Cuban music, renowned for its dynamic rhythms and rich cultural heritage, represents a unique fusion of indigenous sounds with diverse outside influences. Over centuries, the island’s music has evolved into a distinctive blend that reflects its complex history and socio-political transformations, serving as a vibrant testament to Cuban identity and resilience. The profound impact of African, Spanish, Haitian, French, and American musical traditions has shaped a variety of genres, each contributing to the island’s significant footprint on the global music stage.

The genesis of Cuban music can be traced back to the 15th century with the arrival of African people in the Caribbean via the transatlantic slave trade. This cultural confluence led to the amalgamation of African rhythms and Spanish melodic elements, giving rise to a unique sonic landscape that formed the backbone of Cuban musical traditions. Over time, Cuba’s role as an international port facilitated further enrichment from European, Haitian, and other Caribbean influences, fostering the creation of seminal genres such as rumba, son, and conga.

In the 20th century, Cuban music expanded its reach, significantly influencing the global music scene. Cuban styles like son and mambo were recorded and disseminated internationally, impacting musical landscapes far beyond the Caribbean. This period saw Cuban rhythms infusing genres in Africa, giving rise to styles such as Congolese rumba and soukous, and blending seamlessly into American jazz to create Afro-Cuban jazz. The continuous interplay with external influences also saw the incorporation of genres like reggaeton and R&B into the Cuban musical framework, showcasing the island’s adaptability and creativity.

Today, Cuban music remains a vital and evolving component of global music. Despite challenges posed by globalization, which sometimes threaten the preservation of traditional sounds, the island continues to innovate while honoring its deep-rooted musical heritage. Events like the Havana International Jazz Festival celebrate this dynamic legacy, bringing together artists from around the world and fostering a vibrant cultural exchange. As Cuban music navigates the modern landscape, its blend of tradition and contemporary influences continues to resonate, securing its place as an enduring and influential force in world music.

History of Music in Cuba

Cuban music, with its pulsating rhythms, vibrant melodies, and rich cultural heritage, stands as a testament to the island’s intricate history and its peoples’ resilient spirit. Spanning over centuries, the music of Cuba is a melodious dialogue between the old and the new, traditional and modern, local and global. It is a sonic reflection of the country’s socio-political changes and an enduring influence on the world music scene.

Early Influences

The origin of Cuban music can be traced back to the 15th century with the arrival of African people in the Caribbean via the transatlantic slave trade. This period marked the beginning of a cultural confluence, where African rhythms and traditions merged with the melodic Spanish flair, creating a unique sound distinct to Cuba. African music heavily influenced the rhythmic foundation of Cuban music, while Spanish music contributed melodic and harmonic elements.

Development of Cuban Music

During the slave era, the interaction of diverse African cultures among the Caribbean slave population led to the formation of neo-African cultures. These new communities combined elements from various African traditions, contributing significantly to the development of Cuban music. The inclusion of traditional African instruments like drums, along with call-and-response vocal styles, became foundational elements in Cuban music.

Cuba’s role as an international port during European colonization further enriched its musical tapestry by introducing influences from Haiti, France, and Spain. This blend of cultures fostered the creation of genres such as rumba, son, and conga, which played pivotal roles in shaping Latin music as a whole.

20th Century and Beyond

The influence of Cuban music extended beyond the Caribbean, particularly impacting African music. Local artists in Africa began to recreate Cuban sounds, mixing them with their own traditions to develop genres such as Congolese rumba and soukous, which played significant roles in the post-independence cultural identity of many African nations.

Modern Influence

In the early 20th century, Cuba became a hotbed for musical export, with folk traditions from across the island being recorded in Havana’s studios and distributed globally. Cuban musical styles like son, mambo, and guaguancó followed migrants and sailors across the Atlantic, spreading through radio waves in various ports and into the interiors of different countries.

Today, Cuban music continues to evolve, incorporating modern elements while retaining its traditional roots. It remains a vibrant part of Cuba’s cultural identity and continues to influence music globally. The rich tapestry of Cuban music, with its deep-rooted historical and cultural influences, stands as a dynamic and enduring element of world music.

Genres Influenced by Outside Music

Cuban music is a rich tapestry of sounds and rhythms, shaped significantly by various external influences over the centuries. This amalgamation has led to the creation of unique genres that reflect the diverse cultural interactions experienced by Cuba.

Son Cubano

Son Cubano, although fundamentally a Cuban genre, showcases a blend of African and European musical elements. This genre, which originated among Afro-Caribbean people of Bantu descent, incorporates percussive instruments such as bongos, congas, and claves (from African traditions) and guitars and harmonic vocals (from Spanish influences). Son Cubano not only became the heart of Cuban music but also laid the foundation for salsa music, highlighting its significant role in shaping contemporary Latin music.

Afro-Cuban Jazz

One of the most notable genres influenced by outside music is Afro-Cuban jazz. This genre emerged from the fusion of Cuban rhythms with American jazz, particularly during the mid-20th century. Key figures in this genre include Machito and his Afro-Cubans, who became one of New York’s hottest bands post-World War II, frequently performing at the Palladium Ballroom alongside Tito Puente and Tito Rodriguez. These performances played a crucial role in popularizing Afro-Cuban jazz, aided by recordings with influential jazz artists such as Charlie Parker. The collaboration between Parker and Machito, particularly their sessions in late 1948 and early 1949, marked a high point in the merger of jazz and Latin music.

Reggaetón

Reggaetón is another genre that has roots outside Cuba, specifically in Puerto Rican and Panamanian music, and was introduced into the Cuban context in the early 2000s. This genre, characterized by its vibrant beats and urban lyrics, faced initial resistance similar to that experienced by earlier genres such as jazz and rock and roll. Critics often rejected reggaeton for its perceived lack of musical sophistication and over-sexualized lyrics, mirroring the opposition faced by other music forms rooted in marginalized communities.

Rhythm and Blues (R&B)

The integration of Cuban rhythms into American rhythm and blues (R&B) during the mid-20th century is another notable example of cross-cultural influence. Musicians like Professor Longhair and Johnny Otis incorporated Caribbean and Latin rhythms into their music, which bolstered the long-standing connections between New Orleans and Cuban music traditions. This fusion can be seen in recordings such as Johnny Otis’s “Mambo Boogie,” which featured Machito’s rhythm section, further demonstrating the symbiotic relationship between these music genres.

The continuous interplay of Cuban music with external influences has not only enriched its own musical landscape but also significantly contributed to the global music scene, illustrating the dynamic nature of cultural exchange.

Notable Musicians and Bands

Cuban Jazz Luminaries

In the realm of Latin jazz, several Cuban musicians have made significant contributions, particularly from the late 20th century onwards. Among these are pianists Michel Camilo and Gonzalo Rubalcaba, saxophonists Justo Almario and Javier Zalba, and percussionists Giovanni Hidalgo and Horacio “El Negro” Hernández. Chucho Valdés also emerged as a prominent leader of small ensembles during this period. Other notable figures in Cuban jazz history include Arturo “Chico” O’Farrill, Mongo Santamaria, Arturo Sandoval, Paquito D’Rivera, Bebo Valdes, and Jose Curbelo.

Latin jazz continued to gain popularity and critical acclaim into the early 21st century, solidifying its position as a dynamic and diverse component of the jazz world. Noteworthy recordings from this era include David Sánchez’s “Obsesión” (1998), Al McKibbon’s “Tumbao para los congueros di mi vida” (1999), Jane Bunnett’s “Alma de Santiago” (2001), Charlie Haden’s “Nocturne” (2001), Dafnis Prieto’s “About the Monks” (2005), Sonido Isleño’s “Vive Jazz” (2005), and Chucho Valdés’ “Chucho’s Steps” (2010).

