Etymology
Before it became the newest Cuban music and dance craze, ''timba'' was a word with several different uses yet no particular definition, mostly heard within the Afro-Cuban genre of rumba.Mauleon, Rebeca. "Timba Music." National Geographic World Music n.d. received 4 March 2010. A ''timbero'' was a complimentary term for a musician, and ''timba'' often referred to the collection of drums in a folklore ensemble. Since the 1990s, timba has referred to Cuba's intense and slightly more aggressive music and dance form.History
As opposed to salsa, whose roots are strictly fromPrecursors
The main precursors of timba are three bands: Los Van Van, Irakere (both in the 1970s) and NG La Banda (1988), though many other bands (e.g.Orquesta Revé
Elio Revé Sr. was an incomparable talent scout. He may also have been a difficult man to work for, if the number of musicians who have left his band is any indication! The incredible legacy of famous Revé spinoff bands began shortly after his group relocated from Guantanamo to Havana in 1956. In 1958, most of the members left to form Ritmo Oriental. In 1965, his young pianist Chucho Valdés left to pursue a jazz career, which resulted in the formation of Irakere. In 1968, bassist,Others associated with Revé included the singer Yumurí. Elio was the father of musician brothers, Oderquis Reve and Elio jr ('' Elito''), the latter continuing a direct link to his father's music with Elito Revé y su Charangón. Singer and writer, Emilio Frías “El Niño”, gained experience with the group before forming ''El Niño y La Verdad'' in June 2013.Juan Formell Juan Climaco Formell Cortina (August 2, 1942 – May 1, 2014) was a Cuban bassist, composer, and arranger, best known as the director of Los Van Van. He was a creator of popular danceable music and credited with bringing electronic instrumentatio ..., Pupy Pedroso and others left to form Los Van Van. In the late 70s, Armando Gola, German Velazco and Pepe Maza left to form Orquesta 440. Singer Félix Baloy left after 1982 and enjoyed a long career with Adalberto Álvarez and as a solo artist. Arranger Ignacio Herrera also left after 1982. We are not sure what happened to Herrera, but based on his stunning arrangements on the 1982 album, he certainly had the potential to create a brilliant spinoff band of his own. Another "missing-in-action" Revé alumnus who might well extended to this list was Tony García, the pianist and musical director of the early 1990s and the arranger of Revé famous "Mi salsa tiene sandunga" which became the theme song of Cuba television's most important music show, Mi Salsa.
It was Herrera's departure that led Revé to focus his talent scouting spotlight on another composer and arranger Juan Carlos Alfonso. Alfonso is also the brilliant pianist whosetumbaos In music of Afro-Cuban origin, tumbao is the basic rhythm played on the bass. In North America, the basic conga drum pattern used in popular music is also called ''tumbao''. In the contemporary form of Cuban popular dance music known as timba, piano ...will be studied in this section. After five years and four classic albums which elevated Revé to Van Van-like popularity and earned them the nickname La explosión del momento, Alfonso himself left the band in 1988 to formDan Den Dan Den is a cuban music timba group founded by Juan Carlos Alfonso in late 1988. It has toured the world. Discography *Siempre hay un ojo que te ve (1990) *Amame con tu experiencia (1992) *Más rollo que película (1992) *Viejo Lázaro (1993) aw ...... Suffice it to say that the history of Revé is like the corner of Hollywood and Vine if you study it carefully enough, you'll encounter most of the important Cuban musicians of the last 50 years in the process.—Moore (2010: v. 4: 49)
Son 14
Grandes ''Èxitos EGREM CD 0325'' (Son 14). This CD is an excellent compilation of the best songs of Son 14 during the years in which Adalberto Álvarez led the band (1979–1983) Adalberto Álvarez, born in Havana and raised inCamagüey Camagüey () is a city and municipality in central Cuba and is the nation's third-largest city with more than 321,000 inhabitants. It is the capital of the Camagüey Province. It was founded as Santa María del Puerto del Príncipe in 1514, by ..., had already had some success writing songs for Rumbavana when Rodulfo Vaillant, one of the most recorded composers of the era, invited him come to Santiago as the musical director and pianist of a new group called Son 14. The group