Mambo (music)

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Mambo (music)_table_infobox_0

MamboMambo (music)_header_cell_0_0_0
Stylistic originsMambo (music)_header_cell_0_1_0 Mambo (music)_cell_0_1_1
Cultural originsMambo (music)_header_cell_0_2_0 Late 1930s, Havana, CubaMambo (music)_cell_0_2_1
Typical instrumentsMambo (music)_header_cell_0_3_0 Mambo (music)_cell_0_3_1
Derivative formsMambo (music)_header_cell_0_4_0 Mambo (music)_cell_0_4_1
SubgenresMambo (music)_header_cell_0_5_0
Fusion genresMambo (music)_header_cell_0_6_0

Mambo (music)_table_infobox_1

Music of CubaMambo (music)_header_cell_1_0_0
General topicsMambo (music)_header_cell_1_1_0
GenresMambo (music)_header_cell_1_2_0
Specific formsMambo (music)_header_cell_1_3_0
Religious musicMambo (music)_header_cell_1_4_0 Mambo (music)_cell_1_4_1
Traditional musicMambo (music)_header_cell_1_5_0 Mambo (music)_cell_1_5_1
Media and performanceMambo (music)_header_cell_1_6_0
Music awardsMambo (music)_header_cell_1_7_0 Beny Moré AwardMambo (music)_cell_1_7_1
Nationalistic and patriotic songsMambo (music)_header_cell_1_8_0
National anthemMambo (music)_header_cell_1_9_0 La BayamesaMambo (music)_cell_1_9_1
Regional musicMambo (music)_header_cell_1_10_0

Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado. Mambo (music)_sentence_0

It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the guajeos typical of son cubano (also known as montunos). Mambo (music)_sentence_1

These guajeos became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing and jazz. Mambo (music)_sentence_2

By the late 1940s and early 1950s, mambo had become a "dance craze" in the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito Rodríguez and others. Mambo (music)_sentence_3

In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Mambo (music)_sentence_4

Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s and new derivative styles appeared, such as dengue; by the 1970s it had been largely incorporated into salsa. Mambo (music)_sentence_5

History Mambo (music)_section_0

Origins in Cuba Mambo (music)_section_1

Main article: Danzón-mambo Mambo (music)_sentence_6

The earliest roots of mambo can be traced to the danzón de nuevo ritmo (danzón with a new rhythm), later known as danzón-mambo, made popular by the orchestra Arcaño y sus Maravillas conducted by flautist Antonio Arcaño. Mambo (music)_sentence_7

Orestes López and his brother Israel López "Cachao", main composers of the Maravillas, were the first to denominate a final upbeat, improvised section of the popular Cuban danzón as a mambo. Mambo (music)_sentence_8

This innovation a key step in the process of evolution of the danzón, which over the years had progressively lost its structural rigidity to the benefit of musicians and dancers alike. Mambo (music)_sentence_9

Prior to the danzón de nuevo ritmo, in 1910, José Urfé had first added a montuno (typical son improvised closing section) as a final part of his composition El bombín de Barreto. Mambo (music)_sentence_10

This was a swinging section consisting of a repeated musical phrase, which introduced some elements of the son into the danzón. Mambo (music)_sentence_11

During the mid-to-late 1930s, some members of the Arcaño group were saying vamos a mambear ("let's mambo") when referring to the montuno or final improvisation of the danzón. Mambo (music)_sentence_12

It was Arcaño's cellist, Orestes López, who created the first danzón called "Mambo" (1938). Mambo (music)_sentence_13

In this piece, some syncopated motives taken from the son style were combined with improvised flute passages. Mambo (music)_sentence_14

Antonio Arcaño described the mambo as follows: "Mambo is a type of syncopated montuno that possesses the rhythmic charm, informality and eloquence of the Cuban people. Mambo (music)_sentence_15

The pianist attacks the mambo, the flute picks it up and improvises, the violin executes rhythmic chords in double stops, the double bass inserts a tumbao, the timbalero plays the cowbell, the güiro scrapes and plays the maracas rhythm, the indispensable tumba (conga drum) reaffirms the bass tumbao and strengthens the timbal." Mambo (music)_sentence_16

