In this second episode, we focus on Mambo music from the triangle of Cuba, Puerto Rico, and New York City. This style emerged from three components: son, danzón, and rumba, and became a swinging music genre through the addition of jazz. In this episode, we will discuss the so-called Charanga rage and the rise of the Conjunto, both from Cuba.
After the Cuban revolution in 1959, American tourism to Havana came to a halt. The musicians in the many hotels and nightclubs were left unemployed. Many of them, therefore, went to New York City, but also to Puerto Rico, where hotels were suddenly popping up. For New York City, this meant a revival of Cuban music. This was also the beginning of the so-called Charanga rage, with swinging orchestras with violin and flute.
In addition to the Charanga, there were also so-called Conjunto musicians from Cuba; orchestras with an extensive brass section. In the 1960s, there were indeed dance orchestras in Cuba, but during that period, it became difficult for Cubans to make recordings due to the cultural embargo against Cuba. In the early 1960s, the Charanga rage came to an end, and the orchestras from New York switched to Conjunto music. They hoped to keep their audience with this music.
Playlist:
- A los Embales Los Munequitos de Mantanzas
- Marchetta Orquesta Belisario Lopez
- Chan Chan Compay Segundo
- Los Tamalitos de Olga Jose Fajardo
- Toda La Verdad Pupi Legaretta
- Me voy pa’l Batey Orquesta Broadway
- A Puerto Rico Ray Barretto (photo)
- El Vendedor de Mangos Charlie Palmieri
- Oyeme Mulata Johnny Pacheco
- Ahi na ma La Sonora Matancera
- Mis dos Motores Myrta Silva
- El vaiven de mi Carreta Orquesta Aragon
- Guaguanco pa’ los Rumberos Roberto Faz
- Oye el carbonero Chappotin
- New York Soul Ray Barretto
- Soy hijo del Siboney Johnny Pacheco
- Ay que Bueno (Oh, that’s nice) Pete Rodriguez
