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Guide to Salsa Music: A Brief History of the Salsa Genre

Written by MasterClass

Last updated: Nov 2, 2021 • 3 min read

Salsa can be a blanket term to describe the dance music that comes out of Latin America and the Caribbean, but more precisely, salsa music is a Cuban-influenced genre created in New York City in the 1960s.

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Salsa Music History, Part1: Introduction

I think you’ll find it interesting to retrace Salsa music’s steps starting some 50 years ago. In this blog series I’ll cover the evolution and different challenges Salsa has faced, and how I believe it survived them.

I’ll be retracing those steps back from the 50’ and 60’s until today. This will be a 7-part series of Salsa music blogs, starting with this introductory one. I originally published these blogs in 2009, when I was starting Latino Music Café. I’m now editing and re-publishing them. I hope you find them entertaining and informative.

Salsa Music: Definition

The term Salsa may mean different things to different people. Therefore, let’s define the term for the purposes of this Latin music blog series:

Salsa = term used to described the rythms mostly from Cuba and Puerto Rico, mixed with the enhanced brass (wind instruments) elements of jazz. It referes mostly to the rythms of guaguanco, son, son montuno, guaracha, rumba, bomba and plena. I’ll exclude “merengue” and keep this rhythm as its own musical genre.

My attempt here is not to correctly define the term ‘ Salsa “, but to use it in its most popular way. The great Venezuelan Latino music writer Cesar Miguel Rondón, in his book “El Libro de la Salsa” traces the origin of the popularity of the term to the mid 1970’s.

I beg to differ from Rondón and many others that agree with him. But I found that by that time the term had been well coined for a while. As an example, when Willie Colón recorded the album “Asalto Navideño” in 1971, he had a song titled “Traigo la Salsa” . This shows that the terms was mainstream by the early 70’s.

Rolling the clock back to the mid 60’s, In Venezuela Federico y su Combo came out with their debut album “Llego la Salsa” (1966).

Continuing further back in time, in New York Charlie Palmieri released an album titled “Salsa Na’ Ma'” in 1963. Charlie classified the title song as a Son Montuno . Palmieri followed that album with another titled “Salsa y Charanga” .

Further back in the 1930’s, the Wikipedia says that the great Cuban musician Igancio Piñeiro composed the song “Echale Salsita” . The term referred to putting some spice to tasteless food, but also implying to his band to spice up the music to “put the dancers in high gear” .

It also cites that in the 1930’s, vocalist Benny Moré would shout “salsa” during a performance “to acknowledge a musical moment’s heat. It expressed a kind of cultural nationalist sloganeering [and to celebrate the] ‘hotness’ or ‘spiciness’ of Latin American cultures.”

Here’s an 8-minute video that covers the origins of Salsa . This blog series will take it from there.

Salsa ; the Controversial Term

The term has been controversial ever since it came to use. According to the Salsa music Wikipedia, Rubén Blades once claimed that Salsa is merely “a concept” , as opposed to a definite style or rhythm. Meanwhile, Celia Cruz is quoted as saying that “salsa is Cuban music with another name. It’s mambo, cha cha chá, rumba, son … all the Cuban rhythms under one name” . However, Salsa goes beyond this, as it includes the addition of the rhythms from Puerto Rico and other Latin American countries, as I indicated above.

I can relate to Rubén Blades’ idea. Look, most experts and fans agree that Salsa is a combination of different rhythms. Therefore, Salsa cannot be a genre itself as rhythms can be combined in various ways. Before Salsa, albums used to indicate the type of genre of each song. Because you can have several of these within a particular Salsa song, that practice was discontinued.

Famous Puerto Rican disc-jockey and radio/TV personality Mariano Artau called Salsa a “way to make music” [..from the book “Salsa, Sabor y Control”, pg 87 by Angel Quintero Rivera; reference provided by Hector “Atabal” Rodriguez] . Artau’s description is closer to Blades’ “concept”.

Another characteristic of Salsa is that this “way of making music” includes three types of improvisations. One is the free mix of rhythms, which could be played simultaneously (poli-rhythmically) or sequentially within a song. The second, is the improvisation by an instrumentalist, like one of the drums, horns or piano. In some cases, even the bass. And third, the improvisation can come from the singer, who improvises within the sing and response (chorus) part of the songs.