Mambo in Mexico Mambo (music)_section_2

Dámaso Pérez Prado, a pianist and arranger from Matanzas, Cuba, established his residence in Havana at the beginning of the 1940s and began to work at night clubs and orchestras, such as Paulina Alvarez's and Casino de La Playa. Mambo (music)_sentence_17

In 1949 he traveled to Mexico looking for job opportunities and achieved great success with a new style, to which he assigned a name that had been already used by Antonio Arcaño, the mambo. Mambo (music)_sentence_18

Perez Prado's style differed from the previous mambo concept. Mambo (music)_sentence_19

The new style possessed a greater influence from North-American jazz, and an expanded instrumentation consisting of four to five trumpets, four to five saxophones, double bass, drums, maracas, cowbell, congas and bongoes. Mambo (music)_sentence_20

This new mambo included a catchy counterpoint between the trumpets and the saxophones that induced the body to move along with the rhythm, stimulated at the end of each musical phrase by a characteristic deep throat sound expression. Mambo (music)_sentence_21

Because his music was aimed at an audience that lived primarily outside Cuba, Pérez Prado used a large number of international influences, especially North-American, in his arrangements. Mambo (music)_sentence_22

This is evident in his arrangements of songs such as "Mambo Rock", "Patricia" and "Tequila", where he uses a triple meter U.S. "swing" rhythm fused with elements from Cuban rumba and son. Mambo (music)_sentence_23

Pérez Prado's repertoire included numerous international pieces such as "Cerezo Rosa", "María Bonita", "Tea For Two", "La Bikina", "Cuando Calienta El Sol", "Malagueña" and "En Un Pueblito Español", among many others. Mambo (music)_sentence_24

Famous Cuban singer Beny Moré also lived in Mexico between 1945 and 1952. Mambo (music)_sentence_25

He composed and recorded some mambos there with Mexican orchestras, especially the one led by Rafael de Paz; they recorded "Yiri Yiri Bon", "La Culebra", "Mata Siguaraya", "Solamente Una Vez" and "Bonito Y Sabroso". Mambo (music)_sentence_26

Benny and Perez Prado recorded 28 mambo songs including "La Múcura", "Rabo Y Oreja", and "Pachito E'ché". Mambo (music)_sentence_27

At this time Benny also recorded with the orchestra of Jesús "Chucho" Rodríguez. Mambo (music)_sentence_28

Prado's recordings were meant for the Latin American and U.S. latino markets, but some of his most celebrated mambos, such as "Mambo No. Mambo (music)_sentence_29

5" and "Que Rico El Mambo", quickly crossed over to a wider U.S. audience. Mambo (music)_sentence_30

Mambo York City Mambo (music)_section_3

Mambo arrived in 1947 and mambo music and dance became popular soon. Mambo (music)_sentence_31

Recording companies began to use mambo to label their records and advertisements for mambo dance lessons were in local newspapers. Mambo (music)_sentence_32

New York City had made mambo a transnational popular cultural phenomenon. Mambo (music)_sentence_33

In New York the mambo was played in a high-strung, sophisticated way that had the Palladium Ballroom, the famous Broadway dance-hall, jumping. Mambo (music)_sentence_34

The Ballroom soon proclaimed itself the "temple of mambo", for the city's best dancers—the Mambo Aces, "Killer Joe" Piro, Augie and Margo Rodriguez. Mambo (music)_sentence_35

Augie and Margo were still dancing 50 years later (2006) in Las Vegas. Mambo (music)_sentence_36

Some of New York's biggest mambo dancers and bands of the 1950s included: Augie & Margo, Michael Terrace & Elita, Carmen Cruz & Gene Ortiz, Larry Selon & Vera Rodríguez, Mambo Aces(Anibal Vasquez and Samson Batalla), Killer Joe Piro, Paulito and Lilon, Louie Maquina, Pedro Aguilar ("Cuban Pete"), Machito, Tito Rodríguez, Jose Curbelo, Akohh, and Noro Morales. Mambo (music)_sentence_37

See also Mambo (music)_section_4

Mambo (music)_unordered_list_0


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Mambo (music).