got off to a roaring start in 1979 with Adalberto's first massive hit, "A Bayamo en coche." Alvarez left after three classic albums (plus a fourth featuring Omara Portuondo singing songs from the other three) but Son 14 has stayed together, recording sporadically, under the leadership of Eduardo "Tiburiuni" Morales, the original singer of "A Bayamo en coche." Adalberto Álvarez was among the first to popularize the use of "gospel" chord progressions using major triads built on II, III and VI. Throughout the 1970s and 80s, more and more elements of the pop music harmonic palette became acceptable in Latin music and by the 1990s, anything that produced a hook became fair game, resulting in an explosion of brilliant songwriting while North American salsa continued to be constrained by the formulaic limitations of the genre.—Moore (2010: v. 4: 22)
Orquesta Ritmo Oriental
Ritmo Oriental, often known as "La Ritmo", was one of the most popular bands in Cuba in the 1970s and 1980s. ... La Ritmo's violin tumbaos were endlessly inventive and Humberto Perera, often the arranger as well as the bassist, created bass tumbaos which were both thematic and filled the holes created by the other tumbaos. Pianist Luis Adolfo Peoalver mostly stayed within the typical style of the 1970s and 80s, locking down the groove with the violin section and Lazaga's machete-style güiro, while Perera, drummer Daniel Díaz, conguero Juan Claro Bravo and the band's extraordinary arrangers soared to unprecedented creative heights.—Moore (2010: v. 3: 33)
Original de Manzanillo
Original de Manzanillo added guitar to the standard charanga instrumentation. Less adventurous than Ritmo Oriental and the other modern charangas, it was distinguished primarily by its singer and composer, Candido Fabré, an extraordinary performer who influenced almost every subsequent singer with his uncanny ability to improvise lyrics. Original de Manzanillo's pianist and leader Wilfredo "Pachy" Naranjo is still with the group and his son, Pachy Jr., is the current pianist for Orquesta Revé and has recorded with many others, includingAngel Bonne In various theistic religious traditions an angel is a supernatural spiritual being who serves God. Abrahamic religions often depict angels as benevolent celestial intermediaries between God (or Heaven) and humanity. Other roles includ ....—Moore (2010: v. 3: 33)
Los Van Van
In 1969, Formell left Revé to form his own band, Los Van Van, taking with him many of Revé's musicians, including pianist Pupy Pedroso. His first new songs bore much in common with the music he created for Revé although he began calling it ''Los Van Van developed what came to be known as the 'songo' genre, making countless innovations to traditional son, both in style and orchestration. In Latin music, genres are commonly attributed to rhythms (though of course not every rhythm is a genre), and whether or not timba is a genre of its own is debatable. Songo, however, can be considered to be a genre and is in all likelihood the only genre in the world played by only one orchestra, Los Van Van. The songo rhythm was created by percussionist José Luís Quintana ("Changuito"), at the behest of Van Van bandleader Juan Formell. Since the band's creation in 1969, Los Van Van has been the most popular band in Cuba, and are themselves considered to be one of the major timba bands.songo Songo may refer to: * Songo music, a type of contemporary Cuban music originating in Havana * Songo people, of northern Angola * Songo-salsa, a style of music that blends Spanish rapping and hip hop beats with salsa music and songo * Songo.mn, an ...'' instead of ''changüí ''Changüí'' is a style of Cuban music which originated in the early 19th century in the eastern region of Guantánamo Province, specifically Baracoa. It arose in the sugar cane refineries and in the rural communities populated by slaves. ''Ch ...''.—Moore (2010: v. 3: 16)
Irakere
Irakere is known largely as a Latin jazz band outside Cuba, yet much of their music can be considered to be popular dance music. Like Los Van Van, Irakere experimented with many different styles, mixing Afro-Cuban rhythms with son and jazz. While bandleader Chucho Valdés is revered as one of the great jazz musicians of Cuba, both jazz and timba prodigies came out of the orchestra, including flutist José Luis Cortés ("El Tosco"), who assembled a group of highly talented musicians to form NG La Banda in the mid-1980s. NG experimented with different styles, including Latin jazz, for several years, before recording what is considered by many to be the first timba album, ''En La Calle'', in 1989.Special Period (early 1990s)