For the purposes of this blog-series, we’ll be closer to Celia Cruz’s description. To Celia’s point, it is true that many Salsa songs are mere remakes of old Cuban songs and rhythms. Cesar Miguel Rondon would call those closer to the “typical” side of the Salsa spectrum. But then, there are those closer to the opposite side of the spectrum, the “orchestral” side. According to Rondon, bands like Eddie Palmieri’s “La Perfecta” fall into this category.

The Challenges and Evolution of Salsa Music

Afro-Cuban music had its climax during the 50’s and 60’s with the Big 3 of Machito, Tito Puente, and Tito Rodriguez in New York. The same occurred in Puerto Rico, Venezuela, and other countries. Rafael Cortijo y su Combo and El Gran Combo carried Salsa music in Puerto Rico around the same time.

However, since then, Salsa  music has had several key challenges to survive. In this blog series, I’ll cover the ups adn downs in the following blogs:

1. Salsa Music History, Part 2: Origins and Boom 2. Salsa Music History, Part 3: Fania All Stars 3. Salsa Music History, Part 4: Rock & Disco Threat 4. Salsa Music History, Part 5: Salsa Romantica 5. Salsa Music History, Part 6: Surviving Merengue 6. Salsa Music History, Part 7: Salsa Today

Part 2: Origins and Boom

The origins of the word Salsa began as early as the 1930’s. However, it was during the early 60’s that the “genre” began to take off as Latinos wanted something more contemporary to the old Cuban songs. By the late 60’s Salsa , as a new style of music, was firmly established.

In “Part 2, Origins and Boom” we’ll cover the development and boom of Salsa . I’ll cover how it developed in New York as well as in Puerto Rico. It then all merged with the Fania All Stars.

You can find a link to Part 2, HERE .

History of El Gran Combo: the 1990s

Salsa Music History, Part 2: Origins and Boom

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Tito Rodriguez: “Inolvidable” After 50 Years

Throughout the years the music has gone thru countless changes. If you take a beginning point anywhere in the 20th century, let’s say Danzon or Trio music for example, you’ll find that there is as strong fiber the connects it to the music as we know today. If one were to lay out a musical tree with Afro-Cuban percussive figures and European orchestrations as it’s base, one can actually make direct connections to the musical landscape today. The commercial aspect of the business has propelled musicians to become creative in ways that have left many of us latinos wondering, “what the heck is that?”. On the other hand, this same commercial animal has produced some of the best compositions as well. In the past there have been some trends, (Boogaloo, Merencumbe, Pachanga,) that have made an attempt to cash in on the music and then there is that sector, (Rumba, Seis Chorreao, Yambu, Cumbia, Joropo, etc), that have stayed true to it’s roots despite the money. Salsa music will never be limited to any single source, it is an art form unto itself, not unlike painting or sculpture. Salsa a true mixture of ideas and experiences that reflect our multi-ethnic melding of cultures. Salsa……what a concept!

Canuco; you are correct! There are music blends that were created for monetizing on a new trend. Those include the trends you identified in the 1st group (Boogaloo, Pachanga). The genres on the 2nd list are true folk music, and therefore driven by culture not by money. Like anywhere else, there is a little of everything. I believe Salsa was an accidental creation, kind of like penicilin or nylon. At the time, there was a need for taking the traditional latin rythms and giving them a Barrio sound and flavor. Rageatton was born very similarly. Lukcy for us, Salsa continued to evolve to improve its sound and maintain all its flavor.

Hi Hector, I liked the blog…. Was wondering if you ever watched the Palladium, where a few salsero Musician and Salsa Historians talk about how the word salsa came about.. I do agree that is was to commercialise it more monetary reasons in the States… Salsaludos from downunder Lati

Hi Lati, No, I never went to the Palladium. It was a bit ahead of my time, and I lived in Puerto Rico, not New York.

I’m glad you enjoyed the blog.

How is the Salsa scene in the land downunder?

i didn’t say go,, i meant have you seen the palladium, (the video) about salsa, its dancing and musics of that time.. es un video donde habla tito puente y eddie palmieri y muchos historians y nacho sanabria tambien chaufis Lati

Ohhh, no I haven’t seen it. 🙂 I’ll do a search for it. I’ve seen footage of the Palladium, but not a video named that way. The PBS Special “Latino Music USA” I believe had some footage of it.

