"From the Son to the Salsa"

Salsa or Son?
The confusion regarding Afro-Caribbean music's categorization is perhaps more linked with marketing strategies (and political concerns) than actual differences in the music concerns) than actual differences in the music itself. Following the Cuban Revolution-and the subsequent exodus of many Cuban musicians to the US-an obvious separation took place between the musical developments of both countries. This separation led to an unusual debate over the terminology used to refer to Cuban-based music in the US; the term "Salsa" created such a stir since its "invention" in the early 70's that people are still arguing about it. Many Cuban son disguised for commercial labeling purposes. Many wrote songs about the "conflict," others simply wrote off the new term as a passing fad. Yet the impact of this new term would eventually prove Salsa to be a legitimate musical genre. Remember that Salsa is not a rhythm or a style, but a broad term which can be used to represent the Afro-Cuban based music coming out of the East Coast and Puerto Rico. One must also note that Puerto Rican and other musicians also played a great part in the preservation and development of this music in the US, and that their interpretations really would create something new and different than that which was being played in Cuba.
While the Latin music scene in New York (and elsewhere) during the 60s continued pretty much in the tradition of pre-Revolutionary Cuba -playing rhythmic styles such as the mambo, the guaracha and cha-cha-chá - Cuban musicians on the island experimented with new sounds and styles coming out of the US, incorporating elements of jazz, fusion and rock into popular dance music, and venturing away from the :limitations" of catering to a dancing public. By the 70s, the coining of the term "Salsa" on the East Coast came at a time when the music was experiencing enormous popularity, as well as a growth in the recording industry. Yet changes in the actual styles of music would be much more varied in Cuba; unfortunately, North Americans would have very little access to the music coming out of Cuba.

We can, however, whites the development of several very distinct sounds which emerged during this period of three decades. In extremely general terms, one could identify these as: East coast Salsa (including New York, Puerto Rico and other Caribbean countries), Post-Revolutionary Cuban music (including dance music, jazz and Nueva Trova), and Latin Jazz and Latin Fusion (which includes Latin Rock, much of which was pioneered on the West Coast). What the West Coast lacked in commercial presence in the Latin music and entertainment industry during this period, it made up for in openness, being one of the few places in the United States were post-revolutionary Cuban music was performed (live and on radio)

In exploring various performance aspects of the many styles within this musical evolution, it is fascinating to look at the development of each instrument's role within the ensemble setting, and in particular, how specific patterns within these new styles were created. As noted earlier, many of the structural changes or developments in the newer styles mostly affected the percussion instruments, and the piano's role continued to maintain its foundation in the son tradition and its variations. Also, one must take into account the electronic instrument innovation which undoubtedly had a major affect on many types of Afro-Caribbean music.