1

Latino Music
Chapter 11
 Tito Puente Biographical Notes
2
 Early Life
Born in the barrio of Spanish Harlem in 1923 to Puerto Rican immigrants.
Grew up there, absorbing myriad influences of trad. Puerto Rican music, Afro-
Cuban music, American popular song, jazz, big band swing, Western art music
 Musical Training
Learned big band drumming
Joined Machito’s orchestra – learned how to play Cuban popular rhythms
Acquainted himself with Afro-Cuban culture
Formally trained in Western art music (studied at Julliard); could fluently read
music
 Early Band Experience
Joined Machito and the Afro-Cubans in 1942
Drafted into U.S. Navy; played drums & saxophone with the Navy band
  Mambo King
Informal rivalry between Puente, Machito and Tito Rodríguez.
3
Began in 1949 with Pérez Prado’s first big hit, “Mambo #5”, launching the so-
called mambo craze of the 1950s.
Epicenter of all this was the Palladium Ballroom in New York City
 Original “Oye Como Va”
His most popular song (originally a cha cha chá)
From his 1963 album El Rey Bravo
 Santana’s “Oye Como Va” and Tito Puente
Released in 1970 on the album Abraxas; the album sold millions of copies
This is a rock-infused cover version that rose to #13 on the Billboard rock chart -
it far surpassed the popularity of the original.
Tito Puente made more money (far more) thanks to royalties from Santana’s
cover than he did from any of his own recordings. It also revitalized his career
at a time when Latin music in general (and Cuban music particular) was on
the wane.
  King of Salsa
Salsa was a 1970s New York “invention” of an Afro-Cuban dance form that is
4
virtually identical to son. Salsa was something of a marketing gimmick to
create a phrase that was more catchy than saying “Latin dance music”.
Puente was reconfigured as the “king” of salsa; he didn’t have much use for
the term but he recognized its promotional value!
 Puente as Pan-Latino icon
Pan-Latino identity: recognizing uniqueness of different Latino nationalities and
cultures while building bridges between them.
Puente was held up as a unifying symbol: Puerto Rican, Newyorican, master of
Cuban music, innovator of Latin music, musical traditionalist (remember his
Julliard training?), musical experimenter, entrepreneur, WWII veteran.
 Later Years
Although he inspired other musicians and activists to politically engage,
Puente was not very politically active.
Musically, he continued to adapt to each era. His music took on a more
multicultural than a nationalistic course
 The Roots of Latin Dance Music
5  Briefly discuss the early history of Spanish colonization of Cuba.
Columbus and Spanish fleet land on island, 1492
Amerindian people, such as the Taino, are all but wiped out during conquest
Spanish settlers began arriving in Cuba in 1511 and established large sugar
cane plantations. They forced African slaves, an estimated 5,000,000 in all, to
work the plantations. Majority were either Yoruba or Congolese. Most arrived
between 1790 and 1860 (much later than counterparts in British colonies).
 What two types of traditional, neo-African music developed in Cuba?
ritual drumming associated with Afro-Cuban religion of Santería
traditionally performed on a set of three drums (low, medium, high pitched)
called a batá. Stringed bells are attached to lowest-pitched drum. Style of
playing is intricate, interlocking, complex polyrhythms. Lead drummer
improvises, other two drummer play ostinatos
 secular, social dance music of traditional Cuban rumba
also uses set of three drums (low, medium, high pitched) played in a complex,
6 polyrhythmic style. Modern conga drums are descendants of the original
rumba drums (ngoma). Claves play the characteristic rhythms, singers perform
call and response and there is usually dancing. Turn to p. 224 and listen to the
following four clave rhythms.
 How did these forms influence the development of Latin dance music?
Santería promoted a flourishing of neo-African music in Cuba. Rumba,
particularly with the clave rhythm, established the foundation for most Cuban
dance music.
List the characteristic features of rhythm, form, and instrumentation in each and
compare/contrast the two styles.
Santería example
Rumba example
 Define creolized dance-music styles.
blending of musical elements of Spanish and West African derivation
  Identify and describe several major dance-music forms.
Contradanza (no description)
7
Danzón: essentially becomes the national dance of Cuba and eventually
evolves into the Danzón-Mambo (a highly Afro-Cubanized version of the
original danzón) and the Cha Cha Chá. The cha cha chá was actually
created to appeal to non-Cuban dancers, especially Americans, since it was
easier to hear/feel the beat and its tempo was a bit more relaxed.
 Discuss how these creolized dance-music styles became important symbols of
the emergent Cuban national identity.
This music’s popularity grew at the same time that anti-Spanish rule sentiment
was growing. The music symbolized an identity in which whites, blacks and
mulattos all had a place. The fact that this music was becoming
internationally popular was also a tremendous source of pride.
 What is the instrumentation of the charanga ensemble that typically performed
danzón music?
wooden flute, two (or more) violins, piano, string bass, guiro, pair of drums
(forerunners of the modern timbales). Maracas were also often used.
  Which elements of Afro-Cubanization were present in the danzón-mambo?
Include discussion of instrumentation, rhythms, textures, etc.
8
Use of conga drums, complex and syncopated rhythms, layered ostinatos
(within the mambo sections, violins would play ostinato figures along with
traditional rhythm instruments) Soaring, improvised flute solos were another
element.
 How did these influence later styles of music and ensembles?
directly influenced the most successful and influential Latin dance-music
phenomena of the early 1950s, big band mambo and cha cha chá.
 Musical Guided
9
Tour