Wow, El Sabor de Nacho – hace tiempo no me acordaba de esa banda.

Thanks for the tip!

I got it if you want the video. 🙂

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An Introduction to Latin Music: Salsa History

No discussion of Latin music is complete without the mention of salsa.

Salsa is one of the most influential and far reaching genres of Latin music, with huge popularity not only throughout Latin America and the United States, but also across Europe and the rest of the world. Skyrocketing to prominence in New York City in the 60s, at its core salsa is a fusion of traditional Cuban - predominantly son but also chachacha, pilon, and guaracha amongst others - and Puerto Rican styles such as plena and bomba with North American pop, rock, and jazz music.

This article will look at some syncretic Latin styles that came out of New York preceding salsa, before discussing some of the key musicians, bandleaders, albums, and songs that any Latin music enthusiast should know.

Mambo and Latín Jazz in New York City and Mexico City

While the term salsa didn’t become common until the 60s, there were many syncretic Latin styles which preceded salsa. An early example of this was Machito and his Afro-Cubans, a band led by Mario Bauzá who kick-started not only the New York mambo craze (not to be confused with the earlier Cuban mambo played by Israel “Cachao” Lopez) that came out of the 50s, but also the Cubop/Latin Jazz trends that followed. Mambo was a fusion of Afro-Cuban rhythms - driven by a percussion section consisting of congas, bongos, and timbales - and North American big band dance music. It was the first example of Afro-Caribbean instruments being used in a popular North American context and inspired a generation of mambo bands and musicians, such as Tito Puente and Tito Rodriguez .

However, New York wasn’t the only city paving the way in mambo music. In 1949, Cuban born bandleader Perez Prado moved to Mexico City and, with the help of Cuban born singer Benny More , started a mambo craze which would span throughout the 1950s. Mexican mambo was similar in many ways to New York City mambo, both were a fusion of Afro-Cuban percussion instrumentation and rhythms, with North American big band arrangements. However, the close proximity that New York mambo had to jazz musicians of the time meant that it had a more jazzy, improvised sound.

Machito also inspired a generation of Jazz musicians to incorporate Afro-Cuban percussion instruments into their music. Such musicians include:

• Dizzy Gillespie - Trumpet player who played with Cuban conguero (conga player) Luciano “Chano” Pozo and collectively wrote the well known Latin Jazz classic “Manteca.”
• Charlie Parker - legendary saxophonist who was a key figure in the development of bebop in the 1950s. Parker collaborated with Machito in the classic Cubop (Cuban Bebop) song “Mango Mangue.”
• Stan Kenton - pianist and bandleader who was influenced by Machito’s music and began incorporating mambo into his big band sets.

While the term mambo refers to the styles of music above, it can also refer to a specific section of a salsa song as well as a rhythm played on the cowbell. These will be discussed in more detail later.

Related :  Cuban Music: Rumba An Introduction

Key Figures

Below is a list of some of the most important figures in Latin-American music that preceded salsa.

• Xavier Cugat (1900-1990) - Spanish-American bandleader who played a key role in bringing Latin American music to a mainstream American audience.
• Machito (1908-1984) - Cuban musician and one of the pioneers of Latin Jazz. Was the first to gain popularity by fusing Afro-Cuban rhythms and percussion with American Big Band jazz arrangements.
• Mario Bauzá (1911-1993) - Cuban musician and bandleader who, like Machito played a key role in the development of Latin Jazz. Bauzá was bandleader for the band Machito and his Afro-Cubans.
• Israel “Cachao” Lopez (1918-2008) - Cuban double bassist and bandleader who is considered the inventor of the Cuban mambo. Cachao composed “Chanchullo” a song which would later inspire Tito Puente to compose “Oye Como Va.”
• Tito Puente (1923-2000) - American percussionist and bandleader of Puerto Rican ancestry. Puente was a key exponent of New York mambo music as well as Latin Jazz. His most famous composition was “Oye Como Va,” a song inspired by Israel “Cachao” Lopez’ song “Chanchullo” and his prolific career earned him the nickname “The King of Latin Music.”
• Tito Rodriguez (1923-1979) - Puerto Rican singer and bandleader who contributed to the success of New York mambo music throughout the 50s.
• Chano Pozo (1915-1948) - Cuban born conga player who famously composed “Manteca” with Dizzy Gillespie.
• Perez Prado (1917-1989) - Cuban bandleader, pianist, and composer who was the leading figure in the Mexican mambo trend of the 1950s.

