guaguanco?

Gumercindo said:
As for Guaguanco de los Violentos, as per online research, Onda Panamericana produced it in 72 and Tipica 73 in 76.
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What's your source for the date for the Onda Panamericana version? I couldn't find a date and saw it was written by Louie Ramírez, who of course was based in NY, and Onda Panamericana were Colombian. So if the Onda Panamericana version does predate the Típica 73 version there is very probably an earlier original version from someone in NY.
 
On another thread...

MamboJazz said:
Some of the played, typical songs I tracked with Shazam App, to give an impression:

Roberto Roena - Te lo voy a jurar
Sonora Ponceña - Changuiri
Gene Hernandez - Asi fue que nació el son
Willie Salcedo - Sandra Mora
Grupo Baruc - Teresita & Miguel
Los Satelites - El Borracho
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Which of these would you all classify as guaguancó?
 
Also here's a nice one that combines the rumba and salsa guaguancó, maybe it could help shine a light on the connection?

Tabaco - Una Sola Bandera
 
DJ Yuca said:
What's your source for the date for the Onda Panamericana version? I couldn't find a date and saw it was written by Louie Ramírez, who of course was based in NY, and Onda Panamericana were Colombian. So if the Onda Panamericana version does predate the Típica 73 version there is very probably an earlier original version from someone in NY.
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Tough album to get info on. Best I could find is references to 1972 by a couple youtube videos from DJs with the album. IME, they are fairly consistent with this stuff. Also, give they released another album and nothing beyond that year, stands to reason they did all their recording that year or 2.
 
The chances of Louie Ramírez writing that song for Onda Panamerican are v slim, so unless you can find an earlier version I suspect the Onda version is a cover.
 
very sad news....Oscar Valdes died last week in Havana at the age of 85, reported the Cuban Institute of Music.... he was a former member of Irakere, percursionista y vocalista, RIP

 
Humpa said:
I should stop trying to understand what Salseros mean with Guaguancó (de Salon). When it comes to Alexander Abreu, Alabanza, or Raza would pop up to my mind but not definitely not Después de un Beso.
Havana D' Primera - Alabanza | Official Lyric Video - YouTube
Havana D'Primera - Raza (feat. Osain del Monte) | Official Audio - YouTube
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Después de un Beso is definitely not a particularly clear instance, but this .xxx.xxx thing shines through at some points (for instance in the guitar/tres right at the start, or the piano around 2:00), and with it that "rolling" feel. I'd argue it's closer to those two songs by Conjunto Casino linked above than Alabanza and Raza.

Oye Mi Quinto above is a very interesting one to bridge the gap, thanks salsim for sharing those.
 
Here's two rather reduced instrumental takes on guaguancó.

Francisco Aguabella - Shirley's Guaguanco

La Maxima 79 - Singapore Vibes

(the latter tends a bit towards mambo maybe?)
 
Humpa said:
I should stop trying to understand what Salseros mean with Guaguancó (de Salon). When it comes to Alexander Abreu, Alabanza, or Raza would pop up to my mind but not definitely not Después de un Beso.
Havana D' Primera - Alabanza | Official Lyric Video - YouTube
Havana D'Primera - Raza (feat. Osain del Monte) | Official Audio - YouTube
Click to expand...

there is Guajira de salon which is nothing more than a Guajira-Son popularised by Guillermo Portabales....Guaguanco de salon? maybe they are using that expression to refer to a Guaguanco with Son
 
Hey guys,

So I asked Sonny Bravo, legendary pianist and arranger for Tipica '73, Tito Puente, Fajardo, etc., about what his thoughts were on "Guaguancó de Salon," and here's what he had to say:

"I'm not a student of Cuban Rumba & I'm not familiar w. the term, "son-guaguancó" as a sub-genre! Unless, of course, it's a reference to Guaguancó de Salón" (Ballroom), adapted from folkloric "guaguancó" for the average folks @ the local dancehalls!

The rhythm accompaniment of folkloric Guaguancó is much more involved w. the dancers moves, esp. w. the "vacunao" portion of the performance, than that of the in-the-pocket
groove of the dance hall version!

Bear in mind that there are no melodic instruments playing "guajeos" in Coros de Guaguancó! In the "salón" version, there's a distinctive piano (or tres) guajeo that is employed! You can hear it plainly in TP's versions of, "Guaguancó Margarito," "Juventud del Presente," & "Oye Mi Guaguancó," on the Mambo Birdland CD! In the latter track, the groove morphs into a Mambo feel! Hear how my guajeo changes, adapting to the sax riffs & trp. lines!"

So with that in mind:
 
One way to look at Guaguanco de salón is to look at it the way you would view something like what is known as "Salsa Romantica." In its essence "Salsa Romantica" is a lyrical bolero sped up to a progressive rhythm. Making said style into a Guaracha. In thev1930s it was identified by composers as "Bolero-Guaracha." The song "Idilio" fits that bill.

Guaguancó de salon is the same and exactly what Sonny Bravo referenced. While the groove is Son-like, the singer is still referencing things that are characteristically aligned with Afro-Cuban folkloric chants. Making it a fusion or dancehall rendition of the authentic folkloric original.

What I think everyone should realize is that, at the end of the day, music can go in any direction. And the labels that we apply to them are merely "signs on a road" indication what's coming up ahead. Whether it's Guaguancó de salon, or Son-Guaguancó as someone christened it here on this thread, labels are not meant to limit or create parameters. But for one to identify. So if you're an artist you can write a Guaguancó de Salon and morph it into a guaracha, using romance-oriented lyrics. Or what have you. The possibilities are endless. You just have to know what is what, so yhat you can build, and adhere to clave integrity. The latter of which there is no compromising.
 
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