Havana

Assembled from 20 blocks · 2 evidence · 13 related

1. Story
2. The Caribbean port that functioned for four centuries as the hinge of the Spanish Atlantic and, in the twentieth, as the place where Cuban rural forms were professionalised, recorded and exported. Its African population was drawn heavily from West-Central Africa and from the Yoruba-speaking Bight of Benin, and under Spanish colonial practice was organised into cabildos de nación — mutual-aid societies grouped by African origin — which sustained drum ensembles, dance and religious practice with a continuity that had no equivalent in the Protestant mainland colonies. Havana rumba, an urban secular drum-and-voice practice, developed in its dock and solar neighbourhoods, and the clave that son adopted came from there. The city is also where the recording industry met Cuban music early: American companies were cutting sides in Havana from the 1910s, and the traffic between Havana and New Orleans and later New York carried habanera, danzón, son and their descendants into North American dance music continuously from the nineteenth century onward.
3. Knowledge
4. New Orleans
5. Havana
6. Connections
7. The Middle Passage
8. Son cubano
9. New Orleans
10. Son travels from Oriente to Havana
11. The Middle Passage
12. Congo Square, New Orleans
13. Jazz
14. Havana
15. New Orleans confines Sunday gatherings to Congo Square
16. The first jazz record is made
17. Alan Lomax records Jelly Roll Morton at the Library of Congress
18. Evidence
19. Son originated among rural populations of Oriente with precursors including changüí, nengón and kiribá, moved to Havana around 1909 carried in part by Permanent Army soldiers, and adopted the clave there; the Cuarteto Oriental was founded by the tres player Ricardo Martínez in 1916, recorded in Havana in 1917 and became the Sexteto Habanero in 1920 with guitar, tres, bongó, claves, maracas and double bass. V55 verification basis: retrieved in search summary from general reference entries only; no Cuban musicological source, discography or archive was consulted, and this is the weakest sourcing in the pack.
20. Morton drew Afro-Cuban rhythms including the tresillo and habanera into early jazz and called them collectively the "Spanish tinge", stating in his 1938 Library of Congress sessions that jazz required it; Cuban dance bands toured New Orleans and the danzón was a significant influence there. V55 verification basis: retrieved in search summary attributed to this Tulane resource together with related scholarship; no page was opened and no recording or transcript was consulted.