 Latin Percussion Rhythms of the Cha Cha Chá, 227

 Audio Musical Guided Tour

 “El Bodeguero,” Grupo Cimarrón de Cuba
10
 Listen to a contemporary version of Jorrin’s “El Bodeguero,” noting use of
these clear rhythms, moderate tempo, and use of singing.
 Big Band Mambo
11  Big band instrumentation
Adopted/adapted from model of American big band swing and jazz. Typical
lineup included 2 to 5 players each on trumpet, trombone, saxophone; plus
piano, bass and 3 or more percussionists (with singers possibly, depending on
the arrangement). Percussion section features 3 types of drums used in Cuban
son bands: timbales, conga drums, bongo drums, as well as other Latin
American idiophones (cowbells, claves, güiro, maracas, etc.)
  Musical texture featuring layered ostinatos throughout the band
All instrumentalists were assigned short, recurring patterns (ostinatos, or riffs),
12 repeated over and over, often with variations, layered one atop the other during
the course of a mambo arrangement. Reflective of earlier Cuban son and
danzón-mambo styles – created a tight, composite rhythm
 Driving, Afro-Cuban percussion rhythms
Syncopated, interlocking rhythms, all growing from the root rhythm of the clave;
reflecting the characteristic Cuban rhythmic styles of rumba and son.
 Jazz influences
Reflected in harmonies (chords and chord progressions), rhythms, and
arrangements of mambos, as well as highlighting of extended, improvised
instrumental solos.
 Fast tempos and highly energetic playing
Mambos tempos were upbeat and music was exciting, energetic and eminently
danceable (though not easy to dance to)
 Absence, or at least limited use, of singing
Little emphasis on singing and song texts (unlike the son). Any singing that existed
usually consisted of short, often meaningless vocal interjections. This enabled
mambo to appeal to Latino and non-Latino audiences alike.
 “Sambia,” Machito and the Afro-Cubans
13 0:00 - 0:19 Jazz-inspired introduction
0:19 - 0:26 Saxophones present a riff
0:27 - 0:35 Saxophones repeat it with trumpets and trombones “answering”
phrases in call-and-response fashion
0:36 - 0:52 Intricate texture of layered riffs created by saxes, trumpets and
trombones together

Tito Puente: “Mambo Gozon” https://www.youtube.com/watch?v=Un5vmaN3LMM

Comparisons
 “Sambia” vs. “El Bodeguero” - note differences in rhythmic features and
instrumentation.
 “Sambia” vs. “Amapola” by Xavier Cugat - Do you agree or disagree with the
categorization of Cugat’s sound as “watered-down”? Why or why not?
 How does “Babalu” by Desi Arnaz compare to these other works?
 “Oye Como Va,” Tito Puente
14  Discuss the multicultural upbringing and eclectic musical background that
shaped Puente’s identity.
Discussed at beginning of chapter study.
 Describe the role of the Palladium Ballroom in the development of Latino music
in the 1950s and 1960s.
The major bands played there, battling for supremacy as each tried to
outdo each other. The other very important role the Palladium played
was in multicultural interaction. In a time of segregation, the Palladium
was a place where ethnic and racial barriers melted on the dance floor.
 Although “Oye Como Va” may be considered a cha cha chá, what
characteristics differ from the standard cha cha chá as described earlier in this
chapter?
Slightly faster tempo; funky, syncopated rhythm; big band instrumentation;
minor key; harmonized vocals
 “Oye Como Va,” Tito Puente
15  Clap or chant the underlying rhythmic ostinato “by ear” or by using
the representation below: Take care to match articulation.