During the Special Period of the early 1990s, timba became a significant form of expression for the cultural and social upheaval that occurred. The Special Period was a time of economic downfalls and hardships for the Cuban people. In the wake of theNG La Banda
Though NG La Banda had huge successes in the early 1990s, and is credited with being the first timba band, the band's fortunes have been mixed, partly because they remain highly experimental.NG La Banda, usually considered the first timba band, was among the first groups to standardize the use of gears and song-specific piano tumbaos, as well as being the first in a series of bands to experience "mania"-like popularity in Havana during the heady days of the 1990s. In terms of its members, however, NG La Banda was far from new. They had already been playing under the name "Nueva Generación", recording several eclectic jazz albums. Five members came directly from Irakere: the leader, José Luis "El Tosco" Cortés, and the entire horn section, known affectionately to fans as Los metales de terror for their flawless and aggressive execution of El Tosco's virtuosic hornlines ... El Toscoad a Advertising is the practice and techniques employed to bring attention to a product or service. Advertising aims to put a product or service in the spotlight in hopes of drawing it attention from consumers. It is typically used to promote a ...stint in the 1970s with Los Van Van. His initial concept for NG La Banda was to combine the popular music appeal of Los Van Van with the jazz influences and stupendous musicianship of Irakere. The rhythm section was no less virtuosic than the horns. Drummer Calixto Oviedo, Bassist Feliciano Arango, drummer Giraldo Piloto and conguero Wickly Nogueras went on to become legends on their respective instruments. Most important from our point of view was the pianist Rodulfo "Peruchín" Argudín. The original singers were Tony Calla andIssac Delgado Issac Delgado (born Isaac Felipe Delgado-Ramirez on April 11, 1962 in Marianao, Habana, Cuba) is one of the founders of the band NG La Banda and is a popular salsa and timba performer. Early life and family His father, Luis Delgado, was a ta ..., from Ritmo Oriental and Pachito Alonso, respectively. Delgado left NG to form his own band in about 1991. Piloto joined him about a year later as drummer, composer and musical director. El Tosco replaced Issac with another great singer, Antonio Mena.—Moore (2010: v. 5: 14)
La Charanga Habanera
What came to be known as the "timba explosion" started not with NG La Banda, but with the debut album of La Charanga Habanera, "Me Sube La Fiebre", in 1992. This album included all the elements of what is now known as timba, and the band dominated the scene until the break-up of the original band in 1998 (they have since reformed).Charanga Habanera was ... catapulted to superstar status in the 1990s. Like NG La Banda, the charangueros had copious amounts of gear changes, song-specific tumbaos and attitude, but their musical style was drastically different and it kept changing and evolving with each album. Charanga Habanera's albums can be bought in their original form, which is fortunate because they're conceived as albums, with meticulous attention paid to artwork, track lists, and overall concept. Every note on these albums holds up under intense scrutiny. I've written extensive articles on each of the first five albums on www.timba.com and I've begun another, more technical batch of analyses of the same albums from the point of view of the rhythm section and its gear changes. Charanga Habanera's timba.com section also includes extremely accurate transcriptions of every lyric, including guías, on each of these albums. In terms of instrumentation, Charanga Habanera is about as far from being a charanga as it could possibly be, and there's an interesting story behind the band's misleading name. The group's leader, David Calzado, who had played violin for Ritmo Oriental in the 1980s, landed a multi-year contract to play traditional charanga music each summer at a large Monte Carlo tourist hotel, hence the then-appropriate band name Charanga Habanera. Every weekend, the band would play the opening set for touring bands such as Earth, Wind and Fire, Stevie Wonder, James