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"Yo
Soy, Del Son A La Salsa" |
On September 10th, 1997, I was fortunate enough to have been invited to the world premiere (in New York) of “Yo Soy, Del Son A La Salsa,” a documentary about the history of salsa. The feature-length film was produced by Ralph Mercado of RMM and was directed by Cuba’s Rigoberto Lopez. I highly recommend this film for anyone interested in the history of “the music that put the world to dance.” There are interviews and performances by Celia Cruz, Tito Puente, Oscar D’Leon, Cheo Feliciano, Fania All-Stars, Eddie Palmieri, Johnny Pacheco, El Gran Combo, Marc Anthony, Andy Montanez, Gilberto Santa Rosa, Larry Harlow, Isaac Delgado, Tito Gomez, Papo Lucca, Dave Valentin, Tite Curet Alonso, Israel Lopez “Cachao,” Joe Cuba, Chucho Valdes, Los Van Van, Adalberto Alvarez, Yoruba Andabo, Grupo Changui, Lazaro Herrera and Ruby Calzado. The film also features rare footage of some of the legends of this music, namely Beny More, Perez Prado, Arsenio Rodriguez, Antonio Arcado, Ignacio Pineiro, Trio Matamoros, Orquesta Aragon, Mario Bauza, Machito, Miguelito Valdes, Tito Rodriguez, Rafael Cortijo, Ismael Rivera, Hector Lavoe and Chano Pozo. The film, mostly narrated by Isaac Delgado, is a must-see for anyone who has ever wondered about where "salsa" music comes from or who wants to know more about the different rhythms. Or anyone, like me, who loves this music, is moved by it and just wants 100 minutes of pure ecstasy. The vintage footage alone is worth the price of a theatre ticket. For those of us too young to have ever seen Machito or Beny More in person, you are in for a treat. The film traces the music from Cuban musicians singing and dancing in the streets of Eastern Cuba and performing Son Cubano in Guantanamo to its migration from Eastern Cuba to Havana and through Mexico to New York, where the Afro-Cuban rhythms combined with jazz and Puerto Rican musicians. An important moment in the history of this music was when Miguel Matamoro of Cuba formed his group El Trio Matamoros in 1928. Another important moment was when Ignacio Pineiro and Lazaro Herrera formed the National Sextet of Ignacio Pineiro which brought a new urban sound. Arsenio Rodriguez, who added trumpets and piano, is credited with bringing the music to New York. In 1937, the sones of Cuba developed into mambo and was popularized by the "king" of mambo, Perez Prado. Other important leaders in the development of this music include Mario Bauza and Machito who created the Afro-Cuban Jazz Orchestra and, of course, Tito Puente. Many legends were responsible for the creation of salsa music up until the 1960’s but the absence of Cuba from the world market (because of the trade embargo) combined with the influence of pop music temporarily stiffled the progression of salsa music in the sixties. Therefore, the Latino musicians (mostly Puerto Rican) in El Barrio (Spanish Harlem) looked for new direction in music. Five-time Grammy winner and Bronx-born Eddie Palmieri is credited with being one of the most outstanding leaders in the creation of contemporary Latin music because of the contributions he made to the musical scene during this time of change. Joe Cuba created "boogaloo," a mixture of salsa and pop. Charanga music became very popular in the 60's, a classic example of which is Orquesta Aragon. Willie Colon and Ruben Blades created salsa with a conscience, music that parted from the usual themes to sing about the everyday life of Latinos, politics and social comment. Changes were taking place in Cuban music by the early 1970’s as well, most notably the creation of Los Van Van and, later, Irakere, who blended traditional Cuban rhythms with the sound of jazz. The film also credits Oscar D’Leon for the spread of salsa throughout the world, especially its recognition in Cuba, where Oscar displayed his musical mastery in 1985. As a dancer, I was particularly impressed by how many of the musicians actually gave credit to dancers for helping with the formation and creation of the music. They said that they would watch the dancers from the stage and if they took a step forward or back they would actually hold the rhythm to accomodate the dancers so that in a sense the dancers were also responsible for the creation and evolution of salsa music. The one continuous theme throughout the film was its homage to Cuba. It did, however, also give credit to the contributions of many musical legends from Puerto Rico, Venezuela and New York. My conclusion after seeing this film is that salsa music has been blessed with incredible contributions from many countries. It is truly music of the world.
