1595:, and the Cuban-American singer Gloria Estefan enjoyed crossover success within the Anglo-American pop market with their Latin-influenced hits, usually sung in English. More often than not, clave was not a major consideration in the composing or arranging of these hits. Sergio George is up front and unapologetic about his attitude towards clave: "Though clave is considered, it is not always the most important thing in my music. The foremost issue in my mind is marketability. If the song hits, that's what matters. When I stopped trying to impress musicians and started getting in touch with what the people on the street were listening to, I started writing hits. Some songs, especially English ones originating in the United States, are at times impossible to place in clave." As Washburne points out however, a lack of clave awareness does not always get a pass:
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or Latino sound with which the people from all of Latin
America and Spanish-speaking communities in the United States could identify and purchase.' Motivated primarily by economic factors, Fania's push for countries throughout Latin America to embrace salsa did result in an expanded market. But in addition, throughout the 1970s, salsa groups from Colombia, the Dominican Republic, and Venezuela, among other Latin American nations, emerged, composing and performing music that related to their own specific cultural experiences and affiliations, which posited salsa as a cultural identity marker for those nations as well.
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piano solo he approached the timbales, picked up a stick, and attempted to play clave on the clave block along with the band. It became apparent that he had no idea where to place the rhythm. Shortly thereafter during a radio interview in San Juan (Puerto Rico), he exclaimed that his commercial success proved that you did not need to know about clave to make it in Latin music. This comment caused an uproar both in Puerto Rico and New York. After receiving the bad press, Anthony refrained from discussing the subject in public, and he did not attempt to play clave on stage until he had received some private lessons.
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1889:, even by artists who are not themselves practitioners of the faith. Salsa lyrics also exhibit Puerto Rican influences. Hector LaVoe, who sang with Willie Colón for nearly a decade used typical Puerto Rican phrasing in his singing. It is not uncommon now to hear the Puerto Rican declamatory exclamation "le-lo-lai" in salsa. Politically and socially activist composers have long been an important part of salsa, and some of their works, like Eddie Palmieri's "La libertad - lógico", became Latin, and especially Puerto Rican anthems. The Panamanian singer
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1620:) at med school, was another superstar of the period. Manolín's creative team included several arrangers, including Luis Bu and Chaka Nápoles. As influential as Manolín was from a strictly musical point of view, his charisma, popularity and unprecedented earning power had an even more seismic impact, causing a level of excitement among musicians that had not been seen since the 1950s. Reggie Jackson referred to Manolin as "the straw that stirs the drink."—Moore (2010: v. 5: 18)
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Western music theory. However, as
Gerhard Kubik points out, performers of African popular music do not necessarily perceive these progressions in the same way: "The harmonic cycle of C-F-G-F prominent in Congo/Zaire popular music simply cannot be defined as a progression from tonic to subdominant to dominant and back to subdominant (on which it ends) because in the performer's appreciation they are of equal status, and not in any hierarchical order as in Western music."
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companies, like CBS, could have a hegemony on the music and keep the Cuban musicians from spreading their music abroad." Izzy
Sanabria responded that Martínez was likely giving an accurate Cuban viewpoint, "but salsa was not planned that way". Johnny Pacheco, co-founder of Fania Records gave his definition of the term “Salsa” during various interviews. “La salsa es, y siempre ha sido la musica Cubana.” “Salsa is, and always has been, Cuban music.”.
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1545:, especially in the late '80s and early '90s, called it a commercialized, diluted form of Latin pop, in which formulaic, sentimental love ballads were simply put to Afro-Cuban rhythms — leaving no room for classic salsa's brilliant musical improvisation, or for classic salsa lyrics that tell stories of daily life or provide social and political commentary. Some artists of these styles include Ómar Alfann, Palmer Hernández and Jorge Luis Piloto.
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625:. These three drums (bongos, congas and timbales) became the standard percussion instruments in most salsa bands and function in similar ways to a traditional drum ensemble. The timbales play the bell pattern, the congas play the supportive drum part, and the bongos improvise, simulating a lead drum. The improvised variations of the bongos are executed within the context of a repetitive marcha, known as the
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844:. The verse section can be short, or expanded to feature the lead vocalist and/or carefully crafted melodies with clever rhythmic devices. Once the montuno section begins, it usually continues until the end of the song. The tempo may gradually increase during the montuno in order to build excitement. The montuno section can be divided into various sub-sections sometimes referred to as
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994:, among others. Morales noted that: "The interconnection between North American jazz and Afro-Cuban music was taken for granted, and the stage was set for the emergence of mambo music in New York, where music fans were becoming accustomed to innovation." He later notes that Mambo helped pave the way for the widespread acceptance of salsa years later.
1779:, although it was really based on the son. The Africans adapted guajeos to electric guitars, and gave them their own regional flavor. The guitar-based music gradually spread out from the Congo, increasingly taking on local sensibilities. This process eventually resulted in the establishment of several different distinct regional genres, such as
1333:, and already existing mambo-jazz, the percentage of salsa compositions based in non-Cuban genres during this period in New York is quite low, and, contrary to songo, salsa remained consistently wedded to older Cuban templates. Some believe the pan-Latin Americanism of salsa was found in its cultural milieu, more than its musical structure.
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1612:, in 1992. Like NG La Banda, Charanga Habanera used several new techniques like gear changes and song-specific tumbaos, but their musical style was drastically different and it kept changing and evolving with each album. Charanga Habanera underwent three distinct style periods in the 90s, represented by the three albums
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created the "Sunday Salsa Show" over WRVR FM, which became one of the highest-rated radio shows in the New York market with a reported audience of over a quarter of a million listeners every Sunday (per
Arbitron Radio Ratings). Ironically, although New York's Hispanic population at that time was over
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stated: "The only salsa I know is sold in a bottle called ketchup. I play Cuban music. Cuban musicologist Mayra Martínez wrote that "the term salsa obscured the Cuban base, the music's history or part of its history in Cuba. And salsa was a way to do this so that Jerry
Masucci, Fania and other record
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magazines. Sanabria confessed the term salsa was not developed by musicians: "Musicians were busy creating the music but played no role in promoting the name salsa." For this reason the use of the term salsa has been controversial among musicians. Some have praised its unification element. Celia Cruz
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Gerard 1989, pp. 8–9. "From jazz came a harmonic vocabulary based on extended harmonies of altered and unaltered ninths, elevenths and thirteenths, as well as quartal harmony—chords built on fourths. These harmonic devices entered salsa in the piano styles of Eddie
Palmieri and the Puerto Rican Papo
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Morales 2003, p. 33. Morales writes that "While many Afro-Cuban music purists continue to claim that salsa is a mere variation on Cuba's musical heritage, the hybridizing experience the music went through in New York from the 1920s on incorporated influences from many different branches of the Latin
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Morales 2003, p. 33. Morales writes that "While many Afro-Cuban music purists continue to claim that salsa is a mere variation on Cuba's musical heritage, the hybridizing experience the music went through in New York from the 1920s on incorporated influences from many different branches of the Latin
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Beginning in the 1940s, Afro-Cuban groups such as
Septeto Habanero and Trio Matamoros gained widespread popularity in the Congo region as a result of airplay over Radio Congo Belge, a powerful radio station based in Léopoldville (now Kinshasa DRC). A proliferation of music clubs, recording studios,
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On the other hand, New York saw in the 1970s the first use of the term salsa to commercialize several styles of Latin dance music. However, several musicians believe that salsa took on a life of its own, organically evolving into an authentic pan-Latin
American cultural identity. Music professor and
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While the term salsa today is a rebranding of various Latin musical styles, the first self-identified salsa band is Cheo
Marquetti y su Conjunto - Los Salseros which was formed in 1955. The first album to mention Salsa on its cover was titled “Salsa” which was released by La Sonora Habanera in 1957.
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The re-working of the harmonic patterns reveals a striking difference in perception. The I IV V IV harmonic progression, so common in Cuban music, is heard in pop music all across the
African continent, thanks to the influence of Cuban music. Those chords move in accordance with the basic tenets of
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jamming with the Machito band. Dawson helped to broaden New York's salsa audience and introduced new artists such as the bilingual Ángel Canales who were not given play on the Hispanic AM stations of that time. His show won several awards from the readers of Latin New York magazine, Izzy Sanabria's
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This pan-Latino association of salsa stems from what Félix Padilla labels a 'Latinizing' process that occurred in the 1960s and was consciously marketed by Fania Records: 'To Fania, the Latinizing of salsa came to mean homogenizing the product, presenting an all-embracing Puerto Rican, Pan-American
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was considered a rhythmic and harmonic hybrid (particularly regarding funk and clave-based Cuban elements). The music analyst Kevin Moore stated: "The harmonies, never before heard in Cuban music, were clearly borrowed from North American pop shattered the formulaic limitations on harmony to which
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In 1966, the Palladium closed because it lost its liquor license. The mambo faded away, as new hybrid styles such as boogaloo, the jala-jala and the shing-a-ling had brief but important success. Elements of boogaloo can be heard in some songs of Tito Puente, Eddie Palmieri, Machito and even Arsenio
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The Montuno rhythm is a rhythm that is often played with a piano. The Montuno rhythm loops over the 8 counts and is useful for finding the direction of the music. By listening to the same rhythm, that loops back to the beginning after eight counts, one can recognize which count is the first beat of
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took hundreds of Cuban musicians to the US, many of them were astonished to hear what sounded to them like Cuban music from the 1950s. Cuban conguero Daniel Ponce summarized this sentiment: "When the Cubans arrived in New York, they all said 'Yuk! This is old music.' The music and the feelings and
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Tumbao is the name of the rhythm that is typically played with the conga drums. Its most basic pattern is played on the beats 2, 3, 4, 6, 7 and 8. Tumbao rhythm is helpful for learning to dance contra-tiempo ("On2"). The beats 2 and 6 are emphasized when dancing On2, and the Tumbao rhythm heavily
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Marc Anthony is a product of George's innovationist approach. As a novice to Latin music, he was propelled into band leader position with little knowledge of how the music was structured. One revealing moment came during a performance in 1994, just after he had launched his salsa career. During a
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Gerard 1989, p. 7. The popularity of Puerto Rican típica music peaked in New York City in 1957, more than a decade before the emergence of salsa. "It is ironic that in a music dominated by Nuyorican and Puerto Rican musicians, the use of the folk music of Puerto Rico has never been very popular.
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Mauleón 1993, p. 215. Mauleón codifies this approach with examples of bomba, plena, and merengue arrangements for the salsa ensembles. When adapting these non-Cuban rhythms to salsa it is common to alter them in order to fit into the Cuban template. For example, Mauleón's merengue chart includes
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Mauleón 1993, p. 215. Mauleón codifies this approach with examples of bomba, plena, and merengue arrangements for the salsa ensembles. When adapting these non-Cuban rhythms to salsa it is common to alter them in order to fit into the Cuban template. For example, Mauleón's merengue chart includes
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y su Consagracion (Chino Rodríguez was one of the first Chinese Puerto Rican artists that caught the eye of Fania Record's owner Jerry Masucci and later became the booking agent for many of the Fania artists.), Wayne Gorbea, Ernie Agusto y la Conspiración, Orchestra Ray Jay, Orchestra Fuego, and
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described salsa not as a precise musical style but a power to unite in the broadest terms: "Salsa was the force that united diverse Latino and other non-Latino racial and ethnic groups ...Salsa is the harmonic sum of all Latin culture ". On the other hand, even some New York based artists were
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Cuban popular music played a major role in the development of many contemporary genres of African popular music. John Storm Roberts states: "It was the Cuban connection, but increasingly also New York salsa, that provided the major and enduring influences—the ones that went deeper than earlier
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According to Lise Waxer, "African salsa points not so much to a return of salsa to African soil (Steward 1999: 157) but to a complex process of cultural appropriation between two regions of the so-called Third World." Since the mid-1990s African artists have also been very active through the
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The chord beat (often played on cowbell) emphasizes the odd-numbered counts of salsa: 1, 3, 5 and 7 while the tumbao rhythm (often played on congas) emphasizes the "off-beats" of the music: 2, 4, 6, and 8. Some dancers like to use the strong sound of the cowbell to stay on the Salsa rhythm.