Brown and Kool & The Gang, and the charangueros became huge fans of both the music and stage shows of North American R&B. In the off-season, back in Cuba, there was very little work for their traditional music and the whole country was going wild for NG La Banda. In response, Calzado and musical director/pianist Juan Carlos Gonzalez changed everything about Charanga Habanera except the name. They added three trumpets and a sax, a bongosero, a kick drum, a synthesizer, elaborate costumes and stage shows, and a completely new kind of music which didn't sound like NG La Banda or Earth, Wind and Fire, but which worked pure musical magic on all levels. The piano tumbaos and arrangements ... were nothing short of sublime. Charanga Habanera underwent three distinct style periods in the 1993–1997 period, represented by the three albums pictured above. An earlier album, Love Fever (Me sube la fiebre), fits stylistically with Hey You Loca and even shares two important songs : Me sube la fiebre and Para el llanto. If you catch Charanga fever, there are three important classics on Love Fever that weren't re-recorded on Hey You Loca: "Extraños ateos", "Pregón de chocolate" and "Te voy a liquidar."—Moore (2010: v. 5: 16)Since then a large number of bands have sprung up in Cuba and internationally, many of the best known being headed or staffed by former members of the above-mentioned bands. Some important figures and bands include: Pachito Alonso y sus Kini Kini, Azúcar Negra, Bamboleo,
Manolín "El Médico de la salsa"
If the early 1990s popularity of NG La Banda and Charanga Habanera was unprecedented, the response to the arrival of the next superstar group bordered on the unbelievable: the Cuban equivalent of Beatlemania. The unlikely star was Manuel "Manolín" Gonzalez, an amateur songwriter whom NG's El Tosco discovered at med school and famously dubbed "El Médico de la Salsa". Manolín's music was as different from Charanga Habanera as Charanga Habanera was from NG La Banda. His creative team included several arrangers, including the great Luis Bu, a brilliant pianist, Chaka Nápoles ... and an incredibly powerful and creative rhythm section. As influential as Manolín was from a strictly musical point of view, his charisma, popularity and unprecedented earning power had an even more seismic impact, causing a level of excitement among musicians that had not been seen since the 1950s, if ever. To borrow a phrase from Reggie Jackson, El Médico de la Salsa was "the straw that stirs the drink."—Moore (2010: v. 5: 18)
Paulito FG
Paulo Fernández Gallo, aka Paulito FG, Pablo FG or Paulo FG, joined Issac Delgado and Manolìn as the three top singer-bandleaders of the 1990s. The other major bands of the era, from Los Van Van to Bamboleo, were led by musicians and featured a "front line" of two to four lead singers who took turns singing lead while the others sang coro. Paulito's vocal style is characterized by razor-sharp accuracy and an ability to reinvent the melodies of his compositions with each performance. Like a basketball point guard he was able to call gear changes spontaneously and only Issac Delgado's band was able to vary their performances as much from night to night. Paulito's band, the "Elite", was indeed an elite force, with the best or one of the best players in Havana on nearly every instrument. Many of the members had stayed on from the Opus 13 days. Paulito wrote almost all of his material and had a brilliant chemistry with arranger Juan Ceruto and his all-star rhythm section, resulting in some of the most intricate and original arrangements of the 1990s. Aesthetically, Paulito's music seems to share a kinship with Manolín's but from our point of view a more useful comparison is with Delgado. Delgado's and Paulito's were arguably the greatest live timba bands from the point of view of being able to use gears and improvisation to make each performance of a song different from one concert to the next. Each group had wonderfully complex and flexible gear systems, and each had a string of brilliant pianists. Many of the top pianists played in both bands at different points. Paulito's pianists were Emilio Morales, Sergio Noroña, Pepe Rivero, Yaniel "El Majá" Matos, Rolando Luna, and Roberto "Cucurucho" Carlos. Delgado's were Tony Pérez, Melón Lewis, Pepe Rivero, Yaniel "El Maja" Matos, Roberto "Cucurucho" Carlos, Rolando Luna and Tony Rodríguez.—Moore (2010: v. 5: 20)
Manolito y su Trabuco
