The embargo that followed the Cuban Revolution cut off the constant supply of new Cuban rhythms to which the recording industries had become accustomed. This led to a renewed interest in Brazilian music and a new fusion called “Bossa Nova” in the sixties, led by Stan Getz and the Brazilian composers Antonio Carlos Jobim, Vinicius de Moraes and Luiz Bonfá who wrote compositions based on the Brazilian samba and choro.

Musicians from the sixties also engaged in a reinterpretation of traditional rhythms like the son, the mambo and the rumba with a new orchestration and the phrasing and embellishments typical of jazz that had already become a part of certain Latin orchestras such as Perez Prado.

The sixties moreover, saw a renewed interest in religious African music, which had never been commercialized before, though Chano Pozo, Miguelito Valdés and Arsenio Rodríguez had adapted some of its themes and instruments in the forties. New rhythms associated with salsa include the boogaloo or bugalu (similar to chachacha with a back beat), the mozambique, the nueva timba and Latin rap.

Audio: Trio Da Paz: Black Orpheus.

Audio: Elube Changó, The Conga Kings

Audio: Chucho Valdés & Irakere: Babalú Ayé

Audio: La Contradanza (Emiliano Salvador) Grupo de Experimentación Sonora del Icaic.

Audio: Eleggua in the Road Omar Sosa & Gustavo Ovalle.

To find more information about Irakere, go to the following site:
http://www.salsa-in-cuba.com/esp/artista_irakere.html

Answer the following questions:

How do the selections by Irakere, Omar Sosa and the Conga Kings resemble the chants you heard in module one? How do they differ? How does Emiliano Salvador's contradanza resemble or differ from the ones you heard in module two? How would you characterize the way in which musicians beginning in the seventies and up until today utilized the African and syncretic forms heard in earlier modules?