Influence of Afro-Cuban Folklore

The integration of Afro-Cuban folklore into jazz has been a significant development in recent years. Notable recordings have utilized batá drums outside their traditional Afro-Cuban framework, as seen in Herbie Hancock’s 1983 hit “Rockit” and Kip Hanrahan’s 1983 cult classic “Conjure.” Artists like American alto saxophonist Steve Coleman, Canadian soprano saxophonist/flutist Jane Bunnett, and Cuban pianist Omar Sosa have infused modern jazz perspectives into Afro-Cuban traditions. Bandleaders like Rosewoman and Mora-Catlett continue to push the concept, seeking deeper integrations between forward-thinking jazz and varying folkloric traditions.

Reggaetón and Hip-Hop Dynamics

The early 21st century saw the rise of reggaeton in Cuba, initially popular in Oriente and associated with Santiago rapper Candyman. Reggaeton, drawing heavily on Jamaican dancehall and American hip-hop, reflects the regional dynamics within Cuba. This genre’s popularity in eastern Cuba, contrasted with the tense relationship between Cuban hip-hop and reggaeton in Havana, illustrates the complex musical landscape. Reggaeton’s rise in Havana, often at the expense of hip-hop, is viewed as the triumph of Caribbean music over African American music.

Globalization and Modern Influences

Globalization has significantly impacted the Cuban music landscape, introducing new influences while posing challenges to the preservation of traditional genres. Since the late 19th century, American music-dance genres such as Foxtrot and Turkey Trot were introduced to Cuba by American residents who controlled much of the country’s political and economic spheres. This influx triggered a rebirth of nationalism in Cuban music, epitomized by the popularity of genres like Danzón and later Son.

In the early 20th century, Cuba became a hotspot for musical export. Folk musical traditions from across the island coalesced in Havana’s studios and were dispersed around the Atlantic world, establishing Cuban styles like son, mambo, and guaguancó internationally. However, the Cuban Revolution marked a significant shift, isolating the nation’s cultural production from capitalist networks of trade. Despite this, Cuba maintained influence in the Caribbean and South America, especially in countries like Angola during the Cold War.

More recently, the gradual thaw in U.S.-Cuban relations has opened the door for further cultural exchange. This change is expected to increase Cuban influence in American society, with potential impacts on art purchases and the inclusion of more Cuban baseball players in Major League Baseball. Cultural diplomacy, particularly through mutual artistic exchange and baseball diplomacy, aims to foster goodwill and dispel negative stereotypes between the U.S. and Cuba, supporting political diplomacy.

Yet, the globalization of Cuban music comes with the risk of losing its unique cultural heritage. While Cubans now have access to more information and ideas than ever before, there is concern that outside influences may overshadow the rich, traditional music of the island. Reggaeton and other non-native styles dominate the current musical scene, often at the expense of homegrown sounds like rumba, which some young Cubans view as outdated. Preservation of traditional music is crucial, as it remains a core component of Cuba’s distinctive cultural identity.

Music Festivals and Events

The Havana International Jazz Festival is a prominent annual event that celebrates Cuba’s rich jazz heritage. Held at the start of each year, this festival has been a mainstay on the Cuban music circuit for over three decades, drawing jazz aficionados from both Cuba and around the world. The festival showcases the unique style and tempo of Cuban jazz, which is influenced by a harmonious blend of Spanish, African, and other international musical traditions.

History and Organization

The Havana International Jazz Festival, also known as the Cuba Jazz Festival, was inaugurated in 1978. It began when renowned Cuban jazz musicians, including Bobby Carcasses, organized the first jazz concert in downtown Havana at the Casa de la Cultura de Plaza. The success of this initial event led to the establishment of an annual tradition, with notable artists such as Danilo Perez, Jack DeJohnette, Roy Hargrove, Charlie Haden, Max Roach, Dizzy Gillespie, and Chucho Valdes regularly participating. Chucho Valdes, a Cuban and five-time Grammy winner, became the festival’s artistic director and president of the Organizing Committee in 1996, with Alexis Vazquez Aguilera serving as the vice president. Valdes continues to be a central figure in the festival, performing alongside emerging and established talent during the grand finale.