Mambo later led to the popularity of other Latin fusions such as boogaloo, and it was the generation of musicians who were at the tail end of this movement that would help give rise to an exciting new style of Latin music, salsa.

The Fania Label and the Rise of Salsa

Just as soul music was driven by the success of the Motown label in the 1960s, salsa was driven by its own record label, Fania Records. While salsa was being played before Fania’s existence (though not by the same name), without Fania, salsa music would never have taken off like it did. Founded in New York in 1964 by Dominican composer and bandleader Johnny Pacheco and Italian-American lawyer Jerry Masucci, Fania was effectively a collection of the most influential salsa musicians of the time, all performing and releasing music under the “Fania” umbrella. Here is a list of popular artists on their roster:

• Willie Colón - Nuyorican (a New York-born Puerto Rican) trombonist, singer, and songwriter who rose to fame as a teenager through the success of his 1967 album with Hector Lavoe, “El Malo.”
• Ray Barretto - American conga player of Puerto Rican Ancestry. Unlike Colón, Barretto was an established name on the New York Latin music scene prior to the emergence of salsa, having played extensively with legendary timbalero and bandleader Tito Puente, as well as jazz musicians such as Charlie Parker. Barretto was a key exponent of boogaloo and pachanga.
• Celia Cruz - Cuban born singer known as the “Queen of Salsa.” Cruz left Cuba for the United States while Cuba was still controlled by the U.S. backed Fulgencio Bastista regime. After the Cuban Revolution of 1958, Cruz was forbidden from returning to her homeland by Fidel Castro, and thus became a United States citizen. As well as collaborating with Tito Puente, Cruz was also part of the Fania All-Stars supergroup.
• Ruben Blades - Panamanian singer and songwriter. Notable albums include the hugely successful 1978 collaboration with Willie Colón, Siembra .
• Hector Lavoe - Puerto Rican singer
• Bobby Valentin - Puerto Rican bass player who, prior to his career with Fania played with mambo musician Tito Rodriguez.
• Cheo Feliciano - Puerto Rican singer, composer, and percussionist. Feliciano played percussion in Tito Rodriguez’s orchestra prior to his success with Fania.

Fania All-Stars

While Fania was already an established label with many successful albums being sold globally, it was the supergroup Fania All-Stars that took salsa music to a new level. The Fania All-Stars were essentially a supergroup which enabled salsa fans to see all of their favourite musicians performing at once. They toured extensively through the Americas and the rest of the world. The All-Stars filled the New York Yankee stadium with a capacity of more than 40,000 and other huge stadiums and arenas all over the world, much like pop and rock bands do to this day.

In our next article, "An Introduction to Salsa Drumming: Rhythms and Applications," we will look at some of the let rhythms played in salsa, the makeup of a salsa percussion section, and how to apply these patterns to the drum kit in a less traditional context.

Between reading the two articles try to familiarise yourself with the music mentioned in this article, after all it was this music which inspired the creation of salsa.

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Important points about Salsa - Originated in the Caribbean, specifically in Puerto Rico and Cuba - The musical style “salsa” comes from combinations.

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salsa , hybrid musical form based on Afro-Cuban music but incorporating elements from other Latin American styles. It developed largely in New York City beginning in the 1940s and ’50s, though it was not labeled salsa until the 1960s; it peaked in popularity in the 1970s in conjunction with the spread of Hispanic cultural identity. The term salsa also refers to a dance that is associated with the music.

The roots of salsa (Spanish: “sauce”) are in the son . Combining elements of the Spanish guitar-playing tradition with the rhythmic complexity and call-and-response vocal tradition of African musical sources, the son originated in rural eastern Cuba and spread to Havana in the first decades of the 20th century. Highly syncopated, it employs an “anticipated” rhythm structure wherein the bass line precedes the downbeat by a half-beat, creating a distinctive pulse. Pioneered by bandleader Arsenio Rodríguez, the son became the framework on which was hung a wide variety of dance-oriented Afro-Cuban musical styles, from the bolero to the conga and from the rumba to the mambo.