Manolito y su Trabuco's front line has included some of the best singers of the era, including Rosendo "El Gallo" Díaz, Sixto "El Indio" Llorente (who sang many of the Orquesta Aliamén ... and Carlos Kalunga, who sang many of the recommended Klímax songs in the previous section. Manolito's 1990s recordings also feature one of the best and most thoughtful synthesizer players, Osiris Martínez, who now plays with Los Que Son Son. Manolito has a great musical chemistry with the groupís other prolific composer, singer Ricardo Amaray. Many of Trabuco's biggest hits result from Amaray's unabashed R&B influences being filtered through Simonet's strong Cuban aesthetic and arranging genius. Like Issac Delgado, Manolito made CDs that mixed the aggressive hardcore timba he played in concert with various other styles designed to appeal to foreign buyers cumbias targeting South American audiences for example. Manolito's many timba masterpieces are spread across his 17-year discography a few on each album.—Moore (2010: v. 5: 22)
Bamboleo
Like Manolín, Bamboleo began life as one of El Tosco's pet projects. Led by pianist Lázaro Valdés Jr., one of timba's most original arrangers, they have an instantly recognizable sound, with R&B and jazz fusion elements seamlessly integrated with aggressive timba, and a complex system of hand signals that allow bloques to be spontaneously built from smaller units. Only Issac Delgado and Paulito FG surpass Bamboleo in terms of using gear changes to vary live performances from night to night.–Moore (2010: v. 5: 23)
Klímax
Klímax leader Giraldo Piloto is one of the most important figures in all of Cuban music history. His father and namesake was half of the great songwriting team of Piloto y Vera and his uncle was the legendary percussionistGuillermo Barreto Guillermo Barreto (August 11, 1929 – December 14, 1991) was a Cuban drummer and ''timbalero''. He was a major figure in the Cuban music scene for more than fifty years and one of the first drummers in Cuba to play Afro-Cuban jazz. Nicknames .... Surpassing both famous relatives, Piloto won the timba.com readers poll for Best Timba Drummer and came in fourth for Best Songwriter. He left NG La Banda because it didnít afford him enough opportunity to write. As a freelancer he wrote three important songs for Charanga Habanera, including their breakthrough hit, "Me sube la fiebre." After joining Issac, he continued to write prolifically. When Piloto founded Klímax in 1995 his writing became even more melodically, harmonically and lyrically original, sometimes straying into controversial areas that resulted in songs being censored by the government and always pushing the envelope of musical creativity in wonderful and varied ways. Klímax is the most harmonically original and sophisticated popular music band in Cuban history.—Moore (2010: v. 5: 21)
Bakuleye
Bakuleye, known as a magic wand that awakens a deity living under the Earth, is another popular band in Cuba known for its timba.Calabash Music. "Bakuleye." National Geographic World Music n.d. received 4 March 2010. The band's creator, Pedro Pablo Vargas, describes Bakuleye as the awakening of new ideas. The music of Bakuleye is a fusion of different musical rhythms such as Latin jazz, boleros,Outside Cuba
Other than in Cuba, a few timba bands appeared in Miami, Florida, where a large concentration of Cuban-Americans reside. This became possible due to members of some timba bands moving to Miami, such as Isaac Delgado, Manolín "El Médico de la Salsa", Dany Lozada (former singer and composer for Charanga Habanera), and Pepito Gómez (former singer in Pupy y Los que Son, Son) but eventually decided to relocate elsewhere (to Spain, Mexico, and New York). Others include Carlos Manuel, El Pikete, Michel Calvo, Jorge Gomez and "Tiempo Libre" (who received Grammy nominations in 2005 for their album "Arroz con Mango" and in 2006 for their album "Lo que esperabas"), Los 10 de la Salsa, Chaka and his group "El Tumbao", and Tomasito Cruz and his Cuban Timba All Stars. In Peru, timba is also prominent with no fewer than 30 bands dedicated to promote Cuban music, the most well known of which are Mayimbe and Team Cuba. Others include: Mangu, Camagüey, A Conquistar, Explosión Habana, N'Samble, La Novel, D'Farándula, Bembe, Son de Timba, Los Trabucos, Yambú and Yare. Also, Lima is hometown for Cuban musicians such as Dantes Cardosa and Michel Maza (former lead singer for Charanga Habanera) and Caroband.Stylistic aspects