Venues and Activities

The festival spans five days and includes concerts, jam sessions, and workshops conducted by some of the best jazz experts in the country. The events are held at various venues across downtown Havana, including Teatro Karl Marx, Teatro Amadeo Roldán, Teatro Nacional de Cuba, Casa de la Cultura Plaza, and Hotel Riviera. Additionally, impromptu jam sessions often take place, adding to the festival’s vibrant and spontaneous atmosphere. The festival also features photo exhibitions and provides opportunities for tourists and musicians to interact with local talent, enriching the cultural exchange between international visitors and the Cuban music community.

Jo Jazz Competition

One of the key components of the Havana International Jazz Festival is the Jo Jazz or Young Jazz music competition. This competition allows young musicians to showcase their talents in the lead-up to the main events of the festival. The grand finale is a highlight of the festival, where Chucho Valdes performs with both emerging and well-known artists, culminating the five-day celebration.

Cultural Impact

The Havana International Jazz Festival is more than just a musical event; it is a significant cultural occasion that highlights the depth and diversity of Cuban music. It plays a crucial role in promoting Cuban jazz to international audiences and fostering a dynamic exchange of cultural and musical ideas. The festival also contributes to the local economy by attracting tourists and music enthusiasts, further solidifying Cuba’s reputation as a vital center for music in the world.

In essence, the Havana International Jazz Festival encapsulates the spirit of Cuban music—its ability to blend tradition and innovation, and its capacity to bring people together in celebration of a shared cultural heritage.

Impact on Global Music Scene

During the golden age of Cuban music, radio played a crucial role in disseminating Cuban music both locally and internationally. Radio stations in Havana broadcast live performances, and with the advent of television in the early 1950s, Cuban music reached an even wider audience. This period also saw the rise of music recording as a significant industry, with Cuban record labels like Panart gaining international recognition.

The music of this era was not just entertainment; it mirrored and influenced socio-cultural dynamics. The songs of artists such as Prado and Moré often contained subtle critiques of social issues, encoded in the lyrics and rhythms. As such, Cuban music of this period was a powerful form of cultural expression that resonated with people’s everyday experiences and aspirations.

Cuban music’s global impact extends beyond its universal appeal; it has served as a form of cultural diplomacy. Through its rhythms, Cuban music has communicated the vibrancy of Cuban culture, transcending political and language barriers, and fostering global connections. Events like the Havana World Music Festival amplify this exchange, creating spaces where musicians worldwide can collaborate, innovate, and keep the spirit of Cuban music alive.

The digital age has further expanded the reach of Cuban music. Social media and music streaming services allow Cuban artists to instantly reach global audiences, promising new opportunities for innovation and influence. This period of increased global connectivity has facilitated an exchange of musical ideas, leading to a blending of genres and experimentation across traditional boundaries.

Moreover, the Cuban diaspora has played a significant role in spreading Cuban music globally. For instance, in London, Cuban emigrants benefit from a diverse soundscape, which enables them to choose, consume, and perform a selection of popular, national, and diasporic music devoid of the political charge it carried in their homeland. In diaspora, new listening strategies have engaged migrants in reconsidering the role certain artists had in shaping their previous understanding of national music. This new knowledge, produced in diaspora, influences personal processes of subject construction and the appropriation of a national identity.

The shared African heritage of music in the United States, the Caribbean, and Latin America has also provided a solid foundation for the rich dialogue of Afro-Latin jazz fusions, which have left a lasting impact on music across the Americas. This fusion of styles has influenced various musical genres and continues to be a significant aspect of the global music scene.

Looking forward, the trajectory of Cuban music seems poised for continuous evolution. With the advent of new platforms and technologies, Cuban music will continue to spread and transform, blending tradition and innovation in exciting new ways.

Ultimately, the story of Cuban music isn’t just told in words; it’s expressed in the clave, the call of the trumpet, and the pulse of the congas. It’s a history that demands to be heard.

If you’re ready to experience this rich soundscape, I’ve put together a playlist to guide your journey. Let the rhythms transport you from the streets of Havana to stages across the globe.

Experience the Music on Spotify: https://open.spotify.com/playlist/2uvhx55BpN4foz5D6WFokH?si=b199779b7ce94ea0

“Mambo 2004” was originally written in 2004 for the Cuban Masters Series by myself and Jiovanni Cofiño, and recorded in Havana at Radio 2. The video was out for a while, and if you’d like to watch it on YouTube, you can find it here.