 Clap or chant the signature unison figure

 “Oye Como Va,” Tito Puente
0:00—0:45 Syncopated organ riff over straight cha cha chá rhythm (played by
16 Introduction sticks & hand claps)
(instrumental) 0:15 - Full percussion section (playing cha cha chá rhythm) and horn
section (doubling organ riff)
0:23 - Flute takes main melody (charanga-esque)
0:38 - Signature unison figure
0:46—1:04 “Oye Como Va” tune sung by group of male singers (unison/harmo-
Singing of main tune, nized vocal texture;
1st time 1:01 - Partial return of signature unison figure
1:05—1:55 1:05 - Sax riff
1st mambo section 1:20 - Trombone riff
(Mambo I) 1:36 - Trumpet riff
1:51 - Another partial return of signature unison figure
1:56—2:18 As before, but ends w/big instrumental crescendo (2:11) leading up to
Singing of main tune, 2nd mambo section
2nd time
2:19-End More syncopated and complexly related horn riffs than in Mambo I;
2nd mambo section building intensity. Flute, vocal shouts, and whistling create partylike
(Mambo II) atmosphere.
3:06 - Excerpt concludes with full statement of signature unison figure
 “Oye Como Va,” Santana
 What are the basic musical features of Puente’s “Oye Como Va” (1963) that remained
17 intact in Santana’s recording?
• The “Oye Como Va” tune itself
• The key (A minor)
• The tempo
• Simple on-line, Spanish-language song text
• Singing style (unison/harmonized vocal texture; group of male singers)
• Underlying cha cha chá groove
• Basic sequence of the arrangement
 Identify areas in which Santana’s version differs from Puente’s.
• Absence of solo flute part and horn section - both are essentially replaced by and/or
absorbed into Carlos Santana’s rock- and blues-inspired electric guitar playing.
• Embellishment of the traditional cha cha chá rhythmic groove with rock-style
drumming (played on drumset)
• Prominent role of Hammond B-3 electronic organ as a solo instrument and the heavily
rock- and blues-influenced style of the improvised organ solo
• Substitution of the horn riff-dominated mambo sections of the Puente original by
improvised electric guitar and Hammond B-3 organ solos in the Santana
arrangement.
 “Oye Como Va,” Santana
18  Review: Clap or chant the underlying rhythmic ostinato “by ear” or
by using the representation below: Take care to match articulation.

 Review: Clap or chant the signature unison figure

 “Oye Como Va,” Santana
0:00—0:37 Opens with standard “Oye” organ riff (as in Puente original), but Hammond B-3 organ
19 Introduction timbre is quite different; no clicked stick/clapping groove; bass part is more
prominent.
0:08 - Standard cha cha chá groove established with percussion entry; no horns.
Opening flute melody is played on electric guitar (by Carlos Santana); bluesy
embellishments give music a different character.
0:30 - Signature unison figure
0:38—0:56 Singing is similar to Puente original; vocal timbre is different
Singing of main tune, 0:53 - Partial return of signature unison figure
first time
0:57—1:44 Electronic distortion enhances basic timbre of instrument
First improvised solo Replaces 1st mambo section of the Puente original
(electric guitar) Though horn section is absent, Carlos Santana’s guitar solo is built mainly from lines
adapted from the original Puente horn riffs; bluesy riffs are added at ends of phrases.
Percussion instruments played more freely here than in Puente original and has more
of a rock feel, though the cha cha chá groove still rules
1:45—2:07 Return to opening organ riff
Interlude/Transition # 1 1:53 - Contrasting section: very different mood & style
2:04 - Dramatic crescendo
 “Oye Como Va,” Santana
2:07—2:47 Played by Gregg Rolie; distinctive timbre of Hammond B-3 is quite noticeable
20 Second improvised solo Replaces 2nd mambo section of Puente arrangement
(Hammond B-3 Rolie immediately rips into a heavy, rock- and blues-style solo that takes the piece far
electronic organ) from its Latin roots and into new musical territory.
2:48—2:58 Shorter than first Interlude/Transition section
Interlude/Transition #2 2:56 - Partial return of signature unison figure
2:59—3:21 Sung as before
Singing of main tune, 3:14 - Singing followed by an extended crescendo build-up
second time
3:22—End Begins like the first solo, but then ventures further into rock-blues; as solo progresses,
Third improvised solo Santana fluidly shifts back and forth between Latin, rock and blues styles, effectively
(electric guitar) blending the disparate stylistic elements.
4:06 - Full signature unison figure
 Building Pan-Latino Identity Through Music
 How did Puente respond to the overwhelming success of Santana’s recording of “Oye Como Va”?
21  How did the success of Santana’s “Oye Como Va” rekindle interest in, and the commercial viability of,
Latin dance music? What impact did this have on the career of Tito Puente?
 How did the rise of salsa reinvigorate the career of Tito Puente? What was his opinion of the term
“salsa”?
 Where did salsa music originate and what were its musical roots?
 Discuss the musical and social legacies of Puente, Santana, and the song “Oye Como Va” as they
relate to the rise of pan-Latino identity. Include political and social activism and the spread of pan-
Latino identity to diasporic Latino communities.