1876:, a theme she ascribes to the performers' "humble backgrounds" and subsequent need to compensate for their origins. Leymarie claims that salsa is "essentially virile, an affirmation of the man's pride and identity". As an extension of salsa's macho stance, manly taunts and challenges (
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arrangements changed." Nonetheless, there was an awareness of the modern Cuban styles in the US. Tito Puente recorded the Irakere composition "Bacalao con pan" (1980), and Rubén Blades covered Los Van Van's "Muevete" (1985). While the Puerto Rican bands Batacumbele (featuring a young
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517:, but the music wasn't defined by that. The music was still defined as Latin music. And that was a very, very broad category, because it even includes mariachi music. It includes everything. So salsa defined this particular type of music ... It's a name that everyone could pronounce.
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Prior to D'León's performance, many Cuban musicians rejected the salsa movement, considering it a bad imitation of Cuban music. Some people say that D'León's performance gave momentum to a "salsa craze" that brought back some of the older templates and motivated the development of
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Congolese bands started doing Cuban covers and singing the lyrics phonetically. Soon, they were creating their own original Cuban-like compositions, with lyrics sung in French or Lingala, a lingua franca of the western Congo region. The Congolese called this new music
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1821:. Local genres were already well established by this time. Even so, salsa caught on in many African countries, especially in the Senegambia and Mali. Cuban music had been the favorite of Senegal's nightspot in the 1950s to 1960s. The Senegalese band
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imitation or passing fashion. The Cuban connection began very early and was to last at least twenty years, being gradually absorbed and re-Africanized." The re-working of Afro-Cuban rhythmic patterns by Africans brings the rhythms full circle.
629:('hammer'), and do not constitute a solo. The bongos play primarily during the verses and the piano solos. When the song transitions into the montuno section, the bongo player picks up a large hand held cowbell called the bongo bell. Often the
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a North American publication.' You see what I mean? In other words, it's an American publication. It was in English. So because it was in English, because it was from America, then it's legitimate. That in a sense, was the major impact of
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Lucca. They would take traditional piano figures based on simple tonic-dominant harmony and elaborate them with modern harmonies. These modern harmonies are now a staple of salsa arrangers such as Marty Sheller and Óscar Hernández."
1905:, which have resonated with audiences throughout Latin America. Many salsa songs contain a nationalist theme, centered around a sense of pride in black Latino identity, and may be in Spanish, English or a mixture of the two called
1459:) uses typical salsa timba/bongo bell combinations. The tumbadoras (congas) play elaborate variations on the son montuno-based tumbao, rather than in the songo style. For this reason some Cuban musicians of this period like
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two million, there had been no commercial Hispanic FM. Given his jazz and salsa conga playing experience and knowledge (working as a sideman with such bands as salsa's Frankie Dante's Orquesta Flamboyán and jazz saxophonist
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introduced many future Puerto Rican salsa stars to an ever-growing and diverse crowd of Latino audiences. The 1970s also brought new semi-known Salsa bands from New York City, bands such as Ángel Canales, Andy Harlow,
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Boggs 1992, p. 192. Izzy Sanabria: "In Santo Domingo ... they told me that they don't recognize a Dominican artist as having made it in New York City unless a photograph and something written on this artist appears in
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Cuban timba musicians and New York salsa musicians have had positive and creative exchanges over the years, but the two genres remained somewhat separated, appealing to different audiences. Nonetheless, in 2000
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was heard everywhere on the island throughout the mid-80s and has been quoted extensively in the guías and coros of everyone from Van Van's Mayito Rivera (who quotes 'Plástico' in his guías on the 1997 classic
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Izzy Sanabria 2005. "Years later, Puente told me, 'Izzy you remember how much I hated and resisted the term salsa? Well I've had to accept it because wherever I travel, I find my records under the category of
742:(instrument), strings) or playing independent of the clave rhythm (generally: bass, maracas, güiro, cowbell). Melodic components of the music and dancers can choose to be in clave or out of clave at any point.
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Hutchinson 2004, p. 116. Hutchinson says salsa music and dance "both originated with Cuban rhythms that were brought to New York and adopted, adapted, reformulated, and made new by the Puerto Ricans living
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under the direction of Jose Luis "El Tosco" Cortez. Many timba songs are more related to main-stream salsa than its Cuban predecessors earlier in the decade. For example, the song "La expresiva" (of
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influences. Because most of the basic musical components predate the labeling of salsa, there have been many controversies regarding its origin. Most songs considered as salsa are primarily based on
1071:. Fania's first record album was "Cañonazo", recorded and released in 1964. It was panned by music critics as 10 of the 11 songs were covers of previously recorded tunes by such Cuban artists as
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have always experimented with both types of ensembles. The first 15 years the band was a pure charanga, but later a trombone section was added. Nowadays the band could be considered a hybrid.
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During the 1980s, several Latin American countries, such as Colombia, Venezuela, Peru, Mexico and Panama, began producing their own salsa music. Two of the biggest stars from this period are
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integrated several elements of North American styles like jazz, rock and funk in many different ways than mainstream salsa. Whereas salsa would superimpose elements of another genre in the
1969:. El Cantante is a biographical film which stars singers Marc Anthony and Jennifer Lopez. The film is based on the life of the late salsa singer Héctor Lavoe, who is portrayed by Anthony.
1471:, a term which for the first time, included Cuban music as a part of salsa movement. In the mid-1990s California-based Bembé Records released CDs by several Cuban bands, as part of their
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Originally the name salsa was used to label commercially several styles of Hispanic Caribbean music, but nowadays it is considered a musical style on its own and one of the staples of
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Catapano 2011. "Although a great number of New York's stars and sidemen in the 1970s were Cuban and Puerto Rican, the basic musical elements of salsa were derived mainly from Cuba."
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Catapano 2011. "Although a great number of New York's stars and sidemen in the 1970s were Cuban and Puerto Rican, the basic musical elements of salsa were derived mainly from Cuba."
1412:), to El Médico de la Salsa (quoting another major hook from 'Plástico'—'se ven en la cara, se ven en la cara, nunca en el corazón'—in his final masterpiece before leaving Cuba,
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plays the bell more during a piece, than the actual bongos. The interlocking counterpoint of the timbale bell and bongo bell provides a propelling force during the montuno. The
1340:, who were considered more adventurous than the highly produced Fania records artists. The two bands incorporated less superficially jazz elements as well as the contemporary
474:(Put some sauce in it). The phrase is seen as a cry from Piñeiro to his band, telling them to increase the tempo to "put the dancers into high gear". In the mid-1940s, Cuban
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Cuban music has been popular in sub-Saharan Africa since the mid twentieth century. To the Africans, clave-based Cuban popular music sounded both familiar and exotic.
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emigrated to Mexico. He named his group Conjunto Los Salseros, with whom he recorded a couple of albums for the Panart and Egrem labels. Later on, while based in
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The marketing potential from the name was so big, that eventually both Machito, Puente and even musicians in Cuba embraced the term as a financial necessity.
1960:. Hidalgo introduces basic sounds, tuning and technique, patterns of son montuno, bolero, charanga, danzón and multi-percussion applications of those forms.
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once said "When you talk about our music, you talk about before, or after, Arsenio.....Lilí Martínez was my mentor". Several songs of Arsenio's band, like
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Venezuelan salsa star Oscar D'León's 1983 tour of Cuba is mentioned prominently by every Cuban I've ever interviewed on the subject. Rubén Blades' album
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Celia Cruz, who had had a successful career in Cuba with Sonora Matancera, was able to transition into the salsa movement, eventually becoming known as
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of Lilí Martínez, the trumpet of Félix Chappottín and the rhythmic lead vocals of Roberto Faz would become very relevant in the region a decade later.
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Steward, Sue (2000). "Salsa: Cubans, Nuyoricans and the Global Sound". In Broughton, Simon; Ellingham, Mark; McConnachie, James; Duane, Orla (eds.).
738:) that are hit together. Every instrument in a salsa band is either playing with the clave (generally: congas, timbales, piano, tres guitar, bongos,
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Nonetheless, this style included several innovations. The bass tumbaos were busier and more complex than tumbaos typically heard in NY salsa. Some
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was doing — playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set." Andy and his brother
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Most salsa compositions follow the basic son montuno model based on the Afro-Cuban clave rhythm and composed of a verse section, followed by a
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Salsa lyrics range from simple dance numbers, and sentimental romantic songs, to risque and politically radical subject matter. Music author
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Agawu, Kofi 2006. "Structural Analysis or Cultural Analysis? Comparing Perspectives on the 'Standard Pattern' of West African Rhythm"
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American tradition, and later from jazz, R&B, and even rock." Morales' claim is confirmed by Unterberger's and Steward's analysis.
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American tradition, and later from jazz, R&B, and even rock." Morales' claim is confirmed by Unterberger's and Steward's analysis.
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music in New York was crucial to the innovation of both forms of music. Musicians who would become great innovators of mambo, like
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Salsa lyrics often quote from traditional Cuban sones and rumbas. Sometimes there are references to Afro-Cuban religions, such as
1059:. They introduced many of the artists that would later be identified with the salsa movement, including Willie Colón, Celia Cruz,
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The key instrument that provides the core groove of a salsa song is the clave. It is often played with two wooden sticks (called
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Alternatively, others use the conga rhythm to create a jazzier feel to their dance since strong "off-beats" are a jazz element.
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said: "There's nothing new about salsa, it is just the same old music that was played in Cuba for over fifty years." Similarly,
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1032:(who influenced the musicians he shared the stage with, such as Chano Pozo, Machito, and Mario Bauzá), together with the piano
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1976:. Directed by Adrian Manzano. Choreographer: Julie L Tuttlebee. Salsa dancer Julie Tuttlebee also features in several scenes.
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1845:. It is still common today for an African artist to record a salsa tune, and add their own particular regional touch to it.
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Before the birth of timba, Cuban dance music lived a period of high experimentation among several bands like the charangas:
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said, "Salsa is Cuban music with another name. It's mambo, chachachá, rumba, son ... all the Cuban rhythms under one name."
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plays in a basic salsa style with congas and timbales, but with the addition of Wolof and Mandinka instruments and lyrics.
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with producer Louie Ramírez. Some viewed salsa romántica as a rhythmically watered-down version of the genre. Critics of
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Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins 1992 p. 62
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and concert appearances of Cuban bands in Léopoldville spurred on the Cuban music trend during the late 1940s and 1950s.
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The largest wave of Cuban-based music to hit Africa was in the form of salsa. In 1974 the Fania All Stars performed in
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799:. Most salsa music is played with one of the son claves, though a rumba clave is occasionally used, especially during
313:. All of these elements are adapted to fit the basic Son montuno template when performed within the context of salsa.
