What's become of Latin music?

Latin Beat Magazine, Oct, 2002 by Frank M. Figueroa

During my lifetime, I have witnesses the development of popular Latin music from its humble beginnings to the complex, sophisticated form it is today. In an article I wrote a few years ago, I traced the history of Latin music, praising the contributions of the early troubadours as well as the symphonic interpretations of today's famous orchestras. As a steadfast advocate for innovation and progress, I have been delighted with the way Latin music has evolved. Latin composers, musicians and singers have managed to keep the music up to date without compromising its identity, character and flavor.

In the last few years, however, I have noticed a trend that threatens to lead Latin music in a direction away from its roots. A wave of individuals with some technical knowledge of the music, but with little understanding of its heritage and sensibility has invaded the field. Armed with computers, synthesizers, rhythm machines and other electronic gadgets, they have turned Latin music into a cold, technical experience.

Certain musical arrangements are formulaic and appear to have been produced by a computer program instead of a human being. This is why it is hard to identify the different performers. The lyrics are becoming less important. Most of these individuals have little knowledge of the Spanish language and its culture.

The work of musicians such as Papo Lucca and the late Chico O'Farrill proves that an artist could be innovative and traditional at the same time. It is also important to recognize that the bolero genre still survives in its true form. Artists such as Luis Miguel have modernized it, but have not changed its identity, character and flavor. There is something incorruptible about the bolero that resists adulteration.

Undeterred by the technician's manipulations, the public clamors for traditional music. Witness the success of the Buena Vista Social Club, Compay Segundo and the continuous success of El Gran Combo. There is a certain quality in Latin music that cannot be purged. Just as the legendary Quetzal bird of Central America dies in captivity, Latin music dies when its spirit is extinguished.

With the advent of CDs, producers were free to record long tracks of more than 10 minutes. Most of those sessions fell into the category of "descargas" or jam sessions. In this format, solos by members of the group were featured. The procedure is fine when it is a recorded jam session; after all, what is a jam session (descarga) if not a series of solos by talented musicians? Objectionable is the long conga and timbal soloing in almost every recording. Years ago, swing bands such as Benny Goodman and Tommy Dorsey featured long drum solos by Gene Krupa and Buddy Rich in live performances where the public could watch as well as hear the virtuosity of those musicians. It doesn't quite translate in a recording intended for listening or dancing. The majority of the public finds it difficult to endure long periods of drumming. For the specialists, there are collections such as "Puente in Percussion" and the many CDs recorded by Los Muñequitos de Matanzas, Giovanni Hidalgo and Patato Valdés.

Another area of concern is the diminishing role assigned to the lyrics in contemporary Latin music. The uninitiated should be reminded that first came "the word." The vocal element has always been important in Latin music, a trait inherited from both its Iberian and African ancestors. Although words may appear inconsequential to some, they do have an important function in Latin music. We must remember that in most Iberian and African musics, there are call and response segments where the chorus interacts with the lead singers. Those who know the language and culture can enjoy the exchanges between the two vocal components. In Latin American music, the "coros" are very important. They usually include voices of different timbre, including a high pitched feminine voice. In many cases, the coro reinforces the "tumbao" played by the bass or the piano. Recently, arrangers have written clever changes in the coro, breaking away from the monotony of lengthy word repetition. In some contemporary recordings, however, the listener is subjected to 10 or 11 uninterrupted repetitions of the coro.

The improvisations (inspiraciones) by the lead son singer play an important part in Latin music. They were intended for the Spanish-speaking community qualified to accurately evaluate them. Admittedly, there are so-called "soneros" who lack charm and improvisational talent to produce significant "inspiraciones." Fortunately, there are also soneros who regale the listener with clever rhymes and witticisms. Familiarity with street language and culture helps to understand a sonero's message.

Recently, the Latin music produced in the U.S. has been leaning towards the instrumental side. The emergence of Latin jazz has further diminished the role of vocals, with the exception of artists such as Bobby Carcassés, who has managed traditional music while singing scat in his guaguancó tunes. Mario Bauzá and Machito always managed to keep vocals in their interpretations. Traditional Cuban music, even with a modern twist, is kept alive on that island. Artists such as Isaac Delgado, Juan Formell, Orquesta Aragón and José Luis Cortés record modern Latin music without severing its roots.