 Describe the joining of musical artistry and sociopolitical activism embodied in the
work of Panamanian musician, lawyer, actor, and politician Ruben Blades.
Has parlayed his entertainment fame into political capital. He describes his music
as “thinking persons’ dance music”, as much of his lyrics include insightful social
commentary. In addition to appearing in TV shows and film, he has run for
president in his native Panama and served as that nation’s minister of tourism
(2004-2009). He has a master’s degree in international law from Harvard and has
earned eight Grammy awards and five Latin Grammies. He received the Harry
Chapin Humanitarian Award in 2011.
 “Oye Como Va,” Tito Puente Jr.
 Name several of the contemporary styles Tito Puente Jr. blends with mambo, cha
22
cha chá, and merengue to create the sounds of Latin Dance.
Pop, rock, hip-hop, techno, Latin pop
 How does Puente Jr. transform the rhythmic groove and other features of his
father’s and Santana’s versions of “Oye Como Va”? Identify specific instances of
synthesizing and digitally altering instruments and rhythms.
Replacing original instruments (trad. Latin percussion instruments, mambo horn
section, Hammond B-3 organ) with synthesized or digitally sampled versions
Cha cha chá groove is embellished with off-beat eighth-note rhythm; it then
undergoes more manipulations in a more funky and technoesque direction
A new melody is added as a counterpoint to the original main tune
 “Oye Como Va,” Tito Puente Jr.
0:00—0:06 Begins with standard “Oye” riff, this time in the form of a heavily
23 Introduction processed digital sample of the Santana Hammond B-3 organ (this
version is a half step lower than the original & Santana versions).
Electronically processed güiro timbre, with other digitally sampled
and synthesized Latin percussion sounds
0:07—0:24 Standard singing style; electronically enhanced cha cha chá groove
Singing of main tune, (esp. from 0:15)
first time 0:22 - Partial statement of signature unison figure
0:25—0:43 Melodic material from horn riffs of Puente, Sr.’s original version (with
First Mambo Section some bluesy embellishments à la Santana); shorter, simpler riffs and
use of synthesizer timbres in place of actual horns.
Partial statement of signature unison figure
0:39-0:43 - Call-and-response vocal exclamation “Everybody say
WHOA-paaa!” laid over top as groove continues underneath
0:44—1:05 Off-beat electronic hi-hat cymbal rhythm (like at 0:15) fortifies cha
Singing of main tune, cha chá groove; some solo timbales improvisation
second time 0:58 - Return of signature unison figure
 “Oye Como Va,” Tito Puente Jr.
1:06-2:17 Cha cha chá groove radically transformed by funky, electronic
24 Funk/cha cha chá percussion/bass groove
section 1:19 - New melody (“Ritmo Latino”) introduced by female vocalist,
La India
1:35 - Funk/cha cha chá version of “Oye” melody; syncopated
interjections by La India between phrases
1:49 - Mambo-like riffs from synthesized “horns”, male singers; La
India continues
2:04 - Short, improvised timbales solo
2:11 - Signature unison figure
2:18 Contrast New bass synthesizer ostinato
2:25 Main tune Heavy, steady-beat bass drum pattern under return of main tune
2:33 - Brief texture change
2:44 - end Improvised timbales solo (Tito Puente, Sr.)
Music builds to climactic unison ending, based on crescendo
build-up heard in original and Santana versions.
 Whirlwind Survey
25 Brazil
 Portuguese
 Samba
 Diverse styles, all with African musicultural roots
 Common features:
 Percussion instruments
 Driving rhythms
 Polyrhythmic textures
 Call-and-response
 Improvisational elements
 Samba-enredo (theme samba) – Carnaval, Rio de Janeiro
 https://www.youtube.com/watch?v=kTc3pv7d5vY
 Batucada
 https://www.youtube.com/watch?v=jQLvGghaDbE
 Bossa Nova
26  South Zone of Rio
 Mainly middle-class, white
 Samba from favelas surrounding city
 Antonio Carlos (Tom) Jobim, Joao and Astrud Gilberto, Stan
Getz
 1964—Getz/Gilberto – “Girl from Ipanema”
 Batida guitar style (Gilberto)
 https://www.youtube.com/watch?v=c5QfXjsoNe4