Dance and culture
Harmony
Arranging
Rhythms
Timba rhythm sections differ from their salsa counterparts in many integral ways from the instruments themselves, to the individual patterns of each instrument, to the way those patterns are combined into gears, to the way the group navigates between those gears. The areas where salsa and timba are most similar are the tempo range and the part of the largest bell, played by the bongosero in salsa and, depending on the band, by either the bongosero, timbalero or drummer in timba. The bell played by the timbalero in salsa is sometimes played the same way by the timbalero or drummer in timba, but in timba bands where one person plays both bell patterns, a different pattern, or a much looser series of improvised patterns, is used. The time-honored standard conga marcha used universally in salsa is also often used in timba, but many other variations are also used and some congueros actually compose specific marchas for each song. Many of these timba conga marchas are twice or even four times the length of the standard conga marcha (or tumbao). Tomás Cruz developed several adaptions of folkloric rhythms when working inClave schism
A significant aspect of the rhythmic structure of timba is the tendency towards ignoring or intentionally breaking the basic tenets of arranging the music in- clave. This had led to a schism within the world of salsa and related Latin dance music.Many salsa pianists are alarmed when they first study timba and encounter measures that either contradict the clave or fail to mark it decisively. It is an understandable concern, because when dealing with tumbaos whose rhythm patterns last only one clave, that rhythm either marks the clave or it doesn't. However, when the rhythmic pattern lasts two or four claves, it gives the creative pianist the leeway to choose where, and how strongly, to mark the clave. If you mark the clave decisively every other measure, the listeners and dancers will learn to anticipate it. As such, you can use clave polarity for artistic effect, creating tension with passages that leave the clave ambiguous or even contradict it, making the resolution to strong clave-alignment all the more satisfying when it comes" (Moore 2010: 41).
"Gears"
When a band develops a specific combination of piano, bass and percussion parts, and returns to it multiple times in multiple songs, we call this a "gear." It could be as simple as repeatedly using one groove for the cuerpos and another for the coros, or breaking down for the singer to talk to the crowd. Using this basic definition, we could say that all dance music has some sort of gear system, but the Cuban music of the 1990s took the concept to an unprecedented level of complexity and creativity. In fact, when answering the obligatory question "what's the difference between salsa and timba?", the most important part of the answer revolves around the subject of gears. The Cuban bands of the 1990s came up with a much wider spectrum of gears than their predecessors, but more importantly, many of them devised visual, verbal and/or musical signals to enable them to apply the gear changes spontaneously in different ways for different performances of the same song, i.e., to improvise the form of the piece. For example, the singer or musical director might give a hand signal or cry out "bomba!", after which the bassist would begin to slide his or her right hand down the low string of the bass in a distinctive pattern, with the percussionists simultaneously changing their patterns to a pre-determined combination that works with the bass to create the tembleque-inducing bomba groove. These "gear changes" can be written into arrangements or spontaneously invoked in live performance by hand or vocal signals.—Moore (2010: v. 5: 75)
Breakdowns
Breakdown gears set timba apart from other salsa. The following example is Calixto Oviedo's funky drumset pattern for a type of high-energy breakdown known as ''presión''Compared to salsa
Though quite similar to salsa on the surface of things due to origins fromStatus