Featuring:

• Bass – Jiovanni Cofiño
• Piano – Emilio Morales Ruiz
• Tres – Leonel “Guajiro” González
• Guiro – Yanel Yanes
• Congas – Gilberto Noriega
• Timbales – Yoel Martin Rodriguez

Listen Now: Stream/Download Mambo 2004

I assume this was in 1998. It’s a whose who of Cuban music celebrating Compay’s 90th birthday. 

Probably at Teatro Nacional.

In this episode, I dug up yet another old class I took in Havana, Cuba with Olavo Alen Rodriguez discussing cha-cha-chá and it’s origins.

This was likely recorded on a very bad DAT or Cassette recorder but it is what it is. Hopefully there is some use for you. I did my best on the transcription. If you have corrections or suggestions, let me know.

Transcript

– Do you think that it was because of the influence of American genres?

Some think like that, I don’t think so, I don’t think so. Others think that it was a phenomena, a cure because when they started to play here on this middle section, pieces of classical musical/famous songs or more recently from movies or something. You know, Singing in the Rain things, you could play any.

Dance to danzon which has stars and stripes forever, played by Aragon orchestra in the 50s. Because somebody, a visitor came from the states and- And the best point about that was that it wasn’t easy to make another song because you simply took parts from different words and you put them together.

So what mainly, if you’re playing a ballroom and you need to play a lot of danzon, you know you don’t have time for writing. They composed eight bars for the introduction. So the B section was a multi-sonata and now this 8 bars again and now this was B concerta and so on. And this was the easy way of destroying that song. That’s what some of musicians think. I’m not quite sure of that.

But anyway, what really happened is that above the 40s, up to the 50s, about 1956 or something like that, let’s say up to the first half of the 50s, no longer danzon were played so much and cha-cha-chá was born. So we can say it’s in the same line. Now cha-cha-cha, yeah?

– I got something, you know with danzon, especially in this charanga francesa instrumentation it sounds so gentile. Charanga genres that were orchestrated in real life, danzon was orchestrated in 19th century.

– It is.

– It is somewhat old fashioned and so antique and so gentile. It seems to me historically that, you know I just, it’s from another time-

– Yes it is.

– It has feudal overtones.

– Yeah that’s right.

– So did you say that cha-cha-chá came out just from danzon?

– No. No, because look charanga francesa is an orchestra, danzon is a style of music. We’ve been talking about different themes here. But not exactly is a result of danzon, what I mean is of the same line, you know. That’s why we played them on the same crew.

Cha-cha-chá was born when danzon died, something like that. And it was played by the same orchestra which is the name of Orchestra Charanga Francesa So that’s why, it came about as a result-

– Do you know how the word charanga came?

– Yes, I’ll walk you down there. Charanga and pachanga- Charanga, these are two words I think, in the average line anyway what it’s supposed to mean, charanga is the way of playing and dancing and dancing music. And pachanga was the party.

So if somebody says I’m going to make a pachanga it means he’s going to make a party where a charanga is playing pachanga and so on. So and some thing like that, it’s very complicated. It’s very complicated. But anyway, that’s the name.

In French, most musicians don’t agree but why French? Nobody knows exactly. There are some opinions I have read in some books, why French?

Maybe because of the contradanza. It changed directly from contradanza which came from French influence.

Maybe that’s the reason why charanga and francesa, maybe in Cuba anything can happen, maybe because it was so gentile they called French you know perfume and… anything can happen Yes.

– Who did play at the orchestra son montuno ‘cause that was done by the peasants and danzon was for the upper class-

– Exactly.

– When did that happen?

– No, it had from the very beginning. It’s very interesting. That’s a very interesting question because yes, you see that’s the thing about Cuban culture. It’s such a big mix.

Nobody expects that some style of music can bond with a musical form and with the mix of different social elements and environment. Even more further than that in this question, you’re asking if we go further on, no there were even racial differences.