 Laid-back vocals influenced by Frank Sinatra, Sarah

Vaughan
 Paul Desmond Quartet “Wave” (Jobim) -- 1974
 Cannibalism
27
Post-1964 “period of crisis” in Brazil
Military coup and subsequent totalitarian regime (US
supported)
Beatlemania/British invasion
Cannibalist Manifesto (Oswald de Andrade – 1928)
 Lorraine Leu: Manifesto “attacked both a purist view of national
culture and wholesale imitation of foreign models….advocated a
selective devouring of elements of foreign culture which would then
be absorbed and transformed into Brazilian cultural products.”
 The "Manifesto" has often been interpreted as an essay and it is said
that its argument is that Brazil's history of "cannibalizing" other
cultures is its greatest strength, while playing on
the modernists' primitivist interest in cannibalism as an alleged tribal
rite. Cannibalism becomes a way for Brazil to assert itself against
European post-colonial cultural domination.
 Tropicália
28
 One musical outcome: tropicália
 Caetano Veloso, Gilberto Gil
 Veloso: “By using electric guitars in melodic compositions with elements of
Argentine tango and African things from Bahia, we assumed a posture of
‘being-in-the world’—we rejected the role of the Third World country living in
the shadow of more developed countries.”
 Os Mutantes -- “A Minha Menina”
 Mini-documentary:
 Argentina
29
Tango
 Argentina (Buenos Aires), Uruguay
 Dance: “vertical expression of a horizontal desire”
 Emerged in the tough, poor, ethnically mixed port district of
Buenos Aires among the porteños.

 “Golden Age” of tango, 1920s-30s

 Carlos Gardél “Cuesta Abajo”
 Nuevo Tango
30  Astor Piazzolla
 Bandonéon
 Perfomed with Gardel, etc.
 Studied composition in Paris with Nadia Boulanger
 Nuevo tango style: tango, jazz, new music synthesis
 Yo-Yo Ma group performing Piazzolla’s “Libertango”

“Whiskey”

 “Libertango” – Moscow Philharmonic, tango dancers

 Andean Panpipes
31  Andes: Peru, Bolivia, Ecuador

 Ayllu performance, jula jula, Bolivian Andes

 Folkoric – “Ratita” Ukamau

 Andean folkloric/pop: “El Condor Pasa”

 Simon & Garfunkel “El Condor Pasa/If I Could” (Los Incas) [“I’d Rather
be a Hammer…”]
 Mariachi
32 “Cielito Lindo”
Stereotyping (Frito Bandito)
Mariachi in Los Angeles
Mariachi Los Camperos de Nati Cano

Linda Ronstadt Canciones de Mi Padre

 Steel Band
33  Trinidad and Tobago
 Steelpan (pan, steel drum, steel band)
 55-gallon oil drums
 Afro-Trinidadian innovation (post WW II)

 Carnival
 Like Carnaval in Brazil, associated with Pre-Lenten celebrations (also
Mardi Gras, New Orleans)
 Panorama competition
 A Synthesis of Ideas
34
 “Missa Criolla” by Ariel Ramirez
 Ramirez, prolific composer from
Argentina, wrote this work in
1964
 Combined folk elements of his
native Argentina with Andean
music and European classical
traditions.
 Text is in Spanish, rather than
the traditional Latin
 Uses instruments indigenous to
Latin America, as well as
instruments adapted to Latin
American folk music