Apuntes para una prehistoria del mambo
2009; University of Texas Press; Volume: 30; Issue: 2 Linguagem: Inglês
10.1353/lat.0.0047
ISSN1536-0199
Autores Tópico(s)Latin American and Latino Studies
ResumoThe analysis of recent editions of recordings from the 1940s, featuring Cuban orchestras from Havana and New York, as well as new documentation that has surfaced in recent years, suggest that more contact than usually acknowledged existed between the music and musicians from both cities. The importation and reinterpretation in the United States of musical trends from Havana, especially those referring to the mambo-like sections of the guarachas and danzón, perhaps contributed to the conceptualization of the mambo as an autonomous genre. Dámaso Pérez Prado may have witnessed this process of reterritorialization of Cuban music, brought to fruition by, among others, Machito, José Curbelo, Miguelito Valdés, and Anselmo Sacasas. This process probably influenced his project and the creation of his famous mambo. The analysis of these elements confirms, once more, the difficulty of telling a linear narrative of the history of this genre.
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