Not only, I mean, we were speaking about a time where the Negroes were were not allowed in the saloon, you know where white people were clients. Can you imagine that? Most of the people who trained danzon were mulattoes.

So how did that happen, nobody knows. It’s Cuba you know, it’s just- It’s very funny, it is. But that’s interesting because it’s a rare example.

Now I’m trying to go to cha-cha-chá and no more questions here?

He speaks Spanish and he’s trying to, understand in English.

El problema era que muchos musicólogos dice que el danzon desaparecida…

Okay so cha-cha-cha. I want you to hear an example of cha-cha-cha but first I think you’ll be happy with the first cha-cha-cha written by Enrique Jorrin.

I want you to feel the similarity to danzon. There was a development of danzon, a last development which is considered the ending of danzon which was danzonete. Also born in Matanzas, they are very proud of their music, danzonete which means a slighter, smaller form of danzon.

Danzonete, as everything in Cuba, this is a French word. You know danzonete. And danzonete was mainly the same danzon but the difference was that they included a singer in the center section, a singer.

And son montuno, they made it, I mean they shortened it, the whole danzon, and made a bigger C and a bigger D so son montuno. Also the son montuno had a different style of making music. Let’s hear, you can hear where- Not many danzonetes were composed, so basically most of musicians considered this was the final, the end of danzon.

– What year is this?

– 1929. Was the first danzonete

– By Aniceto Diaz. Composer Aniceto Diaz That’s how we play nowadays the charanga Okay, now I think that, yes-

– 1929?

– The danzonete was 1929.

– The recording’s from 1929?

– No I don’t know if the recording is 1929. No,

– Sir, I had a question.

– No, I don’t know. I know the recording is a very old one but I’m not sure, the date is not written on the recording. But the music was from 1921.

– Maybe they composed it in-

– Yeah in Cuba. Now let’s listen to cha-cha-cha okay, I think it’s clear. When you hear separately, you can’t really tell. But when you hear together, it’s the same orchestra. It’s the same instruments This is just a verse cha-cha-chá 1951, first cha-cha-cha La engañadora by Enrique Jorrin.

– But that’s 20 years-

– Second section excuse me. So introduction, 2nd verse, but it’s no longer so clear. So a 20 year timespan between the last danzon and cha-cha-chá

– But danzones were very played up to the 40’s There was about 20 years where danzones weren’t played Until the first of… That means 1941 to 1961 it was just about.

So we have another section here So if you hear, danzon is still somewhere there. And you’ll hear son muntuno, very cool. A section again Now, son muntuno. “La Enganadora,” the words, the lyrics are very funny. A lady who uses, you know she wants to make me that she’s She puts herself as a, I don’t know how you say it,

– Star. and she used to go to Prado and ??? streets

– Where everybody all the men were on the corner, you know what I mean. Walked in front of everybody and somehow somebody discovered the secret and that’s why la enganadora means, engano is-

– [All] Deceiver.

– The deceiver, that’s right, enganadora. And nobody believes her any more, the enganadora, because everybody knew them.

I think (it’s time for) another cha-cha-cha. Because there is a final attempt that I want you to hear. Emiliano Salvador. Playing contradanza in a modern way So this is a nice example because it brings the entire history back to the very beginning Played by a very famous jazz pianist He died very young I think he was a genius Emiliano Salvador.

– He lives in Cancun?

– No, no, he died.

Okay so, I think we did it because I wasn’t expecting to have time to…

1. I am going to make a sample library with them and,

2. I wanted some patterns I could use not only to demonstrate the samples, but to have “human” feel midi grooves.

It was a long session, but we got a lot done. I focused on percussion that was unique and probably not really available anywhere else. 

I have many notes, and will probably release these as single instruments in Kontakt, SFZ, EasySampler, and, if I can figure it out, VST3. LOL.

What I have so far. All multiple samples and velocities. The patterns will be an addon, but who knows what the “founders” special will be

Please excuse the images (these will be updated when my graphics guy fixes them), and the examples (no real mixing, so you are hearing them pretty much as recorded).

Bata: Recorded with one mic on each side. Iya, Itotele, and Okonkolo, plus boca (high side). Pattern is Oggún.