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Steward, pp. 495-496 Steward mentions Celia Cruz as not being an adherent of Santeria, yet who refers to the goddess
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clave, which is essential to Cuban popular music, although it is not a component of the traditional Dominican rhythm.
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clave, which is essential to Cuban popular music, although it is not a component of the traditional Dominican rhythm.
692:, Orquesta Revé and Orquesta Ritmo Oriental where popular Salsa bands with charanga instrumentation. Johnny Pacheco,
459:. The origin of the connection of this word to a style of music is disputed by various music writers and historians.
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Díaz Ayala, Cristóbal: Música cubana, del Areyto a la Nueva Trova, Ediciones Universal, Miami Florida, 1993. p. 194.
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of several artists of the 30s and 40s like Arsenio Rodríguez, Conjunto Chappottín (Arsenio's former band now led by
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During this period, Cuban musicians had more of an impact on jazz than salsa in the United States. Even though the
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and other Afro-Cuban folkloric elements; Orquesta Ritmo Oriental created a new highly syncopated, rumba-influenced
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1352:, a bass player who performed with Palmieri and Oquendo recounts: "We were into improvising ... doing that thing
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1745:, that was also popular during this period, was mostly based on reggaeton with only some hints of salsa/timba.
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Rodríguez. Nonetheless, Puente later recounted: "It stunk ... I recorded it to keep up with the times. Popular
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and Chano Pozo, began their careers in New York working in close conjunction with some of the biggest names in
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412:, the continuous cultural exchange between salsa-related musicians inside and outside of Cuba is undeniable.
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During the 1950s, New York became a hotspot of Mambo with musicians like the aforementioned Pérez Prado,
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There are other common rhythms found in salsa music: the chord beat, the tumbao, and the Montuno rhythm.
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bands in Cuba. By the early 1960s, there were several charanga bands in New York led by musicians (like
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in particular is well known for his socially-conscious and incisive salsa lyrics about everything from
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3556:(1998). "Du tango à la salsa: le bal sous influence latino-américaine". In Cité de la Musique (ed.).
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1994:
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produced several albums that mixed salsa with contemporary pop styles with Puerto Rican artists like
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Puerto Rican music promoter Izzy Sanabria claims he was the first to use the word salsa to denote a
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Cuban popular music had faithfully adhered for so long." During the same period, Cuban super group
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According to Frankie Malabé, 'In a live performance ... you'll rarely get any bombas and plenas.'"
1802:), Africa, at the 80,000-seat Stadu du Hai in Kinshasa. This was captured on film and released as
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Orchestra Cimarron, among other bands that were performing in the Salsa market on the East Coast.
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4211:, translated by Frances R. Aparicio with Jackie White, University of North Carolina Press, 2008.
3611:
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1833:, where African and New York musicians mix with leading African singers such as Bambino Diabate,
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Despite an openness to experimentation and a willingness to absorb non-Cuban influences, such as
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Brill, Mark. Music of Latin America and the Caribbean, 2nd Edition, 2018. Taylor & Francis
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In 1952, Arsenio Rodríguez moved for a short period to New York City taking with him his modern
727:
Salsa music typically ranges from 160 bpm (beats per minute) and 220 bpm, which is suitable for
467:
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1690:, Cabijazz was playing a unique modern blend of timba-like salsa with a strong jazz influence.
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3000:"Trash truck worker competes for a Latin Grammy: Local Cuban exile fulfills dream as musician"
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in the UK). The Zairean appearance occurred at a music festival held in conjunction with the
1707:
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1385:
1166:, several new rhythms were introduced and the style had a more significant departure from the
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During the late 1960s, the Dominican musician Johnny Pacheco and Italian-American businessman
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during a performance to acknowledge a musical moment's heat, making a connection with the hot
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807:, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the "and" of 6, and 8.
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1953:
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started showing up in the DownBeat Reader's Poll, and caught the attention of jazz critics.
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evolved, with lyrics dwelling on love and romance. Salsa romántica can be traced back to
1028:. During that period his success was limited (NYC was more interested in Mambo), but his
549:
357:
4019:
The City of Musical Memory: Salsa, Record Grooves, and Popular Culture in Cali, Colombia
3881:
3719:
2344:
Salazar 1991; Waxer 2002, p. 6; Morales 2003, pp. 56–59. Morales dates the song to 1932.
1301:
jazz club where jazz musicians would sit in with an established salsa band, for example
1297:), Dawson also created the long-running "Salsa Meets Jazz" weekly concert series at the
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Manuel 1990, "salsa is to Latinos as 'soul' is to blacks; salsa—literally, 'hot sauce'"
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During the late 00s and the 10s, some timba bands created new hybrids of salsa, timba,
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sound a steady flow of regular pulses (subdivisions) and are ordinarily clave-neutral.
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In Cuba, what came to be known as the "timba explosion" began with the debut album of
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3777:
Beyond Salsa Piano; The Cuban Timba Revolution. v. 3 Cuban Piano Tumbaos (1960-1979)
2600:
The Latin Beat: Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond
2304:"Salsa y sabor de Cheo Marquetti y Su Conjunto los Salseros, 33 1/3 RPM con cdandlp"
1753:
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During this period Cuba received international salsa musicians for the first time.
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3762:
Beyond Salsa Piano; The Cuban Timba Revolution. v. 1 The Roots of the Piano Tumbao
1666:
In Colombia, salsa remained a popular style of music producing popular bands like
1561:
The 1990s was marked by "pop salsa" in the US, and the "timba explosion" in Cuba.
1499:
1210:
1202:
932:. Moré and Pérez Prado moved to Mexico City where the music was played by Mexican
803:
sections of some songs. As an example of how a clave fits within the 8 beats of a
685:
483:
242:
4208:
The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City
3676:
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1482:
were inspired by the "harmonic displacement" technique of the Cuban jazz pianist
765:
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https://web.archive.org/web/20160304193521/http://www.timba.com/musician_pages/3
2220:
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2008:
1965:
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Larry Harlow stretched out from the typical salsa record formula with his opera
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at that time and ran until late 1980 when Viacom changed the format of WRVR to
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ensemble developed by Arsenio Rodriguez, who added a horn section, as well as
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135:
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44:
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In 1983, Machito won a Grammy Award in the Best Latin Recording category for
2464:"Johnny Pacheco, el ingrediente esencial de la salsa • Semanario Universidad"
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which had barely taken hold, again fell out of favor, and was replaced with
1519:
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1112:
377:
198:
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5342:
5126:
2223:(2001). Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine (eds.).
2134:(2001). Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine (eds.).
17:
3954:
World Music: Latin & North America, Caribbean, India, Asia and Pacific
3186:
Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures
1861:
970:
Ethnomusicologist Ed Morales notes that the interaction of Afro-Cuban and
408:, styles that at present are also labelled as salsa. Though limited by an
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5101:
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4775:
4738:
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4502:
4463:
4428:
4423:
4385:
4375:
4307:
4264:
Situating Salsa: Global Markets and Local Meanings in Latin Popular Music
4040:
Situating Salsa: Global Markets and Local Meanings in Latin Popular Music
3791:
Beyond Salsa Piano v. 11. César "Pupy" Pedroso: The Music of Los Van Van,
3035:. 'LA'Ritmo.com: Latin American Rhythm Magazine. Retrieved 21 March 2018.
2665:
Warner Brothers VHS video (1996). Quintana, José Luis "Changuito" (1998)
1885:
1572:
1336:
An exception of this is probably found in the work of Eddie Palmieri and
1045:
1041:
933:
681:
665:
638:
622:
610:
543:
424:
158:
4197:
The Latin Tinge: The Impact of Latin American Music on the United States
3227:
Salsiology: Afro-Cuban Music and the Evolution of Salsa in New York City
1220:
5413:
5393:
4760:
4733:
4665:
4638:
4365:
3829:
The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
1780:
1742:
1735:
1490:
and salsa first began to meet. For example, many breakdown sections in
1479:
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1448:
1441:
1274:
1190:
1033:
1029:
841:
649:
634:
614:
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432:
385:
369:
1048:
Sextet and "I Like It Like That" by Pete Rodríguez and His Orchestra.
5227:
5086:
5041:
5014:
4792:
4780:
4748:
4380:
3460:
Du tango au reggae: Musiques noires d'Amérique latine et des Caraïbes
3131:
1116:
925:
873:
Many musicologists find many of the components of salsa music in the
739:
735:
677:
606:
594:
436:
428:
329:
324:
Later on self-identified salsa bands were predominantly assembled by
282:
246:
Tumbadoras (conga drums), one of the basic instruments of salsa music
178:
173:
153:
111:
59:
4093:
Arsenio Rodríguez and the transnational flows of Latin popular music
1245:. By the early 1970s, the music's center moved to Manhattan and the
1123:. During this period the term salsa was introduced in New York, and
79:
553:
originally against the commercialization of music under that name;
5578:
5418:
5398:
5270:
5207:
5202:
5051:
4828:
4813:
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452:
419:
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310:
286:
241:
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89:
64:
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1683:
1631:. Some of the other important timba bands include Azúcar Negra,
1318:
1198:
1151:
979:
971:
963:, Mongo Santamaría, Machito and Tito Puente. The highly popular
397:
294:
183:
163:
74:
5491:
4321:
4257:. Kalinda!, newsletter for the Center for Black Music Research.
3678:
Popular Musics of the Non-Western World: an introductory survey
3293:"Mambo On 2: The Birth of a New Form of Dance in New York City"
1348:(and other "Anglo" jazz musicians who had mastered the style).
529:
publication. Consequently, his promoted events were covered in
2771:. National Museum of American History, Smithsonian Institution
1364:
1980s: Salsa expansion in Latin America and the birth of timba
1206:
605:, one trumpet, smaller hand-held percussion instruments (like
3212:
The Music of Santeria; Traditional Rhythms of the Batá Drums.
1639:, Salsa Mayor, Tiempo Libre, Pachito Alonso y sus Kini Kini,
1432:, Orquesta Ritmo Oriental, and Orquesta Revé; the conjuntos:
4151:
Essays on Cuban Music: North American and Cuban Perspectives
3864:
El libro de la salsa: crónica de la música del Caribe urbano
2756:"Review/Pop; The Queen of Latin Music Takes It From the Top"
2689:""The Roots of Timba, Part II; Juan Formell y Los Van Van.""
1111:
The 1970s was witness to two parallel modernizations of the
1095:
recorded two albums named after songs of Arsenio Rodriguez (
747:
3937:
Santos, John 1986. "The Clave: Cornerstone of Cuban Music"
3482:
La musique sud-américaine: rythmes et danses d'un continent
3026:"Reggaeton a lo Cubano: From Cuba to the Rest of the World"
2388:. I said 'but why?' And what he said: 'Because we consider
1227:
hosted a very popular Las Vegas radio show featuring salsa.
3843:
Afro-Cuban Comes Home: The Birth and Growth of Congo Music
3080:
Afro-Cuban Comes Home: The Birth and Growth of Congo Music
3067:
Afro-Cuban Comes Home: The Birth and Growth of Congo Music
1616:, an amateur songwriter discovered and named by El Tosco (
1344:. They were known for its virtuous trombone soloists like
581:
The instrumentation in salsa bands is mostly based on the
509:
which was the first reference to this particular music as
3721:
Caribbean Currents: Caribbean Music from Rumba to Reggae
3699:
Caribbean Currents: Caribbean Music from Rumba to Reggae
3117:
3115:
4065:(in Spanish) (2 ed.). Bogotá: Intermedio Editores.
