The son, said Cristóbal Díaz, is the most important genre of Cuban music, and the least studied. It can fairly be said that son is to Cuba what the tango is to Argentina, or the samba to Brazil. In addition, it is perhaps the most flexible of all forms of Latin-American music. Its great strength is its fusion between European and African musical traditions. Its most characteristic instruments are the Cuban guitar known as the tres, and the well-known double-headed bongó; these are present from the start to the present day. Also typical are the claves, the Spanish guitar, the double bass (replacing the early botija or marímbula), and early on, the cornet or trumpet and finally the piano.The son arose in Oriente, the eastern part of the island, merging the Spanish guitar and lyrical traditions with African percussion and rhythms. We now know that its history as a distinct form is relatively recent. There is no evidence that it goes back further than the end of the 19th century. It moved from Oriente to Havana in about 1909, carried by members of the Permanente (the Army), who were sent out of their areas of origin as a matter of policy. The first recordings were in 1918.
There are many types of son. Odilio Urfé recognised these variants:
back: María Teresa Vera (guitar), Ignacio Piñeiro (double bass), Julio Torres Biart (tres); front: Miguelito Garcia (clavé), Manuel Reinoso (bongó) and Francisco Sánchez (maracas)
son montuno changuí sucu-sucu pregón bolero-son afro-son son guaguancó mambo and one can certainly add salsa (in large part) timba
In addition, the son has again and again changed the older danzón to make it more syncopated and creole in style, starting in 1910, through the danzón-mambo and the cha-cha-cha, to complex modern arrangements that defy categorization.
The son varies widely today, with the defining characteristic a syncopated bass pulse that comes before the downbeat, giving son and its derivatives (including salsa) its distinctive rhythm; this is known as the anticipated bass. Son lyrics were originally decima (ten line), octosyllabic verse, and performed in 2/4 time, but diversified hugely from the 1920s. See clave for the son’s underpinning structure.
Changuí is a type of son from the eastern provinces (area of Santiago de Cuba and Guantánamo), formerly known as Oriente. Because these early groups did not write down and publish their music, it is unclear how the changuí originated, and whether it is a precursor to the mainstream son or not. Changuí has been characterised by its strong emphasis on the downbeat, and is often fast and very percussive.
Changuí exists today in the form of half-a-dozen small groups, mostly from Guantanamo. The instrumentation is similar to that of the early son groups who set up in Havana before 1920. These son groups, for example the early Sexteto Boloña and Sexteto Habanero, used either marimbulas or botijas as bass instruments before they changed over to the double bass, musically a more flexible instrument.
It is an open question whether the changui represents a genuinely distinctive music, or whether it is simply an archaic form of son artificially preserved by state support. Some modern orchestras, such as Orquesta Revé, have claimed changuí as their main influence. Whether this is accurate, or not, is unclear.
The history of jazz in Cuba was obscured for many years; however it has become clear that its history in Cuba is virtually as long as its history in the USA.
Much more is now known about early Cuban jazz bands, though a full assessment is plagued by the lack of recordings. Migrations and visits to and from the USA and the mutual exchange of recordings and sheet music kept musicians in the two countries in touch. In the first part of the 20th century there were close relations between musicians in Cuba and those in New Orleans. The orchestra leader in the famous Tropicana Club, Armando Romeu Jr, was a leading figure in the post-World War II development of Cuban jazz. The phenomenon of cubop and the jam sessions in Havana and New York organized by Cachao created genuine fusions that influence musicians today.
A key historian of early Cuban jazz is Leonardo Acosta. Others have explored the history of jazz and latin jazz more from the U.S. perspective.
Early Cuban jazz bands
The Jazz Band Sagua was founded in Sagua la Grande in 1914 by Pedro Stacholy (director & piano). Members: Hipólito Herrera (trumpet); Norberto Fabelo (cornet); Ernesto Ribalta (flute & sax); Humberto Domínguez (violin); Luciano Galindo (trombone); Antonio Temprano (tuba); Tomás Medina (drum kit); Marino Rojo (güiro). For fourteen years they played at the Teatro Principal de Sagua. Stacholy studed under Antonio Fabré in Sagua, and completed his studies in New York, where he stayed for three years.
The Cuban Jazz Band was founded in 1922 by Jaime Prats in Havana. The personnel included his son Rodrigo Prats on violin, the great flautist Alberto Socarrás on flute and saxophone and Pucho Jiménez on slide trombone. The line-up would probably have included double bass, kit drum, banjo, cornet at least. Earlier works cited this as the first jazz band in Cuba, but evidently there were earlier groups.
In 1924 Moisés Simons (piano) founded a group which played on the roof garden of the Plaza Hotel in Havana, and consisted of piano, violin, two saxes, banjo, double bass, drums and timbales. Its members included Virgilio Diego (violin); Alberto Soccarás (alto saz, flute); José Ramón Betancourt (tenor sax); Pablo O’Farrill (d. bass). In 1928, still at the same venue, Simons hired Julio Cueva, a famous trumpeter, and Enrique Santiesteban, a future media star, as vocalist and drummer. These were top instrumentalists, attracted by top fees of $8 a day.