Though timba is considered to be a form of popular music, the technical mastery of timba is only possible through highly trained musicians, who have solid theoretical backgrounds in classical music, jazz, traditional Cuban music, as well as other international genres. This is made possible through the high standards of government-run music schools in Cuba, as well as the strong competition between musicians. Government policy favours artistic excellence and Cuban music is regarded as a source of revenue and a legitimate way to attract tourism. However, the island's most popular dance bands have been virtually ignored by Latino radio in the US and some parts of Cuba, and are absent from the charts. However, pieces of Cuban sound are beginning to reach large audiences in the USA through musical recordings produced by popular musicians, such as Willy Chirino and Qbadisc, fromSee also
* TumbaoReferences
* Alén Rodríguez, O. (1998) ''From Afrocuban music to Salsa'', Piranha Records, Berlin * Calabash Music. Bakuleye. "National Geographic World Music" n.d. received 4 March 2010. * Cantor, Judy. Cuban Music Goes Commercial. "Billboard" 20 Feb. 1999: LM-2(1). * Davis, Hannah. La Timba Loca Brings New Sound to Cuban Salsa Music. Philadelphia Inquirer 28 Feb. 2005. * Delgado, A. (1999) "The Death of Salsa" * Duany, J. (1996) "Rethinking the Popular: Recent Essays on Caribbean Music and Identity" in ''Latin American Music Review'', vol. 17(2):176-192 * Ferguson, R. J. (2003) "The Transnational Politics of Cuban Music and Cuban Culture" in ''The Culture Mandala'', vol. 6(1) * Hernández-Reguant, Ariana. Blackness with a Cuban Beat. "NACLA Report on the Americas" 38.2 (2004):31-36. * Hernández-Reguant, Ariana (2006) Havana's Timba. A macho sound for black sex. In Deborah Thomas and Kamari Clarke, eds. Globalization and Race. Transformations in the cultural production of blackness. Duke University Press. * * Llewellyn, Howell. Timba Burns In Cuba. "Billboard" 111.5 (1999):1. * López, Cano Rubén. 2005. "Del Barrio a la academia. Introducción al dossier Timba Cubana". TRANS- Transcultural Music Review 9. * López, Cano Rubén. 2006. "Asómate por debajo de la pista: timba cubana, estrategias músico-sociales y construcción de géneros en la música popular". Actas del VII Congreso de IASPM-AL. Música popular, escena y cuerpo en la América Latina:prácticas presentes y pasadas . La Habana, Cuba, 20 al 25 de junio de 2006. * López, Cano Rubén. 2007. "El chico duro de La Habana. Agresividad, desafío y cinismo en la Timba cubana". Latin Amertican Music Review 28:1, pp. 24–67. * Mauleon, Rebeca. Timba Music. "National Geographic World Music" n.d. received 4 March 2010.* Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 1. ''The Roots of Piano Tumbao''. * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 2. ''Early Cuban Tumbaos: 1940–1959.'' * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 3. ''Cuban Piano Tumbaos: 1960–1979.'' * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 4. ''Cuban Piano Tumbaos: 1979–1989.'' * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 5. Introduction to Timba. * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 6. ''Iván "Melón" Lewis, Prt. 1. Note for Note Transcriptions.'' * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 7. ''Iván "Melón" Lewis, Prt. 2. Note for Note Transcriptions.'' * Moore, Kevin (2010). ''Beyond Salsa Piano; The Cuban Timba Piano Revolution''. v. 8. ''Iván "Melón" Lewis, Prt. 3. Note for Note Transcriptions.'' * Moore, R. (2002) "Salsa and Socialism: Dance Music in Cuba, 1959-99" in Waxer, L. (ed.) ''Situating Salsa: Global Markets & Local Meaning in Latin Popular Music'', Routledge, London * Pacini Hernandez, D. (1998) "Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape" in ''Latin American Perspectives'', vol. 25(3): 110-125 * Perna, Vincenzo (2005). Timba: The Sound of the Cuban Crisis. "Music in Havana at the Dawn of the Periodo Especial. The Emergence of Timba" (pp. 54–72). Burlington, Vermont: Ashgate Publishing Company. * Perna, V. (2005) ''Timba, the Sound of the Cuban Crisis'', Ashgate, Aldershot * Perna, V. (2005) "Talking timba. On the politics of black popular music in and around Cuba". Published in 'Situating Popular Music', Proceedings from the IASPM 16th International Conference * Roy, M. (2000) "La musique populaire cubaine depuis la révolution" in Borras, G. (ed.) ''Musiques et sociétés en Amérique Latine'', Presses universitaires de Rennes, pp. 167–183 * Silverman, C. (1998) Timba – New Styles in Afro-Cuban popular music" * Webb, Alex, and Frances Stonor Saunders. "Latin Class". ''New Statesman'' 130.4524 (2001): 42. * West-Duran, Alan. A Resonant Rum for the Ears: Afro-Cuban Music. ''Journal of Popular Music Studies'' 20.1 (2008): 79-91.Notes
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