Quijada: This was recorded with a close mic and an overhead. Patterns include a Cuban style and a Peruvian style.

Quijada with Son Montuno

(Pans) Saltanes: These are from Brazil and I recorded the low and high “saltanes” with both close and overhead mics. Pattern is included

African Bell: Robert picked up this bell during his studies in Ghana. It includes close and overhead, muted and open notes.

Abacus: Yeah, well nobody probably has this. It made him a ton of money back in the studio days in LA. Yes, it’s an abacus, and includes forward and backward hits. Plus a groove.

Dominican Clave: How many of you knew this even existed? There are multiple samples and a typical pattern.

Shell (Caracol): From Oriente de Cuba, this is used in Oriente (Gaga), Haiti (rara), Mexico. I have a short, long, and longer “call”. Why a call? In Haiti this is used in the Call of the Slave traditionally.

Updated 2022-12-12 fixed audio and images

This was likely recorded on a very bad DAT or Cassette recorder but it is what it is. Hopefully there is some use for you.

Transcript

Alen:

Okay. Now, we can begin speaking about Cuban Masters Series – Cuban Tres
. The thing is to know where it came from, very generally speaking. Now, son … I would like to explain some things that there is a lot of confusion about. When was the first … when did … son was born. And also there is a lot of mistakes that very recently Cuban historians and people who dedicate themselves to gather this information have discovered there’s a lot of mistakes on books written many years ago.

Alen:

Maybe you have heard that the first Cuban Son was something like El Son de la Ma Teodora. This is very common. You can hear this everywhere, El Son de la Ma Teodora. Son de la Ma … This means mother, Mother Teodora, La Ma Teodora. It’s called … It says nobody can actually say which is the exact date for the birth of son but during a very large period of time, history … the Cuban historians said that it … There was a document published in 1893 by Laureano Fuentes where he said that this Son de la Ma Teodora was the first son. It was composed by two sisters, Micaela and Teodora Gines. These were the two sisters. They were two nuns. Teodora was the one who wrote this song or anyway one of them two … The two sisters wrote Son de la Ma Teodora. So they say this happened as far away as in the 16th century. Good.

Alen:

Nowadays, we know this is a great mistake because what is important to know is that Cuban nationality and Cuban culture only was born on the second half of the 18th century. Before that there was no Cuban culture. So this is a big mistake. And now, what we … most of the people who do research, they say that they doubt that Son de la Ma Teodora existed at all. They think that this was a mistake by Laureano Fuentes taking a tune of last century … that was last century that sounded in some ways a variation of [inaudible 00:03:05]. He made a mistake. Even they felt that Teodora Gines ever existed herself. Yet, nothing is for sure. I say because you are going to be reading a lot of books and maybe even in, I don’t know, movies and things, this Son de la Ma Teodora. Now, we say it’s not true.

Alen:

Now, the real truth is that son begins in the countryside and very specifically in the mountains. This is one thing in theory. Another one is that they have a … It was born in many places of the country at the same time. But everybody agrees that this happened on the second half of the 18th century.

Alen:

And, now, we’re going to hear an example of son Sierra Maestra. Sierra Maestra is our biggest, highest mountains. And deep inside each woods, the mountains, these are recordings I’ve taken. It’s a party. It’s named nengon, nengon, nengon. Nengon is one of the names for son. You’ll hear there’s a … Changui is another name for a style of son and so on. So you can hear … That’s why son is a big group of different dances. Let’s hear this. Note how the transition from this African came to this. It’s very interesting. (music). It sounds African. [inaudible 00:04:48] the first son. [inaudible 00:04:56].

Speaker 2:

[inaudible 00:05:14]?

Alen:

No. It’s a tres [inaudible 00:05:17].

Speaker 2:

[inaudible 00:05:26].

Alen:

No. There is [inaudible 00:05:22].

Speaker 2:

[inaudible 00:05:27].

Alen:

Maybe [inaudible 00:05:33]. Note he says that when you hear the recording well you can hear [inaudible 00:05:36] also. Here it sounds very [inaudible 00:05:41]. Okay. We got to get a better recording [inaudible 00:05:49]. Okay. Okay.

