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This title tells the saga of popular music of Cuban origin, and its major artists from the 1920s to today. Afro-Cuban music derives its richness from the fusion of various cultures. On the island of tobacco, rum and coffee, the marriage of sacred and secular African musical genres with Spanish and French melodies has given rise to numerous genres which have gained international fame: son, rhumba, guaracha, conga, mambo, cha-cha-cha, pachanga, nueva timba. In the US, Cubans have settled alongside other Hispanic communities. In New York, the boogaloo, salsa and Latin jazz, created by musicians such as Machito, Dizzy Gillespie and Chano Pozo emerged from contact with Puerto Ricans and African-Americans, and the rhythms of Puerto Rico and Santo Domingo were integrated into salsa and Latin jazz.

Tabla de contenidos provista por Syndetics

• Introduction(p. 1)
• Acknowledgments(p. 6)
• I The roots
• 1 From African liturgies to Creole rhythms(p. 9)
• Sacred music(p. 9)
• Traditional secular music(p. 18)
• The clave(p. 37)
• Rhythm instruments(p. 39)
• II The 1920s and 1930s: son, rumba, and conga
• 2 Havana and Cuba(p. 44)
• Emergence of the Havana son(p. 50)
• The rise of charangas, the bolero, and the guajira(p. 68)
• The beginnings of jazz(p. 78)
• 3 The United States and Puerto Rico(p. 83)
• The awakening of the Barrio(p. 85)
• Music in Puerto Rico(p. 98)
• III The 1940s and 1950s: the golden age of Cuban music
• 4 Havana and Cuba(p. 108)
• From nuevo ritmo to cha-cha: the great charangas(p. 111)
• Updating the son(p. 121)
• Big bands, combos, and descargas(p. 130)
• Singers in Cuba(p. 142)
• 5 The United States and Puerto Rico(p. 157)
• Que rico el mambo!(p. 158)
• The Afro-Cubans(p. 165)
• Tito Puente, Tito Rodriguez, and other Latin bands(p. 174)
• Singers in the U.S. and Puerto Rico(p. 186)
• Chano Pozo and his disciples(p. 189)
• Expansion of Latin jazz(p. 199)
• IV The 1960s: the pachanga, the boogaloo, and Latin soul
• 6 Havana and Cuba(p. 208)
• The explosion of rhythms(p. 210)
• 7 The United States and Puerto Rico(p. 216)
• The pachanga and the boogaloo era(p. 216)
• Emergence of charangas(p. 228)
• Revival of the bomba and the plena(p. 232)
• Latin jazz and Latin soul(p. 238)
• V From the 1970s until today: advent of the songo
• 8 Havana and Cuba(p. 244)
• Traditional music(p. 245)
• The songo and charangas(p. 247)
• The son(p. 250)
• The nueva timba(p. 253)
• The Buena Vista Social Club phenomenon(p. 256)
• Latin jazz(p. 258)
• Other bands(p. 265)
• Vocalists(p. 265)
• 9 The United States and Puerto Rico(p. 267)
• Instrumental salsa(p. 267)
• The salsa vocalists(p. 289)
• Salsa in Puerto Rico, California, and Florida(p. 297)
• The merengue(p. 306)
• New horizons for Latin jazz(p. 315)
• Latin rock and Latin disco(p. 326)
• 10 The rest of the world(p. 329)
• Influence of Cuban and Puerto Rican music abroad(p. 329)
• VI Conclusion(p. 341)
• Glossary(p. 343)
• Interviews(p. 348)
• Discography(p. 360)
• Bibliography(p. 365)
• Index(p. 370)

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Library Journal Review

Cuba's unique blend of African, Spanish, and French cultures has produced an international musical legacy of unparalleled popularity. An award-winning author and a documentary filmmaker, Leymarie traces the history of Cuban music and its major artists from the 1920s to today with ardor and verve. Sections on musical roots, the 1940s and 1950s ("The golden age of Cuban music"), the 1970s to today, and more describe the development of distinct genres like the rumba, conga, and pachanga in Cuba, as well as in expatriate communities in the United States and Puerto Rico. Other recent excellent books on Cuban music include Sue Steward's -Musica!: The Rhythm of Latin America; Salsa, Rumba, Merengue, and More, which is more of a coffee-table book (but with a good discography) and doesn't quite match Cuban Fire's scholarly, sequential style. Scott Yanow's Afro-Cuban Jazz is reasonably scholarly, but the scope is not as broad. Cuban Fire occupies the middle ground between those two otherwise terrific books and is the one to choose if you can't afford all three. Essential wherever books on popular music are collected.-Dave Valencia, King Cty. Lib. Syst., Seattle (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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