Salsa music

Salsa music is a diverse and predominantly Caribbean and Latin genre that is popular across Latin America and among Latinos abroad; the style is the primary music played at Latin danceclubs and is the "essential pulse of Latin music", according to author Ed Morales {{ref|essentialpulse}}. Salsa incoporates multiple styles and variations; the term can be used to describe most any form of popular Cuban-derived genres (like chachachá and mambo). Most specifically, however, salsa refers to a particular style developed by the mid-1970s groups of New York City-area Cuban and Puerto Rican immigrants to the United States, and stylistic descendants like 1980s salsa romantica. Some people have claimed that salsa's style is primarily Cuban, though it is a hybrid of various Latin styles mixed with pop, jazz, rock and R&B {{ref|sompeople}}.

Notes

• {{note|essentialpulse}} Morales, pg. 33
• {{note|sompeople}} Morales, pg. 33 Morales claims that many Afro-Cuban purists continue to claim that salsa is a mere variation on Cuba's musical heriateg (but) the hybridizing experience the music went through in New York from the 1920s on incorporated influences from many different branches of the Latin American tradition, and later from jazz, R&B, and even rock. Morales' essential claim is confirmed by Unterberger's and Steward's analysis.
• {{note|salsajazz}} Unterberger, pg. 50
• {{note|noexactmeaning}} Morales, pg. 55
• {{note|Cruzonsalsa}} Cruz, cited in Steward (with ellipsis), no specific source given
• {{note|sharkskin}} Morales, pg. 55
• {{note|Bladesonsalsa}} Morales, pg. 55 If mambo was a constellation of rhythmic tendencies, then, as leading salsa sonero (lead singer) Rubén Blades once said, salsa is a concept, not a particular rhythm.
• {{note|MachitoPuente}} Morales, pg. 56
• {{note|SpanishAfrican}} Steward, pg. 488
• {{note|structure}} Morales, pg. 55
• {{note|keystaples}} Morales, pg. 60 Morales cites the Venezuelan scholar César Miguel Rondón, in El Libro de la Salsa, as noting that Eddie Palmieri's arrangement of the trombone in a way that they always sounded sour, with a peculiarly aggressive harshness.
• {{note|percussion}} Unterberger, pg. 50
• {{note|HavanaNewYork}} Morales, pg. 33
• {{note|earlyLatinstyles}} Morales, pg. 34
• {{note|directantecedent}} Steward, pg. 488
• {{note|1930s}} Steward, pg. 488
• {{note|1940s}} Steward, pg. 488
• {{note|NewYorkMexico}} Steward, pgs. 488-489
• {{note|mambobebop}} Morales, pg. 57
• {{note|mainstreampop}} Steward, pg. 489
• {{note|early60s}} Morales, pg. 57
• {{note|Nuyorican}} Morales, pg. 57
• {{note|rocktakesover}} Steward, pg. 489
• {{note|Fania}} Steward, pg. 489
• {{note|elmalo}} Steward, pg. 489
• {{note|salsaword}} Steward, pg. 488
• {{note|swing}} Jones and Kantonen
• {{note|Stewardonorigin}} Steward, pg. 488
• {{note|Sanabria}} Morales, pg. 56
• {{note|earlyuses}} Morales, pg. 56 So when in 1932 Ignacio Piñeiro, the pioneering Cuban bassist and orchestra leader, shouted out "salsa" on Échale salsita, he was saying "Put some salsa on it," telling his band to shift the tempo and put the dancers into high gear. Later in that decade, renowned vocalist Beny Moré would merely shouted (sic) "salsa!" to acknowledge a musical moment's heat, as well as perhaps to express a kind of cultural nationalist sloganeering, celebrating the "hotness" or "spiciness" of Latin American cultures"
• {{note|Pachecho}} Morales, pgs. 58-59