Interesting E-Mails in Response to the Film Review, including one from Willie Colon: "Dear Marla, Dear Chamer: "Dear Marla: After the relations between Cuba and the United States deteriorated and the embargo was placed, the musicians in New York no longer were in close contact with the Cuban developments. They were forced to find new avenues. Here is where Puertorican elements helped. Musicians like Willie Colon and Rafael Cortijo began implementing instruments from bomba and plena such as the bomba drums and the cuatro. These elements kept the music's identity as an Afro-Carribean rhythm. These elements are not as important as the Cuban ones but definitely important enough to be mentioned in a study of salsa. The film also promoted more comaradery amongst salseros from different
parts of the world. This was well demonstrated by a song that Los Van Van performed paying
respect to all the music legends from Puerto Rico, Venezuela, and New York. This I found
to be very appropriate especially because of this year's controversies in Calle Ocho and
Puerto Rico with Andy Montanez and Celia Cruz, respectively. Overall, the film was
constructive and entertaining. I am just disappointed that it overlooked the Puertorican
contributions to salsa. Dear Victor, I walked away from this film thinking that although salsa may have started with the sones of Cuba it is what it is today because of the incredible contributions from talented musicians of many countries. Side note: The night of the Hollywood Salsa Festival I went to Ralph Mercado's after party which was also attended by the director of the film, Rigoberto Lopez, and Willie Colon. I showed your comments to Rigoberto Lopez who said that the effects of the bomba and plena were rather small as compared to all of the other elements in salsa. He maintains that salsa comes from Cuba. Following is Willie Colon's response: (from Willie Colon...) Salsa is not Cuban music. We can get into an in-depth explanation or analysis some other time but those who are characterizing salsa as Cuban music are either ignorant of the facts or have another agenda. Salsa is a concept, not a rhythm. I vehemently protest the highjacking and corruption of a vital urban/Pan-American movement and relegating it to an insignificant off-shoot of some insipid Cuban folkloric music. There are many reasons that people deny Salsa: Ego, Nationalism, Politics, Economics, etc. Can you say that Hip Hop is R&B? Or that Rap is Soul? The problem is that we have all types of self appointed "experts" crawling out of the woodwork now. Some don't have the intellectual capacity to understand the difference. Others are limited by their inability to understand the lyrics fully and to distiguish the content. To negate a music that has developed for 30+ years and become a true reconciliation of all Latin American roots is cruel and callous, no matter what the intention of the misinformtion is. Talk to you later Dear Willie and Everyone Else, It seems to me that salsa is a concept that incorporates many rhythms but when dancers speak about salsa they are usually talking about the rhythms of mambo dance music. I believe, although I am no expert, that this rhythm may have started in Cuba. However, that was a long time ago and salsa as we know it now has had contributions from all over Latin America. In fact, I would say that it was not only Latin Americans who contributed to salsa. Larry Harlow, for example, is a Jewish guy from New York. So I agree that whatever be the original sources of salsa, it is now music of the world and does not belong to just one country or another. That is one of the things that makes salsa so incredible. So, rather than debate where it came from way back when anymore, I'm going to put on some CDs, (Oscar D'Leon-Venezuelan, Willie Colon-Puerto Rican New Yorker and Celia Cruz-Cuban) and dance my heart out because Salsa is from the heart and soul. Salsa is about feeling. Salsa is beautiful. Thanks, P.S. I still highly recommend the film "Yo Soy, Del Son A La Salsa." Whether you agree with how it traces the origins of salsa or not, you will still enjoy the rare footage of some of the masters of this music we call "Salsa." Enjoy.
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