Born in the South Bronx, New York, Willie Colón has been a leader in the salsa tradition for over 50 years. In an interview, he discussed the music and its background.
“A lot of people like to characterize salsa as a pastiche of Cuban son. There’s no denying that there is a Cuban influence and a Cuban base to it, but it’s so much more.”
“Salsa is not a rhythm, it’s a concept. It’s a way of making music. It’s an open concept and the reason that it became so popular is because it was able to evolve and accept all of these other musics. We put the bombas and plenas in it; we put calypso, samba, bossa, and cumbia in it. It’s definitely not even a Puerto Rican or a Cuban music. It’s a reconciliation of everything you can find.”
“I think it could have only happened here in New York, where you had so many different kinds of people living and playing together. We used to get a lot of the black jazz players. They wanted to come and play salsa so they can blow over the changes. Where are you going to find players like that other than in a big city like New York? This was not going to happen in Cuba or Puerto Rico; it had to be here.”
The year was 1961, and the group had scheduled a three-day recording session—but it turned out that the budget shrank each day, so the band had to follow suit. On the first day the horn section comprised four trumpets; on the second day Palmieri could afford only two trumpets and two less-expensive trombones; and on the third day he had to settle for a single trombone and a flute.
For a few months after the record was released, Palmieri barked in the street outside the small Midtown Manhattan club where La Perfecta was playing, trying to divert foot traffic from the nearby Palladium Ballroom where his more famous rivals were performing. “Not there, folks!” he remembers shouting, “Over here, folks!” But soon La Perfecta was hot, and Palmieri’s guerilla tactics paid off with a 90-day Palladium booking.
This according to “Eddie Palmieri: Rebellious perfection” by Giovanni Russonello (JazzTimes XLIII/1 [January–February 2013] pp. 28–33).
Today is Palmieri’s 80th birthday! Above, the group’s first album; below, a more recent incarnation of La Perfecta, still featuring a modest brass section and a flute.
Celia Cruz’s diverse musical repertoire served as a performative locus for the negotiations of both her Cubanness and her broader Latin American identity.
Likewise, her construction of blackness as an Afro-Cuban woman transformed and was transformed by her collaborations with African American musicians and singers, in styles ranging from jazz to hip hop.
Cruz also crossed racial and cultural boundaries by collaborating with Anglo musicians and by tropicalizing rock music. Her staged persona and her body aesthetics also reveal the fluidity with which she assumed diverse racial, national, and historical identities while simultaneously asserting her Cubanness through the use of Spanish onstage.
This according to “The blackness of sugar: Celia Cruz and the performance of (trans)nationalism” by Frances Aparicio (Cultural studies XIII/2 [April 1999] pp. 223–236).
Today is Celia Cruz’s 90th birthday! Below, Cruz performs with the Fania All-Stars in Zaire, 1974.
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In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
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The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →