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Some lesser-known percussion instruments

After so many centuries of history, Latin music has undergone any number of transformations and mixes that have made it into the wonder that it is today. In the result, percussion instruments play a critical role and many of them are widely known by fans of Latin rhythms, including those who do not have a great deal of expertise on the issue. The thing is that many of these implements are not so well known to people, so let us mention a few of them with their main characteristics.  

Arará 

The Arará drums are named after a Cuban ethnic group that is mainly based in Havana and the province of Matanzas. In turn, they descend from other ethnic groups that had similar practices and today almost all their temples are located in Matanzas. 

At present, these drums are still used in the rituals of these cults. They are of various sizes and types, but a common characteristic they share is that they are all unimenbranophone and open without exception. One of the things that most identifies them is the presence of ritual marks made to differentiate them.  

Rain stick 

This percussion instrument consists of a long tube inside which you can find seeds and bamboo sticks, which form a helicoid extended throughout the whole instrument. When this stick is moved, the seeds hit its walls and the sound produced is very similar to that of the falling rain, a characteristic of which it receives its name. 

It is believed that it originated during the age of indigenous peoples in South America such as the Panatahuas, the Quitos, the Mexicas, among many others. On the other hand, it is worth noting the appearance of evidence to suggest that they may have come from pre-Inca cultures originating in the Peruvian coast and the Andes Mountain Range. 

Although the tools used in its manufacture vary from one cultural tradition to another, the most common material is cactus, whose spines must be dried, ground and reintroduced.  

 

Güira 

This is a Dominican percussion instrument that is part of the idiophones. Although it has come to be popular in other places, it is in the Dominican Republic where it originated and became so famous that it is even considered as a national heritage. For many, it has a strong resemblance to the bangaño, but it is very different from this one, since it has a manufacturing process in which metal predominates. 

In these times, it is very common to see it being used as an important part of musical genres such as bachata and merengue, although it is most likely fans have no idea about its existence.  

Marimbula 

The marimbula consists of a set of metal plates that attach to a resonance box and whose main purpose is to produce sounds. It is an idiophone instrument that holds a striking resemblance to the sanza, which originated in Africa many centuries ago and arrived to the American continent from the hand of the slaves, who already brought their own traditions from their places of origin. 

As to its current use, it serves as an accompaniment to all kinds of musical groups in their shows, whether we are talking about rural or urban environments. However, it should be noted that its use has also spread to religious ceremonies and cults of various kinds. 

If you want more info about this topic: The seeds of capacho give the sound to maracas

Album covers can express the technological and social advances of different epochs through indirect means.

“Salsa Fantasy” is a term coined by journalist Pablo Yglesias to describe a concept that artist and illustrator Ron Levine wanted to implement when he started creating various album covers for Latin music in the 70s.  He was primarily intended to propose a style that could compete directly with the creations of the prosperous American industry.

This article presents the reasons why Ron Levine decided to set out on on that journey. To that end, we have drawn on an interview conducted by Pablo Yglesias in 2011 in which, in addition to his interesting anecdotes, we are being offered a glimpse of a retrospect of all his work, going through his work with the Sonora Ponceña in which he had the opportunity to develop his style.

Album cover design, Fania Records, illustration, Pop Art, La Sonora Ponceña.

Introduction

Album covers can express the technological and social advances of different epochs through indirect means (Rondón, C., 2008), (Figueredo, M., 2010). The interesting thing about this is that the relative precarious situation in which salsa album covers were designed and the marginality expressed in many cases by the lack of resources with which they were created.

Jerry Masucci’s Fania Records was really focused on supporting that nascent number of singers of Latin origin.

Many of those covers created were concepts on which certain issues closely related to the songs or what the singer wished to express were handled.

In most cases, staging and photography were resorted to express certain ideas related to migration of Latinos in the U.S. and others of social order that prevailed in the lyrics of the songs (Yglesias, P. E., 2005).

In this way, various artists became directly or indirectly involved in the making of their album covers; one example of this are Eddie Palmieri’s album covers where a set of simple but forceful photos and the good mastering of typography can be appreciated (Yglesias, P. E. ,2005).

Although there existed a number of non-Latin graphic designers and artists who engaged in Latin music in the United States during the 70s and 80s, the team formed by Ron Levine and Marshall Lee was the most visible of Salsa in New York.

The two artists, both iconic and revered, worked for Jerry Masucci at Fania Records where Levine created many of Fania’s best known and appreciated covers.

Salsa wonderful photos of Lee would be part of a comprehensive separate study, what interests us in this article is to show the work developed in Ron Levine’s work as a graphic designer and artist.

Throughout his career he played an important role in carrying on the legacy of high quality in the design of album covers initiated by Izzy Sanabria, Walter Velez, Charlie Rosario and other artists and illustrators in the 60s and early 70s.

Below is a review of Ron Levine’s work and some aspects that led him to develop a style so particular that, still today, is applauded by many designers, artists and illustrators who have been involved in the art of creating album covers.

Levine’s childhood: from drawing horses to Ronald Stuart art school Levine was born in 1947 in Brooklyn, New York and moved to Long Island at six years old. His maternal grandparents were Scottish Protestants; his maternal grandmother was Theodore Roosevelt’s nurse in a moment of her life (“She was a big burly woman with hair like sheep,” recalls Levine)

Her paternal grandparents were Jews from Poland and Russia. Her mother, who was born in Glasgow, converted to Judaism when she married her father. She attended art school and, besides being a housewife, she used to work in a professional photo studio and was an expert in dyeing and painting backgrounds oil colors in black and white photographs for weddings.

Her father worked in a textile store and had a knack for textile marketing and fashion in Manhattan.

Levine spent his childhood playing with drums, Jewish folk dances and horse riding. Drawing horses fascinated him and he was obsessed with science fiction illustrations such as Flash Gordon, Disney cartoons, superhero comics, horror and fantasy.

By the age of eight, he was longing to work for Walt Disney; at school he was irreverent in art classes, preferring to draw horses, fantasy characters or Flash Gordon, rather than those boring still life, fruit bowls and colour cards that were classroom exercises.

He motivated himself by drawing fantasy and beautiful horses. Despite his poor grades, his parents knew he had talent, so they encouraged his artistic skills knowing that his career in the arts may not be very financially feasible.

To him, music was a passion almost be likened to painting. Levine formed a band called “The tensions” in which he played drums. He was also the lead vocalist of another band called “The New Rock Workshop” and its members toured and recorded for several years in the 60s.

In addition to playing and singing in those bands, Levine began studying at the School of Visual Arts in Manhattan, where he took classes in a 4-year programme. There he reclaimed his passion for drawing the human figure.

At the age of 20 Levine settled permanently in Manhattan anstarted his professional career as an artist.  He could not finish the last quarter of his studies, but through a professor he was able to make contact high-profile graphic artists such as Paul Davis, Milton Glaser, Chwast Seymour and Lubalin Herb. After a while he landed a job making magazine covers and also with the famous creative director Tony Palladino with whom he learned various tools of the trade.

In these early works, as may be noted, photography was used as an element of graphic expression, combining some illustration and staging. It was a work concluded between Levine and Lee.

After the first six years, Levine was already doing most of the work for Fania All-Stars together with Lee.

At the same time, Sanabria was occupied with Latin NY magazine, which was a very influential publication for Nuyorican popular culture.

Levine comments that he felt part of The Good, The Bad And The Ugly and Lo Mato.

The Good, The Bad And The Ugly

Jhonny Pacheco had respect for his illustrations because Levine also knew about music.

However, he says he took an intensive course and went from not knowing anything about Latin music to witnessing its history and evolution in the front row.

After that, he worked for some albums by Rubén Blades in which he began experimenting with portrait photography, which was a realistic interpretation from photography.

Lo Mato

Despite the pleasant working atmosphere, Levine had some conceptual discussions with Masucci in relation to logos and title text sizes in typographies, resulting in controversial results in some cases.

Since Latin music was marginalized for many years, the designs of the 60s and 70s used a shoestring budget, considering that Fania All-Stars was neither Columbia nor Atlantic Records, for many of the typographies almost everything had to be created manually and with basic techniques such as the use of masks, photocopies, adhesive tape and rubber cement.

In this way, there was a lot of handmade work in which Levine’s photos were taken to the extreme. All the lines were done by hand and then tinted with rapidograph pens. Levine says that some of the typographies created had no concept behind them, however, illustration to produce a quality product take a long time.

Creativity was blooming as was humor. Many musicians used to dress up in costumes and pose with girls.

Subsequently, he was called to work in the covers of La Sonora Ponceña given that the aesthetics of this orchestra’s pieces were in line with his expectations about fantasy illustrations.

La Sonora Ponceña.

Many of the covers created by Levine and Lee challenged the concept of the Latin identity’s representation, this can be better seen in the LP’s created for La Sonora Ponceña from Ponce, Puerto Rico.

The record label Fania Records offered that differentiation to new musicians, giving them the opportunity to say something interestingusing their covers. Sanabria had already begun to develop a concept, but were at the hands of Lee and Levine that a classic representation of the style based on comic-inspired illustrations, some humor and Pop Art was truly shown.

Ruben Blades.

Ruben Blades With Strings

This is how contextualized ideas and stories were developed; an example of this is a cover where a representation of the conquistador Juan Ponce de Leon in full body armor (something incongruous with the use of a sweater), a guitar on his shoulder, a maraca in one hand and a parchment in the other one.

When Levine took charge, there was some controversy concerning how the group should be represented; however, Levine was quite good in the eyes of the fans.

Given that they felt the story needed to be told in some way and the problems and artistic freedom so important to salsa in the 70s were illustrated with authencity through his creations.

These creations that came out from an initial idea of Juan Ponce de León’s representation mutated and became the issue of many album covers that not only told fantastic fictional stories related to music, but also changed the traditional image of the Latin album.

Sonora Ponceña albums (Musical Conquest – Back to work).

Sonora Ponceña Musical Conquest

Despite the success of Levine’s work with the public, Sanabria, who always tried to remain within the limits of Latin culture, criticized him precisely for distorting music and its culture.

Sonora Ponceña Back to work

However, Levine defended his idea by saying that Latin music and its artists very good music), had not received before the support as is provided to American music and artists. Given that Levine had been linked to the creation of covers for rock bands, he always felt that the quality of Latin music covers was very poor due to the low budget.

 Sonora Ponceña albums (Determination – Night Rider).

Sonora Ponceña Determination

In this way with his fiction proposal, Levine put Latin music on a par with some American artists who had recognition (Boston, ELO, Earth, Wind, Fire, Kiss and Yes).

Levine believed the covers should reflect the image of success. Fortunately, he had the support of Masucci, who, motivated by Levine, invested more money in the covers using the same premise.

Sonora Ponceña Night Rider

With his proposal for the covers, Levine wanted to show that Latin music was part of one of the biggest music scenes in the world.

He remarked that each of the covers had the same standard of treatment as a work of art; it was worked with great care and detail.

Finally, the last cover created by Levine for La Sonora Ponceña was made in the digital age – On Target (1998). There is a kind of hybrid between samurai and barbarian, with certain influences of the aesthetics of video games, fast-moving typography management with a flatter illustration but with a three-dimensional look.

The CD was released the year after the death of Masucci.

Sonora Ponceña On Target.

Conclusion

The concept proposed by Ron Levine allowed to explore from creation not only the various ways of making known a musical group, but also the establishment of a style that spread among the public to such an extent that his work on each cover is recognized as a work of art at present.

Mongo Santamaria

On the other hand, he was a pioneer of a style with which Latin music was not initially identified in its beginnings (fiction illustration, Pop Art, humor.) Yet, despite economic constraints, he designed several album covers with the best quality, they are even on the same level as those created on American record labels with higher budgets.

Notes

1 Member of the Research Group Camaleón.

2 Member of the Research Group Palo de Mango.

3 Music festival, art and Hippie congregation; held on 15, 16, 17 and the early morning of 18 August 1969, in Sullivan Country, New York.

References

Figueredo, M. (2010).

Album cover design in the 1970s.

Creation and Production in Design and Communication [works of students and Graduates] Nº 35 (2010). pp 99-102 ISSN 1668-5229 99

Rondón, C. (2008).

The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City The University of North Carolina Press.

Cocinando. Fifty Years of Latin Album Cover Art.

New York: Pricenton Architectural Press.

Received: June 30/ Approved: November 28, 2013.

For Santa Maria’s bongo album Afro-Indio, Levine produced a masterful watercolor of ritual imagery focused on African culture.

https://nexus.univalle.edu.co/index.php/nexus/article/view/747/870

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Ron Levine

How Latin soul was born

There are certain musical genres that, despite their short duration on the public stage, marked history to such an extent that they continue to be named and taken into account when analyzing the process experienced by Latin music in the United States. One of them is Latin soul, which is defined as a musical genre born and developed in the 1960s in New York City, such as in the case of many of the rhythms we have today. 

Latin soul was born of the mixing of Cuban mambo and some elements coming from the American version of soul and Latin jazz. Even though it was a set of rhythms that became relevant only in the aforementioned decade, it played a particularly valuable role in the salsa movement that was starting to take shape at that time. 

One of its most striking characteristics is that it places a lot of emphasis on its Afro-Cuban rhythms, but at the same time, most of its songs are in English, which reveals an extremely interesting mix of Cuban and American cultures. After to have acquired a little more specific style, it started to become popular among New York-based Latin artists, who used the emerging genre to win over communities of their respective countries and local media at the same time. 

Among the greatest exponents of Latin soul is Joe Bataan, an American of Filipino descent who is regarded as the most famous vocalist of the genre. Something that made him really different from the rest of the artists of his kind was the merger between American soul and salsa that was already sounded at that time. For this and many other reasons, Bataan is still seen as one of the greatest idols of those golden years of music. 

Bataan, Willie Colón, and other performers represented the emergence of a generation of musicians whose formation was the street itself and the harsh experiences occurring it. At the same time, there were others who had an academic background and studies that made them play and behave otherwise. When the union between both groups took place, the result was a display of talent that is still turning heads. All those who were trained in academies and on the street joined the new oncoming wave of rhythms. 

An important detail about this is that the Latin audience in general was eager to look for artistic role models through which to reflect their daily lives. We must remember that many of these people lived in poor conditions in some of the poorest neighborhoods in the country, so many did not really identify with educated music that came from the music academies and schools. All that changed greatly after the emergence of a group of artists who wanted to have their own place in the Anglo-Saxon entertainment business. In some cases, these young people came from an origin very similar to the one that has been described. 

This led to the creation of groups and orchestras in which formal and sophisticated music training had to coexist with other styles emerging from the humblest alleys in certain Latin neighborhoods. Music had ceased to be an elitist thing and would go on to become a mixture of different flavors and colors that were gradually brought together as the decades of the ’60s and ’70s went by. 

Around this time, the figure of Monguito Santamaría (Cuban percussionist and bandleader Mongo Santamaría’s son) emerged, who would be his biggest inspiration to take the path of music. The boy studied piano and proved a great talent for leading bands, but he needed something to push his career, since the mere fact of being a legend’s son was not going to guarantee the success he longed for. This led him to be carried away by the current of Boogaloo, another nascent genre that had gained overwhelming popularity at the time. 

From there, Monguito created his own orchestra and invites some of his schoolmates to join him, which resulted in a quite complete group in which these guys designed their own American R&B versions and sounds and an accent that made them much closer to the African-American community that loved soul and funk. This made them put aside the Latin community for a while, but that would change sooner than expected.   

Long after Monguito completed his musical studies, he and his band decided to audition for Johnny Pacheco and Jerry Masucci. Let us not forget that Santamaria and the rest of his orchestra had a typically American vision of music, but they did not put aside the Cuban heritage behind them, so they always included songs in genres from the Caribbean island. This pleased the Fania All-Stars so much that they agreed to work with the orchestra, which adapted to the exigencies of the record label without losing sight of their goal: making music for Latinos in New York. 

This is how Monguito and Bataan became the Fania artists whose repertoires were more inclined to Latin soul. In view of the great success that Mongo’s son had with his projects on the label, he continued to immerse himself in the aforementioned rhythm and to enter Boogaloo, whose popularity was at its peak at that time. 

The bad news is that there were a set of factors that did not help the musician to make history as he wanted. One of them was the birth of salsa orchestras that perfectly read the social moment that lived by the poor Latin neighborhoods of the United States, a point on which Monguito stayed in the past. He and his musicians may have been better than many other bands of their generation, but they did not know how to read the historical moment when they were in. This and his little promotion in much of Latin America made much of his legacy be buried and forgotten. 

Eddie Palmieri’s role in this process 

American bandleader and pianist of Puerto Rican descent Eddie Palmieri played a very important role in the process carried out by Latin music during its evolution into what we know today. The artist radically changed the way Latin music was perceived thanks to his spectacular mix of Afro-Cuban rhythms and certain touches typically of Latin jazz. 

During the heyday of Boogaloo and Latin soul, Palmieri did his best to mix the best aspects of soul and funk with these Cuban rhythms, which would in turn be united with a typical revolutionary message of those years. Thanks to all these messages captured in his lyrics, the musician’s repertoire became more and more present in acts promoted by leftist movements and his music was brought to several prisons, giving it a nuance of denunciation that was very difficult to ignore.  

In contrast to other talents of those years, the New Yorker cannot be classified as a salsa, Boogaloo or soul musician. This is because he knew how to handle all genres and combine them in a novel way for that time.