3998:
Sounding Salsa: Performing Latin Music in New York City
3956:. Vol. 2. London: Rough Guides. pp. 488–506.
2438:"Salsa is More Than Salsa (U.S. National Park Service)"
4021:. Middletown, Connecticut: Wesleyan University Press.
3480:(1997). "Du boogaloo à la salsa". In Gallimard (ed.).
2896:
César "Pupy" Pedroso: The Music of Los Van Van, Part 2
2526:
2524:
2229:(4th ed.). Hal Leonard Corporation. p. 884.
2140:(4th ed.). Hal Leonard Corporation. p. 884.
1440:
and Orquesta Maravillas de Florida; and the jazz band
621:. Machito's band was the first to experiment with the
443:
was much like what he had been playing from the 1940s.
376:. During the same period a parallel modernization of
3874:(November 1991). "What Is This Thing Called Salsa?".
3725:(2 ed.). Philadelphia: Temple University Press.
3189:. Hanover, New Hampshire: Wesleyan University Press.
2405:
2403:
2195:"Salsa Losing Popularity To Ballads On City Airwaves"
2106:"Salsa Losing Popularity To Ballads On City Airwaves"
3255:
Instrumentos de la música folclórico-popular de Cuba
2478:"El Maestro Johnny Pacheco : 'Yo soy la Salsa'"
1730:
produced the timba-reggaeton international mega-hit
336:
in the 1970s. The music style was based on the late
5677:
5657:
5641:
5625:
5618:
5561:
5545:
5538:
5457:
5366:
5303:
5226:
5072:
4992:
4894:
4837:
4801:
4722:
4684:
4624:
4591:
4549:
4511:
4404:
4356:
1941:plays a teenager who wants to win a dance contest.
684:. Bongos are not typically used in charanga bands.
207:
144:
121:
103:
37:
32:
4246:(in Spanish). Medellín: Ediciones Salsa y Cultura.
4194:
4171:
4148:
4135:
4090:
3995:
3972:
3850:
3718:
3334:
3287:, ed. Dan Thress. Van Nuys, CA: Alfred Publishing.
3253:Centro de Investigación de la Música Cubana 1997.
1686:became known as Colombia's "capital of salsa". In
114:communities in the United States, specifically in
4155:. Lanham, Maryland: University Press of America.
3592:(2000). "La salsa". In Editions Autrement (ed.).
3322:. London: Oxford University Press. 1978 edition:
1557:Marc Anthony performing at the White House (2009)
617:) usually played by the singers, and sometimes a
466:traced the origin of the connection to 1930 when
4074:(in Spanish). Caracas: Fondo Editorial Tropykos.
3400:(1985). "Salsa and Latin jazz". In Quill (ed.).
3359:. Jackson, MS: University Press of Mississippi.
840:(call-and-response) chorus section known as the
3374:(1979). "Latin Jazz, the Best of Both Worlds".
1579:. George also produced the Japanese salsa band
648:format, which consists of a string section (of
4174:Beats of the Heart: Popular Music of the World
3793:Part 2. Santa Cruz, CA: Moore Music/Timba.com.
1868:) in their lyrics, in a manner reminiscent of
1857:notes that salsa performers often incorporate
1722:). A few years later the Cuban reggaeton band
1232:salsa trombonist Christopher Washburne wrote:
795:being the most important, and the 3-2 and 2-3
5503:
4333:
3630:Cuban Fire: The Story of salsa and Latin jazz
3205:Journal of the American Musicological Society
2832:Faces of Salsa: A Spoken History of the Music
2632:Salsa: the musical heartbeat of Latin America
1525:During the '80s other variants of salsa like
1281:, and also released his critically acclaimed
913:were later covered by many salsa bands (like
8:
5477:Hispanic-influenced music in the Philippines
3915:"What is Salsa? Where and How Did it Start?"
2352:
2350:
2953:Washburne 2008 p. 191. Sergio George quote.
2449:
2447:
948:The Palladium Ballroom, home of the mambo,
644:Nonetheless, some bands instead follow the
5622:
5542:
5510:
5496:
5488:
5223:
4834:
4546:
4340:
4326:
4318:
4114:Salsa Talks!: A Musical Heritage Uncovered
3946:African Rock: The Pop Music of a Continent
3616:: CS1 maint: location missing publisher (
3580:: CS1 maint: location missing publisher (
3544:: CS1 maint: location missing publisher (
3504:: CS1 maint: location missing publisher (
3424:: CS1 maint: location missing publisher (
3388:: CS1 maint: location missing publisher (
3337:Saturday Night Forever: The Story of Disco
2667:Changuito: A Master's Approach to Timbales
2626:
2624:
1091:in 1968. Meanwhile, the Puerto Rican band
29:
4138:Tito Puente and the Making of Latin Music
4097:. Philadelphia: Temple University Press.
3807:. Santa Cruz, CA: Moore Music/Timba.com.
3779:. Santa Cruz, CA: Moore Music/Timba.com.
3764:. Santa Cruz, CA: Moore Music/Timba.com.
3702:. Philadelphia: Temple University Press.
3229:. Westport, Connecticut: Greenwood Press.
2720:p. 114-116. Lanham, MA: Scarecrow Press.
2718:Origins of Cuban Music and Dance; Changüí
2078:
2076:
2074:
940:1950s-1960s: Cuban music in New York City
3273:. Philadelphia: Temple University Press.
2898:. Santa Cruz, CA: Moore Music/Timba.com.
2792:. Smithsonian Institution. 16 March 2012
2492:"Johnny Pacheco Define la Palabra Salsa"
2201:. Vol. 97, no. 4. p. 58.
2112:. Vol. 97, no. 4. p. 58.
1880:) are also a traditional part of salsa.
1651:, Paulo FG, and Pupy y Los que Son Son.
967:was the epicenter of mambo in New York.
4170:Marre, Jeremy; Hannah Charlton (1985).
4142:. Urbana: University of Illinois Press.
3649:Salsa: Guidebook for Piano and Ensemble
2863:Boggs 1992 p. 290. Andy Gonzalez quote.
2070:
2045:Latin Grammy Award for Best Salsa Album
3944:Stapleton, Chris, and Chris May 1990.
3866:(in Spanish). Caracas: Editorial Arte.
3845:. Original Music cassette tape (1986).
3609:
3573:
3537:
3497:
3417:
3381:
3276:Grenet, Emilio 1939. tr. R. Phillips.
3069:. Original Music cassette tape (1986).
3024:van Boeckel, Rik (19 September 2006).
1384:from Colombia. Other popular acts are
1241:In 1971, the Fania All-Stars sold out
1021:) who would later become salsa stars.
920:On the other hand, a different style,
777:
505:In 1973, I hosted the television show
4244:¿Que es la salsa? Buscando la melodía
3903:Sanabria, Bobby 2008. Posting to the
3805:Understanding Clave and Clave Changes
3333:Jones, Alan; Kantonen, Jussi (1999).
3265:. Crown Point, Indiana: White Cliffs.
2652:Boggs 1991 p. 246. Tito Puente quote.
7:
4251:Washburne, Christopher (Fall 1995).
4227:"Gabriel Oller: Aguinaldos de Salsa"
4201:. New York: Oxford University Press.
3660:. Petaluma, California: Sher Music.
2935:Gerard 1989 p. 6. Daniel Ponce quote
2634:. Thames & Hudson, London. p. 60
1682:, and Julian Collazos. The city of
1549:1990s: Pop salsa and timba explosion
1146:incorporated rhythmic elements from
704:also experimented with this format.
593:ensemble; which typically contained
4314:(PBS) TV documentary, October 2009.
3896:Sanabria, Bobby 1986. "The Songo,"
3651:. Petaluma, California: Sher Music.
3402:Hot Sauces: Latin and Caribbean Pop
1467:referred to this late-80s sound as
787:For salsa, there are four types of
2790:"The Life and Music of Celia Cruz"
2567:"Lili Martinez y la improvisación"
2506:Machito and his Salsa Big Band '82
1486:. Curiously, it was in Cuba where
1447:Timba was created by musicians of
1162:. With the arrival of the drummer
1107:1970s: Songo in Cuba, salsa in NYC
885:) and Roberto Faz. Salsa musician
25:
4254:Clave: The African Roots of Salsa
2854:Washburne 2008, p. 40. Washburne.
2754:Pareles, Jon (14 December 1992).
2661:Quintana, José Luis "Changuito".
2292:. Pimsleur.com. 28 November 2018.
1734:reaching over a billion views in
1661:Grammy Award for Best Salsa Album
1044:songs include "Bang Bang" by the
707:Throughout its 50 years of life,
5522:
4283:Salsa! The Rhythm of Latin Music
3285:West African Rhythms for Drumset
3263:Salsa! The Rhythm of Latin Music
3210:Amira, John and Cornelius 1992.
2998:Sullivan, Al (16 October 2016).
2029:
2015:
2001:
1987:
1922:Salsa: Latin Music in the Cities
1800:Democratic Republic of the Congo
869:1930s and 1940s: Origins in Cuba
818:emphasizes those beats as well.
778:Problems playing this file? See
763:
27:Latin American dance music genre
4285:. Arizona: White Cliffs Media.
3994:Washburne, Christopher (2008).
3054:The Encyclopedia of Africa v. 1
1763:The Encyclopedia of Africa v. 1
1633:Manolín "El Médico de la salsa"
1614:Manolín "El Médico de la salsa"
3817:Pérez, Alian 2001. Interview.
3789:Moore, Kevin 2011 p. 73.
3225:Boggs, Vernon W., ed. (1991).
1514:) and Zaperoko fully embraced
1209:in the charanga ensemble; and
1055:founded the recording company
1:
3862:Rondón, César Miguel (1980).
3404:. New York. pp. 94–115.
3183:Aparicio, Frances R. (1998).
2758:. Retrieved January 27, 2014.
1283:La Raza Latina, a Salsa Suite
949:
4233:(in Spanish). Archived from
4193:Roberts, John Storm (1979).
3971:Unterberger, Richie (1999).
3849:Roberts, John Storm (1972).
3524:. Madrid. pp. 107–108.
3236:"A Blending of Latin Sounds"
2226:All Music Guide: World Music
2137:All Music Guide: World Music
1949:and Tito Puente also appear.
1659:were awarded the first ever
1643:, Los Dan Den, Alain Pérez,
1635:, Havana d'Primera, Klimax,
5529:Latin music (United States)
4312:Public Broadcasting Service
4147:Manuel, Peter, ed. (1991).
4002:. Temple University Press.
3681:. Oxford University Press.
3596:. Paris. pp. 113–123.
3560:. Paris. pp. 115–122.
3291:Hutchinson, Sydney (2004).
1924:. Directed by Jeremy Marre.
883:Luis "Lilí" Martínez Griñán
352:. These musicians included
5823:
4070:Baéz, Juan Carlos (1989).
3257:v. 1, v. 2. Havana: CIDMUC
2881:Washburne 2008 p. 182-183.
2872:Steward 2000, pp. 379, 502
2830:Fuentes, Leonardo (2003).
2603:. Da Capo Press. pp.
2055:Music of the United States
1001:, which originated in the
997:Another popular style was
829:
4262:Waxer, Lise, ed. (2002).
4089:García, David F. (2006).