Afro-Cuban music spread throughout Latin America, notably to Mexico. However, New York City became the forge for its transformation into salsa, beginning in the 1940s with the contributions of the orchestra led by Cuban émigré Machito (Frank Grillo), which blended Afro-Cuban styles with jazz and big band approaches. Another Cuban émigré, Celia Cruz , became the reigning diva of Afro-Cuban dance music in the 1960s, as it evolved into salsa with smaller ensembles comprising rhythm and horn sections and through huge contributions by a number of musicians of Puerto Rican heritage, most notably bandleaders Tito Rodríguez, Tito Puente (a virtuoso timbale player and vibraphonist), and Eddie Palmieri (a pianist who brought progressive jazz influences into the mix). Frequently but not always up-tempo, or “ hot,” salsa grew to incorporate increasingly diverse influences and performers—from Panamanian activist-singer-songwriter Rubén Blades to Mexican American rocker Carlos Santana . Although its international popularity crested in the 1970s, salsa retained an audience into the 21st century.

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Salsa Music

Jul 20, 2014

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Salsa Music. Latin Rhythms. Origins. Cuban Roots Latin Rhythmic Style Clave Beat European Influences Spain African Influences. Instruments. Bongos Pair of Round Drums Botijuela Bottle Used as a Bass Claves Two Pieces of Wood Marimbula Finger Piano. Related Rhythms. Mambo

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Salsa Music Latin Rhythms

Origins • Cuban Roots • Latin Rhythmic Style • Clave Beat • European Influences • Spain • African Influences 5I_Salsa_Firstname_Lastname

Instruments • Bongos • Pair of Round Drums • Botijuela • Bottle Used as a Bass • Claves • Two Pieces of Wood • Marimbula • Finger Piano 5I_Salsa_Firstname_Lastname

Related Rhythms • Mambo • New York Salsa • Son • Chachacha 5I_Salsa_Firstname_Lastname

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MY FAVORY MUSIC IS THE SALSA. SALSA. The salsa is a genre caribeño very dance. It’s music started in 1910 Cuba. I like listen salsa in my work . I like the hip hop and the reggae too . I like dance salsa whit my friends in the party from Cali.

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Salsa. RANGE. 2 Door Frost - Free Top Mount. 350L. 320L. 230L. 2 Door Frost - Free Top Mount. 350L. 320L. 230L. Features. Humidity controlled crisper - Offers the perfect environment for preserving fruit and vegetables, as well as having a removable crisper front for easy cleaning.

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Salsa Update

Salsa Update. Pittsburgh CSG Fall ’05 [email protected]. Salsa: Three Timeframes. Next Week – Immediate issues (TFN) CSI2 - Incident Security WG (kjk) REN-ISAC focus groups Share STF – Effective Practices leadership Next Year – Medium-term improvement (TFT)

229 views • 8 slides

Salsa. Por Sra. Barham. Origins. Most people credit Cuba with inventing the “salsa” dance; however, it is a mixture of dances from various countries including England, France, Spain, Africa, Colombia, Dominican Republic and Puerto Rico. The name “salsa” originated in New York. (centralhome).

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SALSA. INFORMATION.

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ASH SALSA CLUB

ASH SALSA CLUB. By Garrison Thompson president. Professor Don Jorge! Sponsor Sara O’Neal. `. SALSA!. Bradley y Janna!. Caliente!. sabroso. Ritmo !. ESO!!!!. THE SALSA KING. The new generation of salseros !. Makarena !. Alfa males!. Even coach tomlin dances!.

350 views • 16 slides

SALSA Training

SALSA Training. Spanish-speakers Assisting Latinos Student Association. ABOUT SALSA. OUR MISSION. Dani Younce , MS2 Rachel Weiner, MS2 Peter Lyu , Undergrad Avery Colomb , Undergrad Christina Olson, Undergrad. CORDINATORS.

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¡La Salsa!. Fundada en Nueva York. Instrumentos y vestidos de Salsa. La Trompeta. El Trombón. Las Maracas. El Bongo.

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Presentation about salsa

Subject: Spanish

Age range: 11-14

Resource type: Other

Last updated

19 December 2012

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Gracias. Will use / adapt this for our last lesson before Christmas with Year 11.

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