Alen:

So, now, we have [inaudible 00:06:13] son. Now, son expanded to the whole territory in a very fast way. Not only through Cuba, it reached also Isla [inaudible 00:06:32]. It’s a small island we have. It’s part of Cuba. And also Santo Domingo and Puerto Rico also it reached. In this area the son have the musical form of a round dance. And it took from the Africans the solo and the refrain, the chorus.

Speaker 2:

[crosstalk 00:06:56]-

Alen:

And it mixed up … What?

Speaker 2:

That’s often referred to as call and response.

Alen:

Call and response. Yes, also. Okay. Call and response. But the call and response it can be made by two soloists.

Speaker 2:

So-

Alen:

So you have to have a solo and a group.

Speaker 2:

[inaudible 00:07:15].

Alen:

That’s the Africans.

Speaker 2:

Yeah.

Alen:

And also it got mixed up … what, with this alternation of solo and call. And it took the percussion instruments from the Africans and it took the guitars [inaudible 00:07:37], different types of string instruments, [inaudible 00:07:39] guitar and also tres, which is a Cuban version of the Spanish guitar. I’ll explain later what’s the difference. And we have, now, son. With all these mixings we have a new example of son. It’s very interesting this one. Now, we can hear the whole mixing. (music).

Speaker 2:

Seems exactly the same rhythm.

Alen:

But, now, we have the son [inaudible 00:08:09]. I think the examples are good. [inaudible 00:08:45]. Okay. [inaudible 00:09:57]. Now, of course, we have two choices because unluckily we need more time because I’m trying to do today son and danzon at least, because we have five groups, as fast as we can. Now, what is [inaudible 00:10:17]? The rest of it, what is now the more modern examples. After this, you can begin speaking about Benny More. You can hear Ben More. I have some examples. But we don’t have time. We don’t have time. But I think it’s already an introduction to son, I think. So what I suggest is to skip to danzon now, to do the same, to do the same just to … Now, danzon-

Speaker 3:

I have a question now.

Alen:

Yes.

Speaker 3:

Can you just explain how this kind of tumba developed, what you can hear on this recording in son?

Alen:

That would take … I know. I know. That’s what I do on piano lessons. Because if we do that you see tumba is quite different on each instrument. So I think tumba … It’s a question that is better solved on the instrument classes.

Speaker 2:

Yes. Also-

Alen:

Because it’s not the same tumba on guitars and in piano and so on.

Speaker 4:

[inaudible 00:11:18].

Alen:

But we can do that in some moment. But really it will take … It would take a lot of time. I don’t think-

Speaker 2:

Also [inaudible 00:11:25] concepts, which is starting tomorrow, which is also [inaudible 00:11:29]. They explain a lot of that. [inaudible 00:11:31].

Alen:

The purpose of this is to make a general overview, you see. That’s what we’re trying to do, to gather things up and then we go through specifically.

Speaker 2:

You mentioned the different names for different subcategories of son, the nengon and the changui-

Alen:

Yes. Nengon, changui, for example.

Speaker 2:

Were those correspond to different-

Alen:

Sucu-sucu also, that’s another one.

Speaker 2:

… geographical areas?

Alen:

Yes. Yes.

Speaker 2:

And then-

Alen:

Sucu-sucu, for example, is Latinos. Nengon is on the eastern side of the country in Sierra Maestra, for example. Changui also on the eastern provinces.

Speaker 2:

Do they use different instruments in different areas?

Alen:

Also, they have different instruments depending on what are the instruments of the immigrations. Sometimes it’s a little bit more Spanish. Sometimes it’s a little bit more French. Because we have tumba francesa from Haiti. Even British from [inaudible 00:12:33] we have the people living here. It’s very [inaudible 00:12:37]. But, yes, there is [inaudible 00:12:39]. Now, the second [inaudible 00:12:43] …

Enjoy!

This was a band that was founded by “el tosco” Jose Luis Cortes. As far as I know, they did very few shows. If you happen to know the song titles, please let me know. 

Enjoy!