3853:Black Music of Two Worlds
3831:. Redway, CA: Bembe Inc.
3484:. Paris. pp. 82–85.
3438:La Salsa et le Latin jazz
3214:Tempe, AZ: White Cliffs.
2944:Steward 2000, pp. 488–499
2890:Moore, Kevin 2011 p. 73.
2745:Steward 2000, pp. 488–489
1539:José Alberto "El Canario"
1537:, a 1984 album by singer
1127:was developed in Havana.
832:Salsa (musical structure)
416:Origins of the term Salsa
212:
149:
126:
4281:Gerard, Charley (1998).
4242:Santana, Sergio (1992).
3656:Mauleón, Rebeca (2005).
3647:Mauleón, Rebeca (1993).
3320:Studies in African Music
3261:Gerard, Charley (1989).
2669:. Alfred Publishing Co.
2290:"Origins of Salsa Music"
1694:2010s: Timba-fusion hits
1647:, Tirso Duarte, Klimax,
1518:under the mentorship of
1463:, Orquesta Sublime, and
257:, combining elements of
4266:. New York: Routledge.
4017:Waxer, Lise A. (2002).
3939:Modern Drummer Magazine
3913:Sanabria, Izzy (2005).
3898:Modern Drummer Magazine
3632:. New York: Continuum.
3516:(1998). "La salsa". In
3100:Stapleton 1990 116-117.
2980:Moore (2010: v. 5: 18).
2971:Moore (2010: v. 5: 16).
2316:Boggs 1992, pp. 187-193
1819:heavyweight title fight
1716:Pupy y Los que Son, Son
723:Dancing Salsa in Mexico
380:was being developed by
5807:Music of New York City
4205:Rondón, César Miguel,
4178:. New York: Pantheon.
4072:El vínculo es la salsa
4061:Arteaga, José (1990).
3827:Peñalosa, David 2010.
3717:Manuel, Peter (2006).
3696:Manuel, Peter (1995).
3675:Manuel, Peter (1990).
3283:Hartigan, Royal 1995.
3271:West African Pop Roots
3078:Roberts 1986. 20: 50.
2736:Washburne 2008, p. 105
1772:
1758:
1602:
1558:
1418:
1373:
1239:
1228:
956:
752:
724:
578:
519:
444:
247:
5777:Cuban styles of music
3841:Roberts, John Storm.
3462:. Paris: Flammarion.
3355:Kubik, Gerhard 1999.
3121:Leymarie, pp. 268-269
3065:Roberts, John Storm.
3031:22 March 2018 at the
3005:22 March 2018 at the
2962:Washburne 2008 p. 192
2834:. Smithsonian Books.
2687:Moore, Kevin (2011).
2418:Steward 2000, p. 488.
2091:Gerard 1989, pp. 8–9.
2082:Waxer 2002, pp. 91–94
1974:Sex, Love & Salsa
1767:
1756:
1674:, Orquesta Guayacan,
1649:Manolito y su Trabuco
1597:
1556:
1502:and hip hop rhythms.
1498:are a combination of
1461:Manolito y su Trabuco
1401:
1371:
1234:
1223:
1138:, started developing
1134:, led by the bassist
947:
917:and Johnny Pacheco).
751:
722:
576:
503:
494:made in the country.
423:
396:and other artists in
245:
5802:2010s in Latin music
5797:2000s in Latin music
5792:1990s in Latin music
5787:1980s in Latin music
5782:1970s in Latin music
5719:Women in Latin music
4348:Music genres in the
3857:. New York: Praeger.
3740:Morales, Ed (2003).
3357:Africa and the Blues
3341:. A Cappella Books.
3269:Collins, John 1992.
3134:in her performances.
2989:Steward 2000, p. 504
2769:"Celia Cruz's Shoes"
2716:Lapidus, Ben (2008)
2597:Morales, Ed (2003).
2552:Bobby Sanabria 1998
2539:Bobby Sanabria 2008
2193:(January 26, 1985).
2104:(January 26, 1985).
1995:North America portal
1798:(known today as the
1712:Gozando en la Habana
1606:La Charanga Habanera
1410:Llévala a tu vacilón
1396:(now as a soloist).
1372:Oscar D'Leon (2011).
1273:(1973), inspired by
961:Luciano "Chano" Pozo
899:Hacheros pa' un palo
439:; Machito said that
5311:Afro-Peruvian music
4634:Afro-Peruvian music
4231:Latin Beat Magazine
4112:Kent, Mary (2005).
3979:. The Rough Guide.
3948:. New York: Dutton.
3900:. April p. 76.
3877:Latin Beat Magazine
3803:Moore, Kevin 2011.
3775:Moore, Kevin 2010.
3760:Moore, Kevin 2010.
3280:. New York: Bourne.
3278:Popular Cuban Music
3012:The Hudson Reporter
2630:Steward, Sue 1999.
2530:Mauleón 1999, p. 80
2480:. 24 February 2021.
2466:. 23 February 2022.
2427:Fuentes 2003, p. 59
2356:Morales 2003, p. 56
1741:The style known as
1473:salsa cubana series
1380:from Venezuela and
1158:to the traditional
1142:in the late 1960s.
1097:Hachero pa' un palo
1067:, Héctor Lavoe and
924:, was developed by
911:El reloj de Pastora
662:tumbadoras (congas)
589:to the traditional
587:tumbadoras (congas)
346:Conjunto Chappottín
277:, with elements of
5217:Charanga-vallenata
4649:Son de los Diablos
4116:. Digital Domain.
4038:Waxer, Lise 2002.
3626:Leymarie, Isabelle
3590:Leymarie, Isabelle
3554:Leymarie, Isabelle
3522:Músicas del Caribe
3514:Leymarie, Isabelle
3478:Leymarie, Isabelle
3456:Leymarie, Isabelle
3434:Leymarie, Isabelle
3398:Leymarie, Isabelle
3376:Jazz Spotlite News
3372:Leymarie, Isabelle
3318:Jones, A.M. 1959.
3240:The New York Times
3167:Caribbean Currents
3154:Caribbean Currents
3091:Kubik 1999 p. 105.
2892:Beyond Salsa Piano
2810:Manuel 1990, p. 48
2643:Boggs 1991 p. 247.
2453:Boggs 1992, p. 189
2409:Izzy Sanabria 2005
2374:Boggs 1992, p. 190
2335:Unterberger, p. 50
2037:Latin music portal
2023:Puerto Rico portal
1759:
1581:Orquesta de la Luz
1559:
1438:Conjunto Rumbavana
1374:
1342:Mozambique (music)
1264:the Queen of Salsa
1229:
1174:-based structure.
965:Palladium Ballroom
957:
930:Dámaso Pérez Prado
791:, the 3-2 and 2-3
753:
725:
579:
532:The New York Times
470:composed the song
445:
400:under the name of
248:
189:Dominican Republic
5759:
5758:
5673:
5672:
5614:
5613:
5485:
5484:
5299:
5298:
4890:
4889:
4587:
4586:
4273:978-0-8153-4019-5
4217:978-0-8078-5859-2
4123:978-0-9764990-0-8
4104:978-1-59213-386-4
4028:978-0-8195-6442-9
4009:978-1-59213-315-4
3986:978-1-85828-421-7
3963:978-1-85828-636-5
3770:978-1-4392-6584-0
3753:978-0-306-81018-3
3746:. Da Capo Press.
3732:978-1-59213-463-2
3709:978-1-56639-338-6
3688:978-0-19-506334-9
3667:978-1-883217-07-5
3603:978-2-7467-0118-2
3567:978-2-906460-69-0
3531:978-84-460-0894-1
3491:978-2-07-053391-6
3411:978-0-688-02193-1
3348:978-1-55652-411-0
3238:. Talking Music.
3234:Catapano, Peter.
3196:978-0-8195-6308-8
3109:Waxer 2002 p. 12.
2726:978-0-8108-6204-3
2675:978-0-7692-1435-1
2663:History of Songo.
2236:978-0-87930-627-4
2147:978-0-87930-627-4
1855:Isabelle Leymarie
1720:Loco con una moto
1708:Charanga Habanera
1668:Sonora Carruseles
1610:Me Sube La Fiebre
1484:Gonzalo Rubalcaba
1451:who later formed
1434:Adalberto Alvarez
1386:Fruko y sus Tesos
1249:, where promoter
1093:La Sonora Ponceña
936:wind orchestras.
826:Musical structure
768:
690:Orquesta Broadway
462:The musicologist
394:Charanga Habanera
342:Arsenio Rodríguez
318:Hispanic American
240:
239:
38:Stylistic origins
16:(Redirected from
5814:
5665:Tejano (Tex-Mex)
5633:New Mexico music
5623:
5543:
5527:
5526:
5512:
5505:
5498:
5489:
5379:Canción melódica
5224:
4993:Traditional folk
4835:
4626:Peruvian coastal
4609:Paraguayan polka
4547:
4342:
4335:
4328:
4319:
4296:
4277:
4258:
4247:
4238:
4202:
4200:
4189:
4177:
4166:
4154:
4143:
4141:
4127:
4108:
4096:
4075:
4066:
4032:
4013:
4001:
3990:
3978:
3967:
3941:p. 32 Sept.
3934:
3932:
3930:
3921:. Archived from
3893:
3891:
3889:
3880:. Archived from
3867:
3858:
3856:
3757:
3736:
3724:
3713:
3692:
3671:
3652:
3643:
3621:
3615:
3607:
3585:
3579:
3571:
3558:Histoires de bal
3549:
3543:
3535:
3509:
3503:
3495:
3473:
3451:
3429:
3423:
3415:
3393:
3387:
3379:
3352:
3340:
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3311:
3297:
3266:
3250:
3248:
3246:
3230:
3200:
3170:
3163:
3157:
3150:
3144:
3143:Gerard 1989 p. 7
3141:
3135:
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3110:
3107:
3101:
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2963:
2960:
2954:
2951:
2945:
2942:
2936:
2933:
2927:
2926:
2924:
2922:
2916:"Roots of timba"
2912:
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2888:
2882:
2879:
2873:
2870:
2864:
2861:
2855:
2852:
2846:
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2759:
2752:
2746:
2743:
2737:
2734:
2728:
2714:
2708:
2707:
2705:
2704:
2695:. Archived from
2684:
2678:
2659:
2653:
2650:
2644:
2641:
2635:
2628:
2619:
2618:
2594:
2588:
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2574:
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2557:
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2537:
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2509:
2508:Timeless CD 168.
