercial Latin style

Latin music’s Paul Whiteman

Musicians wore ridiculous uniforms, campy routines, entertainment

http://www.youtube.com/watch?v=f-didTK_g-Y&feature=related

“Begin the Beguine” (1935)

Written by Cole Porter Latin rhythm Very long song Sophisticated melodic

construction Percussion give a Latin flavor

Latin generated transformations Development of a Latin district Consequence of Spanish-American

War Uptown Latin style for Latinos

More African sounding Heavier percussion Dense, complex rhythms

3rd Latin Dance Fad: Mambo

First to develop on US soil Merged authentic Afro-Cuban son

with big-band horns and riffs. Mambo caught on with non-Latin

audience 1940s As the mambo entered the

mainstream, it watered down

Mambo thrived

Rumba was not as popular Reason: Presence of a stable,

enthusiastic US audience for Afro-Cuban music

1930 was too small to support it

Tito Puente – “Mambo King”

Appealed to Latin audiences

Heavy brass, full Cuban rhythm section

“Complicacion” (1958)

Successful blend of American and Afro-Cuban elements

Chachacha became more popular dance than mambo – simpler, slower

1959 Castro assumed leadership in Cuba US/Cuba severed ties Music/musicians not able to come

to US Ideas, influences stopped

Bossa nova Brazilian slang for “something

new and different” Emerged in Rio 1950s as

sophisticated alternative to samba

Antonio Carlos Jobim and Joao Gilberto Blended harmonic sophistication

of west coast jazz with Brazilian rhythms

Bossa craze peaked during the 1960s

Lasted only a few years

“Girl From Ipanema”

Landmark recording 1963 Gilberto and Stan Getz

Cool, flat, low-pitched voice Complex offbeat rhythms

Tango

Dance from Argentina Was first dance craze in US Buenos Aires is to tango what

New Orleans is to jazz Music grew in low-life areas Bandoneon – accordion from

Germany – signature sound

Tango became first Latin dance to achieve a permanent place in American pop music

Astor Piazzolla ( 1921-1992)

Born in Argentina grew up in NYC

Studied in Paris

Stretched the boundaries of tango

http://www.youtube.com/watch?v=RUAPf_ccobc

“Oblivion”

Bass is heart-beat of tango – remains constant

Emotional quality similar to the blues – vocal like expression

Tejano Music

Parallels country music Unlike Cuban music Seldom has percussion complex

rhythms Characteristic sounds

Accordion bajo sexto Oversized 12- string Influenced by Germans – polkas http://www.youtube.com/watch?v=OKZvSz4qs2w

“En elcielo no hay cerveza” (“In Heaven, There is No beer”) Flaco Jimenez Traditional tejano

styles mixed with modern elements

Fun loving party song Contemporary instr.

elec gtr/bass