Son cubano

Assembled from 22 blocks · 2 evidence · 20 related

1. Story
2. The Cuban form in which a Spanish-derived song tradition and West and West-Central African rhythmic organisation meet on equal terms, and the root from which most twentieth-century Latin dance music grows. It came out of the rural east of Cuba — Oriente — where precursors called changüí, nengón and kiribá were played by a singer with a tres, the small Cuban guitar with three doubled courses. Around 1909 the form travelled west to Havana, carried in part by soldiers of the Permanent Army, and there acquired the clave, the five-stroke asymmetric timeline of Havana rumba, which is the feature that lets an entire ensemble lock without a conductor. In 1916 the tres player Ricardo Martínez founded the Cuarteto Oriental, which recorded in Havana in 1917 and in 1920 expanded into the Sexteto Habanero, fixing the classic line-up: guitar, tres, bongó, claves, maracas and double bass. Son matters to this Journey because it is a control case. Cuba was Catholic, Spanish and permissive of drums; the same African inheritance that produced a string-led, percussion-poor blues in Mississippi produced, ninety miles away, a percussion-led ensemble music with the timeline audible on the surface.
3. Knowledge
4. Jazz
5. Son cubano
6. Havana
7. Connections
8. Jazz
9. Havana
10. Son travels from Oriente to Havana
11. Blues
12. New Orleans
13. Son cubano
14. The first jazz record is made
15. Alan Lomax records Jelly Roll Morton at the Library of Congress
16. The Middle Passage
17. Son cubano
18. New Orleans
19. Son travels from Oriente to Havana
20. Evidence
21. 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.
22. 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.