2502:
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2034:
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2032:
2025:
2020:
2019:
2018:
2011:
2006:
2005:
2004:
1997:
1992:
1991:
1990:
1958:In The Tradition
1954:Giovanni Hidalgo
1903:environmentalism
1823:Orchestra Baobab
1757:Orchestra Baobab
1535:Noches Calientes
1512:Giovanni Hidalgo
1073:Sonora Matancera
1015:Mongo Santamaría
1011:Charlie Palmieri
954:
951:
928:, Beny Moré and
879:Félix Chappottín
770:
769:
750:
698:Mongo Santamaría
694:Charlie Palmieri
527:English language
525:magazine was an
457:Spanish language
431:and her brother
104:Cultural origins
30:
21:
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5569:Brown-eyed soul
5557:
5534:
5533:
5521:
5516:
5486:
5481:
5453:
5362:
5336:Afro-Cuban jazz
5321:Bomba del Chota
5295:
5222:
5068:
4988:
4886:
4882:Orquesta típica
4872:Uruguayan tango
4847:Argentine tango
4833:
4797:
4725:
4718:
4680:
4620:
4583:
4545:
4507:
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4352:
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4308:Latin Music USA
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4056:
4054:Further reading
4035:
4029:
4016:
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3987:
3970:
3964:
3951:
3928:
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3887:
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3884:on May 18, 2011
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3033:Wayback Machine
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3007:Wayback Machine
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1993:
1988:
1986:
1983:
1939:Robi Draco Rosa
1917:
1851:
1751:
1696:
1593:Víctor Manuelle
1585:Brenda K. Starr
1551:
1543:salsa romántica
1527:salsa romántica
1507:Mariel boatlift
1366:
1256:Chino Rodríguez
1184:of a song, the
1148:folkloric rumba
1109:
1089:Fania All-Stars
992:Dizzy Gillespie
988:Ella Fitzgerald
952:
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569:Instrumentation
513:. I was using
482:, the musician
468:Ignacio Piñeiro
418:
255:Caribbean music
236:
203:
145:Regional scenes
140:
131:Salsa romántica
99:
28:
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5678:Related topics
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5555:
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5540:
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5518:
5517:
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5507:
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5483:
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5436:
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5416:
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5406:
5401:
5396:
5391:
5386:
5381:
5376:
5370:
5368:
5364:
5363:
5361:
5360:
5358:Tropical music
5355:
5350:
5345:
5340:
5339:
5338:
5328:
5323:
5318:
5313:
5307:
5305:
5301:
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5297:
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5017:
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4906:
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4898:
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4888:
4887:
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4879:
4874:
4869:
4864:
4859:
4854:
4849:
4843:
4841:
4832:
4831:
4826:
4821:
4819:Música cebolla
4816:
4811:
4805:
4803:
4799:
4798:
4796:
4795:
4790:
4789:
4788:
4783:
4773:
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4756:
4751:
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4720:
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4711:
4706:
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4517:
4515:
4509:
4508:
4506:
4505:
4500:
4495:
4490:
4485:
4480:
4477:Canary Islands
4473:
4468:
4467:
4466:
4461:
4456:
4454:Rumba flamenca
4451:
4446:
4441:
4436:
4426:
4421:
4416:
4410:
4408:
4402:
4401:
4399:
4398:
4393:
4388:
4383:
4378:
4373:
4368:
4362:
4360:
4354:
4353:
4347:
4345:
4344:
4337:
4330:
4322:
4316:
4315:
4303:
4302:External links
4300:
4298:
4297:
4291:
4278:
4272:
4259:
4248:
4239:
4237:on 2005-03-31.
4225:(March 2000).
4219:
4203:
4190:
4184:
4167:
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4128:
4122:
4109:
4103:
4086:
4076:
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4034:
4033:
4027:
4014:
4008:
3991:
3985:
3968:
3962:
3949:
3942:
3935:
3919:Salsa Magazine
3910:
3901:
3894:
3868:
3859:
3846:
3839:
3825:
3815:
3801:
3787:
3773:
3758:
3752:
3743:The Latin Beat
3737:
3731:
3714:
3708:
3693:
3687:
3672:
3666:
3653:
3644:
3639:978-0826455864
3638:
3622:
3602:
3594:Danses Latines
3586:
3566:
3550:
3530:
3518:Ediciones Akal
3510:
3490:
3474:
3469:978-2082108133
3468:
3452:
3447:978-2130453178
3446:
3440:. Paris: PUF.
3430:
3410:
3394:
3368:
3353:
3347:
3330:
3316:
3300:Centro Journal
3288:
3281:
3274:
3267:
3258:
3251:
3231:
3222:
3208:
3201:
3195:
3179:
3178:
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3172:
3171:
3158:
3145:
3136:
3123:
3111:
3102:
3093:
3084:
3071:
3058:
3056:. 2010 p. 407.
3046:
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3017:
2991:
2982:
2973:
2964:
2955:
2946:
2937:
2928:
2907:
2883:
2874:
2865:
2856:
2847:
2841:978-1588340801
2840:
2822:
2812:
2803:
2781:
2760:
2747:
2738:
2729:
2709:
2679:
2654:
2645:
2636:
2620:
2614:978-0306810183
2613:
2589:
2580:
2558:
2545:
2532:
2520:
2510:
2497:
2483:
2469:
2455:
2443:
2429:
2420:
2411:
2399:
2395:Latin New York
2390:Latin New York
2386:Latin New York
2376:
2367:
2358:
2346:
2337:
2328:
2318:
2309:
2295:
2281:
2271:
2261:
2251:
2242:
2235:
2212:
2182:
2172:
2162:
2153:
2146:
2123:
2093:
2084:
2069:
2068:
2067:
2062:
2059:
2058:
2057:
2052:
2047:
2041:
2040:
2026:
2012:
1998:
1982:
1979:
1978:
1977:
1970:
1961:
1950:
1925:
1916:
1913:
1850:
1847:
1816:George Foreman
1804:Live In Africa
1750:
1747:
1695:
1692:
1680:Kike Santander
1550:
1547:
1365:
1362:
1358:Jerry González
1308:Salsa Magazine
1243:Yankee Stadium
1108:
1105:
1101:Fuego en el 23
1081:Bobby Valentín
1069:Ismael Miranda
1007:Johnny Pacheco
941:
938:
915:Sonora Ponceña
891:Fuego en el 23
887:Eddie Palmieri
881:and featuring
870:
867:
865:
862:
830:Main article:
827:
824:
775:
762:
757:
756:
755:
746:
745:
744:
716:
713:
570:
567:
523:Latin New York
476:Cheo Marquetti
472:Échale salsita
417:
414:
366:Johnny Pacheco
253:is a style of
238:
237:
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234:
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196:
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52:
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34:
26:
24:
14:
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10:
9:
6:
4:
3:
2:
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5773:
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5709:
5708:
5705:
5703:
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5698:
5695:
5693:
5692:
5688:
5686:
5683:
5682:
5680:
5676:
5666:
5663:
5662:
5660:
5656:
5650:
5649:Nuyorican rap
5647:
5646:
5644:
5640:
5634:
5631:
5630:
5628:
5624:
5621:
5617:
5605:
5602:
5600:
5597:
5596:
5595:
5592:
5590:
5587:
5585:
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5564:
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5548:
5544:
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5513:
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5506:
5501:
5499:
5494:
5493:
5490:
5478:
5475:
5471:
5468:
5467:
5466:
5463:
5462:
5460:
5456:
5450:
5447:
5445:
5442:
5440:
5439:Spanish opera
5437:
5435:
5432:
5430:
5429:Punto guajiro
5427:
5425:
5422:
5420:
5417:
5415:
5412:
5410:
5407:
5405:
5402:
5400:
5397:
5395:
5392:
5390:
5387:
5385:
5382:
5380:
5377:
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5372:
5371:
5369:
5365:
5359:
5356:
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5351:
5349:
5346:
5344:
5341:
5337:
5334:
5333:
5332:
5329:
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5319:
5317:
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5312:
5309:
5308:
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5289:
5287:
5284:
5282:
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5274:
5272:
5269:
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5264:
5262:
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5244:
5242:
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5211:
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5153:
5150:
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5145:
5143:
5140:
5138:
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5133:
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5125:
5123:
5120:
5118:
5115:
5113:
5110:
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5105:
5103:
5100:
5098:
5095:
5093:
5090:
5088:
5085:
5083:
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5079:
5077:
5075:
5071:
5063:
5060:
5058:
5055:
5053:
5050:
5049:
5048:
5045:
5043:
5040:
5036:
5033:
5031:
5028:
5026:
5023:
5022:
5021:
5018:
5016:
5013:
5011:
5008:
5006:
5005:Gaita zuliana
5003:
5001:
4998:
4997:
4995:
4991:
4985:
4982:
4980:
4977:
4975:
4972:
4970:
4967:
4965:
4962:
4960:
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4940:
4937:
4935:
4932:
4930:
4927:
4925:
4922:
4920:
4917:
4915:
4912:
4910:
4907:
4905:
4902:
4901:
4899:
4897:
4893:
4883:
4880:
4878:
4875:
4873:
4870:
4868:
4865:
4863:
4860:
4858:
4855:
4853:
4850:
4848:
4845:
4844:
4842:
4840:
4836:
4830:
4827:
4825:
4822:
4820:
4817:
4815:
4812:
4810:
4807:
4806:
4804:
4802:Southern Cone
4800:
4794:
4791:
4787:
4784:
4782:
4779:
4778:
4777:
4774:
4772:
4769:
4767:
4764:
4762:
4759:
4755:
4752:
4750:
4747:
4746:
4745:
4742:
4740:
4737:
4735:
4732:
4731:
4729:
4727:
4721:
4715:
4712:
4710:
4709:Nueva canción
4707:
4705:
4702:
4700:
4697:
4695:
4692:
4691:
4689:
4687:
4683:
4677:
4674:
4672:
4669:
4667:
4664:
4662:
4659:
4655:
4652:
4650:
4647:
4645:
4642:
4640:
4637:
4636:
4635:
4632:
4631:
4629:
4627:
4623:
4615:
4612:
4611:
4610:
4607:
4605:
4602:
4600:
4597:
4596:
4594:
4590:
4580:
4577:
4575:
4572:
4570:
4567:
4565:
4562:
4560:
4557:
4556:
4554:
4552:
4548:
4542:
4539:
4537:
4534:
4532:
4529:
4527:
4524:
4522:
4519:
4518:
4516:
4514:
4510:
4504:
4501:
4499:
4496:
4494:
4491:
4489:
4486:
4484:
4481:
4478:
4474:
4472:
4469:
4465:
4462:
4460:
4457:
4455:
4452:
4450:
4449:Flamenco jazz
4447:
4445:
4442:
4440:
4437:
4435:
4432:
4431:
4430:
4427:
4425:
4422:
4420:
4417:
4415:
4414:Catalan rumba
4412:
4411:
4409:
4407:
4406:Spaniard folk
4403:
4397:
4394:
4392:
4389:
4387:
4384:
4382:
4379:
4377:
4374:
4372:
4369:
4367:
4364:
4363:
4361:
4359:
4355:
4351:
4350:Hispanosphere
4343:
4338:
4336:
4331:
4329:
4324:
4323:
4320:
4313:
4309:
4306:
4305:
4301:
4294:
4292:0-941677-35-4
4288:
4284:
4279:
4275:
4269:
4265:
4260:
4256:
4255:
4249:
4245:
4240:
4236:
4232:
4228:
4224:
4220:
4218:
4214:
4210:
4209:
4204:
4199:
4198:
4191:
4187:
4185:9780394742588
4181:
4176:
4175:
4168:
4164:
4162:9780819184306
4158:
4153:
4152:
4145:
4140:
4139:
4133:
4129:
4125:
4119:
4115:
4110:
4106:
4100:
4095:
4094:
4087:
4085:
4081:
4077:
4073:
4068:
4064:
4059:
4058:
4053:
4049:
4045:
4042:. Routledge.
4041:
4037:
4036:
4030:
4024:
4020:
4015:
4011:
4005:
4000:
3999:
3992:
3988:
3982:
3977:
3976:
3969:
3965:
3959:
3955:
3950:
3947:
3943:
3940:
3936:
3925:on 2012-04-26
3924:
3920:
3916:
3911:
3909:
3906:
3902:
3899:
3895:
3883:
3879:
3878:
3873:
3869:
3865:
3860:
3855:
3854:
3847:
3844:
3840:
3838:
3837:1-886502-80-3
3834:
3830:
3826:
3824:
3820:
3816:
3814:
3810:
3806:
3802:
3800:
3796:
3792:
3788:
3786:
3782:
3778:
3774:
3771:
3767:
3763:
3759:
3755:
3749:
3745:
3744:
3738:
3734:
3728:
3723:
3722:
3715:
3711:
3705:
3701:
3700:
3694:
3690:
3684:
3680:
3679:
3673:
3669:
3663:
3659:
3654:
3650:
3645:
3641:
3635:
3631:
3627:
3623:
3619:
3613:
3605:
3599:
3595:
3591:
3587:
3583:
3577:
3569:
3563:
3559:
3555:
3551:
3547:
3541:
3533:
3527:
3523:
3519:
3515:
3511:
3507:
3501:
3493:
3487:
3483:
3479:
3475:
3471:
3465:
3461:
3457:
3453:
3449:
3443:
3439:
3435:
3431:
3427:
3421:
3413:
3407:
3403:
3399:
3395:
3391:
3385:
3377:
3373:
3369:
3366:
3365:1-57806-145-8
3362:
3358:
3354:
3350:
3344:
3339:
3338:
3331:
3329:
3328:0-19-713512-9
3325:
3321:
3317:
3305:
3301:
3294:
3289:
3286:
3282:
3279:
3275:
3272:
3268:
3264:
3259:
3256:
3252:
3241:
3237:
3232:
3228:
3223:
3221:
3220:0-941677-24-9
3217:
3213:
3209:
3206:
3202:
3198:
3192:
3188:
3187:
3181:
3180:
3175:
3174:
3168:
3162:
3159:
3155:
3149:
3146:
3140:
3137:
3133:
3127:
3124:
3118:
3116:
3112:
3106:
3103:
3097:
3094:
3088:
3085:
3081:
3075:
3072:
3068:
3062:
3059:
3055:
3050:
3047:
3041:
3038:
3034:
3030:
3027:
3021:
3018:
3014:
3013:
3008:
3004:
3001:
2995:
2992:
2986:
2983:
2977:
2974:
2968:
2965:
2959:
2956:
2950:
2947:
2941:
2938:
2932:
2929:
2917:
2911:
2908:
2905:
2901:
2897:
2893:
2887:
2884:
2878:
2875:
2869:
2866:
2860:
2857:
2851:
2848:
2843:
2837:
2833:
2826:
2823:
2816:
2813:
2807:
2804:
2791:
2785:
2782:
2770:
2764:
2761:
2757:
2751:
2748:
2742:
2739:
2733:
2730:
2727:
2723:
2719:
2713:
2710:
2699:on 2011-04-08
2698:
2694:
2690:
2683:
2680:
2676:
2672:
2668:
2664:
2658:
2655:
2649:
2646:
2640:
2637:
2633:
2627:
2625:
2621:
2616:
2610:
2606:
2602:
2601:
2593:
2590:
2584:
2581:
2568:
2562:
2559:
2555:
2549:
2546:
2542:
2536:
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2527:
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2521:
2514:
2511:
2507:
2501:
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2262:
2255:
2252:
2246:
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2222:
2216:
2213:
2208:
2204:
2200:
2196:
2192:
2186:
2183:
2176:
2173:
2166:
2163:
2157:
2154:
2149:
2143:
2139:
2138:
2133:
2127:
2124:
2119:
2115:
2111:
2107:
2103:
2097:
2094:
2088:
2085:
2079:
2077:
2075:
2071:
2065:
2064:
2060:
2056:
2053:
2051:
2048:
2046:
2043:
2042:
2038:
2027:
2024:
2013:
2010:
1999:
1996:
1985:
1980:
1975:
1971:
1968:
1967:
1962:
1959:
1955:
1951:
1948:
1944:
1940:
1936:
1932:
1931:
1926:
1923:
1919:
1918:
1914:
1912:
1911:
1909:
1904:
1900:
1896:
1892:
1888:
1887:
1881:
1879:
1875:
1871:
1867:
1863:
1860:
1856:
1848:
1846:
1844:
1840:
1836:
1835:Ricardo Lemvo
1832:
1826:
1824:
1820:
1817:
1813:
1809:
1808:Salsa Madness
1805:
1801:
1797:
1792:
1788:
1784:
1782:
1778:
1771:
1766:
1764:
1755:
1749:African salsa
1748:
1746:
1744:
1739:
1737:
1733:
1729:
1725:
1724:Gente de Zona
1721:
1717:
1713:
1709:
1706:(for example
1705:
1701:
1693:
1691:
1689:
1685:
1681:
1677:
1673:
1669:
1664:
1662:
1658:
1652:
1650:
1646:
1645:Issac Delgado
1642:
1638:
1634:
1630:
1626:
1621:
1619:
1615:
1611:
1607:
1601:
1596:
1594:
1590:
1586:
1582:
1578:
1574:
1570:
1566:
1565:Sergio George
1562:
1555:
1548:
1546:
1544:
1540:
1536:
1532:
1531:salsa erótica
1528:
1523:
1521:
1517:
1513:
1508:
1503:
1501:
1497:
1493:
1489:
1485:
1481:
1476:
1474:
1470:
1466:
1462:
1458:
1454:
1450:
1445:
1443:
1439:
1435:
1431:
1426:
1424:
1417:
1415:
1411:
1406:
1400:
1397:
1395:
1391:
1387:
1383:
1379:
1370:
1363:
1361:
1359:
1355:
1351:
1350:Andy González
1347:
1343:
1339:
1338:Manny Oquendo
1334:
1332:
1328:
1324:
1320:
1315:
1313:
1312:country music
1309:
1304:
1303:Dexter Gordon
1300:
1296:
1291:
1286:
1284:
1280:
1276:
1272:
1267:
1265:
1260:
1257:
1252:
1251:Ralph Mercado
1248:
1244:
1238:
1233:
1226:
1222:
1218:
1216:
1212:
1208:
1204:
1200:
1196:
1192:
1187:
1183:
1179:
1175:
1173:
1169:
1165:
1161:
1157:
1153:
1149:
1145:
1141:
1137:
1133:
1128:
1126:
1122:
1118:
1114:
1106:
1104:
1102:
1098:
1094:
1090:
1086:
1083:and arranger
1082:
1078:
1077:Louie Ramírez
1074:
1070:
1066:
1062:
1058:
1057:Fania Records
1054:
1053:Jerry Masucci
1049:
1047:
1043:
1037:
1035:
1031:
1027:
1022:
1020:
1016:
1012:
1008:
1004:
1000:
995:
993:
989:
985:
981:
977:
973:
968:
966:
962:
946:
939:
937:
935:
931:
927:
923:
918:
916:
912:
908:
904:
903:Bruca maniguá
900:
896:
892:
888:
884:
880:
876:
868:
863:
861:
859:
855:
851:
847:
843:
839:
833:
825:
823:
819:
815:
811:
808:
806:
802:
798:
794:
790:
789:clave rhythms
783:
781:
760:
759:2-3 Son clave
743:
741:
737:
732:
730:
729:salsa dancing
721:
714:
712:
710:
705:
703:
699:
695:
691:
687:
683:
679:
675:
671:
667:
663:
659:
655:
651:
647:
642:
640:
636:
632:
628:
624:
620:
616:
612:
608:
604:
600:
596:
592:
588:
584:
575:
568:
566:
563:
560:
556:
551:
546:
545:
540:
539:
535:, as well as
534:
533:
528:
524:
518:
516:
512:
508:
502:
500:
495:
493:
492:salsa (sauce)
489:
485:
481:
477:
473:
469:
465:
460:
458:
454:
450:
442:
438:
434:
430:
426:
422:
415:
413:
411:
407:
403:
399:
395:
391:
387:
383:
379:
375:
371:
367:
363:
359:
355:
351:
347:
343:
339:
335:
334:New York City
332:musicians in
331:
327:
321:
319:
314:
312:
308:
304:
300:
296:
292:
288:
284:
280:
276:
272:
268:
264:
260:
256:
252:
244:
233:
230:
228:
225:
223:
220:
218:
215:
214:
211:
206:
200:
197:
195:
194:United States
192:
190:
187:
185:
182:
180:
177:
175:
172:
170:
167:
165:
162:
160:
157:
155:
152:
151:
148:
143:
137:
134:
132:
129:
128:
125:
120:
117:
116:New York City
113:
109:
106:
102:
96:
93:
91:
88:
86:
83:
81:
78:
76:
73:
71:
68:
66:
63:
61:
58:
56:
53:
51:
48:
46:
43:
42:
40:
36:
31:
19:
5702:Chicano rock
5689:
5593:
5444:Spanish jazz
5367:Other genres
5173:
4969:Puerto Rican
4282:
4263:
4253:
4243:
4235:the original
4230:
4223:Salazar, Max
4207:
4196:
4173:
4150:
4137:
4132:Loza, Steven
4113:
4092:
4071:
4062:
4039:
4018:
3997:
3974:
3953:
3945:
3938:
3927:. Retrieved
3923:the original
3918:
3907:discussion.
3904:
3897:
3886:. Retrieved
3882:the original
3876:
3872:Salazar, Max
3863:
3852:
3842:
3828:
3818:
3804:
3790:
3776:
3761:
3742:
3720:
3698:
3677:
3658:101 Montunos
3657:
3648:
3629:
3593:
3557:
3521:
3481:
3459:
3437:
3401:
3375:
3356:
3336:
3319:
3308:. Retrieved
3306:(2): 109–137
3303:
3299:
3284:
3277:
3270:
3262:
3254:
3243:. Retrieved
3239:
3226:
3211:
3207:v. 59, n. 1.
3204:
3185:
3176:Bibliography
3166:
3161:
3153:
3148:
3139:
3126:
3105:
3096:
3087:
3079:
3074:
3066:
3061:
3053:
3049:
3040:
3020:
3010:
2994:
2985:
2976:
2967:
2958:
2949:
2940:
2931:
2919:. Retrieved
2910:
2895:
2891:
2886:
2877:
2868:
2859:
2850:
2831:
2825:
2815:
2806:
2794:. Retrieved
2784:
2773:. Retrieved
2763:
2750:
2741:
2732:
2717:
2712:
2701:. Retrieved
2697:the original
2692:
2682:
2666:
2662:
2657:
2648:
2639:
2631:
2599:
2592:
2583:
2571:. Retrieved
2561:
2553:
2548:
2540:
2535:
2513:
2505:
2500:
2486:
2472:
2458:
2432:
2423:
2414:
2394:
2389:
2385:
2379:
2370:
2361:
2340:
2331:
2321:
2312:
2298:
2284:
2274:
2264:
2254:
2245:
2225:
2221:Salazar, Max
2215:
2198:
2191:Salazar, Max
2185:
2175:
2165:
2156:
2136:
2132:Salazar, Max
2126:
2109:
2102:Salazar, Max
2096:
2087:
1973:
1964:
1957:
1928:
1921:
1906:
1891:Ruben Blades
1884:
1882:
1877:
1865:
1852:
1829:super-group
1827:
1812:Muhammad Ali
1807:
1803:
1793:
1789:
1785:
1776:
1773:
1768:
1762:
1760:
1740:
1731:
1728:Marc Anthony
1719:
1711:
1697:
1672:Carlos Vives
1665:
1653:
1628:
1625:salsa cubana
1624:
1622:
1609:
1603:
1598:
1577:Marc Anthony
1563:
1560:
1542:
1534:
1524:
1504:
1495:
1477:
1472:
1469:salsa cubana
1468:
1446:
1427:
1419:
1413:
1409:
1404:
1402:
1398:
1394:Rubén Blades
1378:Oscar D'León
1375:
1346:Barry Rogers
1335:
1316:
1307:
1299:Village Gate
1295:Archie Shepp
1290:Roger Dawson
1287:
1282:
1270:
1268:
1263:
1261:
1240:
1235:
1230:
1225:Roger Dawson
1176:
1136:Juan Formell
1129:
1110:
1100:
1096:
1087:to form the
1085:Larry Harlow
1065:Ray Barretto
1061:Larry Harlow
1050:
1038:
1023:
1019:Ray Barretto
996:
984:Cab Calloway
969:
958:
953: 1950s
919:
910:
907:No me llores
906:
902:
898:
894:
890:
872:
857:
853:
849:
845:
835:
820:
816:
812:
809:
797:Rumba claves
786:
733:
726:
706:
702:Ray Barretto
643:
630:
626:
580:
564:
550:Willie Colón
542:
536:
530:
522:
520:
514:
510:
506:
504:
496:
487:
486:would shout
471:
461:
448:
446:
440:
374:Héctor Lavoe
362:Rubén Blades
358:Willie Colón
326:Puerto Rican
322:
315:
263:Puerto Rican
250:
249:
208:Other topics
108:Puerto Rican
5772:Salsa music
5697:Chicano rap
5465:Latin music
5389:Contradanza
5281:Tecnocumbia
5256:New Chilean
5241:Bullerengue
5097:Cha-cha-cha
5030:jalisciense
5020:Mexican Son
4904:Alternative
4867:Nuevo tango
4766:Duranguense
4714:Nueva trova
4559:Alternative
4513:Latin urban
4371:Carnavalito
3378:. New York.
2569:. June 2020
2009:Cuba portal
1966:El Cantante
1899:disarmament
1895:imperialism
1843:Salif Keita
1732:La Gozadera
1676:Grupo Niche
1657:Los Van Van
1618:NG La Banda
1589:Son By Four
1569:Tito Nieves
1516:songo music
1496:En la calle
1492:NG La Banda
1457:NG La Banda
1453:NG La Banda
1430:Los Van Van
1390:Grupo Niche
1354:Miles Davis
1279:Tommy album
1168:son montuno
1150:as well as
1132:Los Van Van
1026:son montuno
999:cha-cha-cha
976:Mario Bauzá
895:El Divorcio
875:Son Montuno
838:coro-pregón
822:the music.
805:salsa dance
709:Los Van Van
583:son montuno
559:Tito Puente
521:Sanabria's
499:music genre
480:Mexico City
464:Max Salazar
390:NG La Banda
382:Los Van Van
350:Roberto Faz
338:son montuno
279:cha-cha-chá
271:son montuno
251:Salsa music
217:Songo music
169:Puerto Rico
55:cha-cha-chá
50:son montuno
18:Salsa Music
5766:Categories
5626:New Mexico
5546:Prehistory
5449:Villancico
5331:Latin jazz
5304:Afro-Latin
5261:Panamanian
5191:Son cubano
4984:Venezuelan
4944:Latin rock
4939:Ecuadorian
4599:Chamarrita
4592:Litoraleña
4579:Panamanian
4569:Moombahton
4475:Isa (from
4084:1138053562
4048:0815340206
3813:1466462302
3799:1460965426
3785:145054553X
3310:August 12,
3245:August 12,
2904:1460965426
2796:21 October
2775:2008-06-09
2703:2012-04-14
2061:References
1943:Celia Cruz
1859:machoistic
1765:. states:
1637:Paulito FG
1436:y Son 14,
1382:Joe Arroyo
1213:developed
1203:batá drums
1079:, bassist
793:Son claves
780:media help
591:Son cubano
354:Celia Cruz
275:son Cubano
232:mozambique
136:salsa dura
45:Son Cubano
5604:romántica
5589:Reggaeton
5584:Freestyle
5539:By decade
5470:subgenres
5409:Pasacalle
5384:Christian
5374:Aguinaldo
5246:Colombian
5236:Argentine
5213:Vallenato
5184:romántica
5167:Guaguancó
5047:Zamacueca
5000:Chacarera
4979:Uruguayan
4959:Nueva ola
4934:Dominican
4924:Colombian
4909:Argentine
4877:Bandoneon
4699:Colombian
4686:Latin pop
4676:Zamacueca
4654:Toro Mata
4574:Neoperreo
4551:Reggaeton
4498:Tajaraste
4493:Pasodoble
4488:Malagueña
3975:Music USA
3905:Latinjazz
3819:Timba.com
3612:cite book
3576:cite book
3540:cite book
3500:cite book
3420:cite book
3384:cite book
2693:Timba.com
2554:Latinjazz
2541:Latinjazz
2207:0006-2510
2199:Billboard
2118:0006-2510
2110:Billboard
2050:Twoubadou
1933:. Former
1908:Spanglish
1839:Ismael Lo
1831:Africando
1704:reggaeton
1688:Venezuela
1623:The term
1520:Changuito
1500:guaguancó
1494:'s album
1414:Diós sabe
1288:In 1975,
1211:Elio Revé
1164:Changuito
1130:The band
1113:Cuban son
686:Típica 73
631:bongocero
484:Beny Moré
447:The word
378:Cuban son
320:culture.
199:Venezuela
122:Subgenres
5691:Category
5642:New York
5574:Boogaloo
5326:Candombe
5266:Peruvian
5157:Pachanga
5152:Méringue
5147:Merengue
5137:Guaracha
5122:Cuarteto
5112:Charanga
5102:Champeta
5074:Tropical
5057:Marinera
5025:huasteco
4964:Peruvian
4862:Neotango
4809:Candombe
4786:Ranchera
4776:Mariachi
4739:Conjunto
4724:Regional
4661:Marinera
4604:Guarania
4564:Bachatón
4503:Zarzuela
4444:Cantiñas
4439:Bulerías
4429:Flamenco
4424:Fandango
4386:Morenada
4376:Diablada
4134:(1999).
4063:La Salsa
3929:April 4,
3888:April 4,
3628:(2002).
3458:(1995).
3436:(1993).
3169:, pg. 80
3165:Manuel,
3152:Manuel,
3029:Archived
3003:Archived
2921:16 April
2573:15 April
2518:salsa.'"
1981:See also
1886:Santeria
1866:guapería
1641:Bamboleo
1573:La India
1121:New York
1046:Joe Cuba
1042:Boogaloo
1003:Charanga
934:big band
858:especial
666:timbales
646:Charanga
627:martillo
623:timbales
544:Newsweek
425:Graciela
267:American
159:Colombia
5724:Hip hop
5712:Western
5707:Country
5685:Article
5619:By area
5458:Related
5414:Pasillo
5394:Criolla
5348:Milonga
5291:Cachaca
5286:Villera
5251:Mexican
5196:montuno
5132:Guajira
5107:Changüí
5092:Calypso
5082:Bachata
5035:jarocho
4974:Spanish
4954:Mexican
4919:Chilean
4914:Chicano
4852:Milonga
4824:Milonga
4761:Grupera
4744:Norteño
4734:Corrido
4726:Mexican
4704:Mexican
4666:Tondero
4639:Festejo
4614:Chamamé
4536:R&B
4521:Hip hop
4434:Alboreá
4366:Bambuco
3520:(ed.).
3156:, p. 74
2894:v. 11.
2326:there."
1972:2014 -
1963:2007 -
1952:1996 -
1947:Wilkins
1937:member
1927:1988 -
1920:1979 -
1878:desafio
1870:calypso
1862:bravado
1781:soukous
1743:Cubaton
1736:YouTube
1700:hip hop
1488:hip hop
1480:guajeos
1465:Irakere
1449:Irakere
1442:Irakere
1405:Siembra
1275:The Who
1247:Cheetah
1215:changüí
1191:Irakere
1119:and in
1034:tumbaos
1030:guajeos
982:, like
864:History
842:montuno
650:violins
635:maracas
615:maracas
577:Bongos.
555:Machito
455:in the
437:maracas
433:Machito
410:embargo
386:Irakere
370:Machito
299:R&B
227:changüí
80:R&B
5562:1960s-
5424:Pregón
5404:Décima
5353:Tambor
5343:Mapalé
5228:Cumbia
5127:Danzón
5087:Bolero
5042:Tonada
5015:Joropo
4793:Trival
4781:Jarabe
4754:Tejano
4749:Nortec
4694:Ballad
4531:Reggae
4381:Huayno
4358:Andean
4289:
4270:
4215:
4182:
4159:
4120:
4101:
4082:
4046:
4025:
4006:
3983:
3960:
3835:
3811:
3797:
3783:
3768:
3750:
3729:
3706:
3685:
3664:
3636:
3600:
3564:
3528:
3488:
3466:
3444:
3408:
3363:
3345:
3326:
3218:
3193:
3132:Yemaya
2902:
2838:
2724:
2673:
2611:
2233:
2205:
2144:
2116:
1935:Menudo
1849:Lyrics
1575:, and
1193:fused
1182:bridge
1117:Havana
990:, and
926:Cachao
856:, and
850:diablo
740:claves
715:Rhythm
678:claves
656:, and
607:claves
595:bongos
451:means
429:claves
309:, and
283:bolero
265:, and
179:Panama
174:Mexico
154:Africa
60:bolero
5658:Texas
5594:Salsa
5579:Disco
5553:Mambo
5419:Plena
5399:Danza
5316:Bomba
5271:Porro
5208:Trova
5203:Timba
5174:Salsa
5162:Rumba
5142:Mambo
5117:Conga
5062:Zamba
5052:Cueca
4949:Metal
4929:Cuban
4839:Tango
4829:Murga
4814:Cueca
4771:Banda
4644:Landó
4526:House
4471:Folia
4464:Soleá
4459:Saeta
4419:Copla
4396:Tinku
3296:(PDF)
2066:Notes
1930:Salsa
1915:Films
1874:samba
1796:Zaire
1777:rumba
1629:timba
1423:timba
1331:plena
1327:bomba
1271:Hommy
1201:with
1195:bebop
1186:songo
1178:Songo
1172:mambo
1144:Songo
1140:songo
1125:songo
922:Mambo
846:mambo
801:rumba
736:clave
682:güiro
674:flute
658:cello
654:viola
639:güiro
619:piano
613:, or
611:güiro
515:salsa
511:salsa
507:Salsa
488:salsa
453:sauce
449:Salsa
441:salsa
406:timba
402:songo
330:Cuban
311:plena
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291:mambo
287:rumba
259:Cuban
222:timba
112:Cuban
95:bomba
90:plena
70:mambo
65:rumba
33:Salsa
5751:Punk
5741:Rock
5734:Soul
5729:Jazz
5599:dura
5434:Seis
5179:dura
5010:Gato
4896:Rock
4857:Vals
4671:Vals
4541:Trap
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4287:ISBN
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3247:2011
3216:ISBN
3191:ISBN
2923:2021
2900:ISBN
2836:ISBN
2798:2013
2722:ISBN
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2575:2021
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1152:funk
1099:and
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909:and
854:moña
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599:bass
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538:Time
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