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Mambo is a genre of Cuban dance music pioneered by the charanga Arcao y sus Maravillas in the late 1930s and later popularized in the big band style by Prez Prado. It originated as a syncopated form of the danzn, known as danzn-mambo, with a final, improvised section, which incorporated the guajeos typical of son cubano (also known as montunos). These guajeos became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzn and instead leaned towards swing and jazz. By the late 1940s and early 1950s, mambo had become a "dance craze" in Mexico and the United States as its associated dance took over the East Coast thanks to Prez Prado, Tito Puente, Tito Rodrguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzn, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s and new derivative styles appeared, such as dengue; by the 1970s it had been largely incorporated into salsa.

The earliest roots of mambo can be traced to the danzn de nuevo ritmo (danzn with a new rhythm), later known as danzn-mambo, made popular by the orchestra Arcao y sus Maravillas conducted by flautist Antonio Arcao.

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Orestes Lpez and his brother Israel Lpez "Cachao", main composers of the Maravillas, were the first to denominate a final upbeat, improvised section of the popular Cuban danzn as a mambo. This innovation was a key step in the process of evolution of the danzn, which over the years had progressively lost its structural rigidity to the benefit of musicians and dancers alike. Prior to the danzn de nuevo ritmo, in 1910, Jos Urf had first added a montuno (typical son improvised closing section) as a final part of his composition El bombn de Barreto. This was a swinging section consisting of a repeated musical phrase, which introduced some elements of the son into the danzn. During the mid-to-late 1930s, some members of the Arcao group were saying vamos a mambear ("let's mambo") when referring to the montuno or final improvisation of the danzn.[1] It was Arcao's cellist, Orestes Lpez, who created the first danzn called "Mambo" (1938).[2] In this piece, some syncopated motives taken from the son style were combined with improvised flute passages.[3]

Antonio Arcao described the mambo as follows: "Mambo is a type of syncopated montuno that possesses the rhythmic charm, informality and eloquence of the Cuban people. The pianist attacks the mambo, the flute picks it up and improvises, the violin executes rhythmic chords in double stops, the double bass inserts a tumbao, the timbalero plays the cowbell, the giro scrapes and plays the maracas rhythm, the indispensable tumba (conga drum) reaffirms the bass tumbao and strengthens the timbal."[4]

Dmaso Prez Prado, a pianist and arranger from Matanzas, Cuba, established his residence in Havana at the beginning of the 1940s and began to work at night clubs and orchestras, such as Paulina Alvarez's and Casino de La Playa. In 1949 he traveled to Mexico looking for job opportunities and achieved great success with a new style, to which he assigned a name that had been already used by Antonio Arcao, the mambo.[5]

Perez Prado's style differed from the previous mambo concept. The new style possessed a greater influence from North-American jazz, and an expanded instrumentation consisting of four to five trumpets, four to five saxophones, double bass, drums, maracas, cowbell, congas and bongoes. This new mambo included a catchy counterpoint between the trumpets and the saxophones that induced the body to move along with the rhythm, stimulated at the end of each musical phrase by a characteristic deep throat sound expression.

Because his music was aimed at an audience that lived primarily outside Cuba, Prez Prado used a large number of international influences, especially North-American, in his arrangements. This is evident in his arrangements of songs such as "Mambo Rock", "Patricia" and "Tequila", where he uses a triple meter U.S. "swing" rhythm fused with elements from Cuban rumba and son. Prez Prado gained hits such as "Mambo No. 5"[6] and "Mambo No. 8" in 1950. The mambo boom peaked in the US in early 1950s, when Prez Prado hit the American charts at number one with a cha-cha-ch version of "Cherry Pink (and Apple Blossom White)". Prez Prado's repertoire included numerous international pieces such as "Cerezo Rosa", "Mara Bonita", "Tea For Two", "La Bikina", "Cuando Calienta El Sol", "Malaguea" and "En Un Pueblito Espaol", among many others.[7]

Prado's recordings were meant for the Latin American and U.S. latino markets, but some of his most celebrated mambos, such as "Mambo No. 5" and "Que Rico El Mambo", quickly crossed over to a wider U.S. audience.[8]

Cuban singer Beny Mor also lived in Mexico between 1945 and 1952.[9] He composed and recorded some mambos there with Mexican orchestras, especially the one led by Rafael de Paz; they recorded "Yiri Yiri Bon", "La Culebra", "Mata Siguaraya", "Solamente Una Vez" and "Bonito Y Sabroso".[9] Benny and Perez Prado recorded 28 mambo songs including "La Mcura", "Rabo Y Oreja", and "Pachito E'ch".[10] At this time Benny also recorded with the orchestra of Jess "Chucho" Rodrguez.

Some of New York's biggest mambo dancers and bands of the 1950s included: Augie & Margo, Michael Terrace & Elita, Carmen Cruz & Gene Ortiz, Larry Selon & Vera Rodrguez, Mambo Aces(Anibal Vasquez and Samson Batalla), Cha Cha Taps (Carlos Arroyo and Mike Ramos), Killer Joe Piro, Paulito and Lilon, Louie Maquina, Pedro Aguilar ("Cuban Pete"), Machito, Tito Rodrguez, Jose Curbelo, Akohh, and Noro Morales.[2]

Mambo is a Latin dance of Cuba which was developed in the 1940s when the music genre of the same name became popular throughout Latin America. The original ballroom dance which emerged in Cuba and Mexico was related to the danzn, albeit faster and less rigid. In the United States, it replaced rhumba as the most fashionable Latin dance. Later on, with the advent of salsa and its more sophisticated dance, a new type of mambo dance including breaking steps was popularized in New York. This form received the name of "salsa on 2", "mambo on 2" or "modern mambo".

In the mid-1940s, bandleaders devised a dance for a new form of music known as mambo, taking its name from the 1938 song Mambo, a charanga composed by Orestes Lopez which had popularized a new form of danzon which later was known as danzon mambo. This style was a syncopated, less rigid form of the danzn which allowed the dancers to more freely express themselves during the last section, known as the mambo section.[citation needed]

From Havana Prez Prado moved his music to Mexico, where his music and the dance were adopted. The original mambo dance was characterized by freedom and complicated foot-steps. This style was prominent in the Rumberas films. Popular dancers of the era include Ninon Sevilla, Maria Antonieta Pons, Tongolele, Meche Barba, and Resortes.

The mambo dance that was spearheaded by Prez Prado and was popular in the 1940s and 1950s in Cuba, Mexico, and New York is completely different from the modern dance that New Yorkers now call "mambo" and which is also known as salsa "on 2". The original mambo dance contains no breaking steps or basic steps at all. The Cuban dance was not accepted by many professional dance teachers. Cuban dancers would describe mambo as "feeling the music", in which sound and movement were merged through the body.[1] Professional dance teachers in the US saw this approach to dancing as "extreme", "undisciplined", and thus deemed it necessary to standardize the dance to present it as a salable commodity for the social and ballroom market.[1]

In the 1940s, Puerto Rican dancer Pedro Aguilar, known as "Cuban Pete", and his wife became popular as the top mambo dancers of the time, dancing regularly at The Palladium in NY. "Cuban Pete" was named "the greatest Mambo dancer ever" by Life magazine and the legendary Tito Puente. Pedro Aguilar was also nicknamed el cuchillo ("The knife") for his mambo dance style.[2]

The modern mambo dance from New York was popularized in the late 1960s into the 1970s by George Vascones, president of a dance group known as the Latin Symbolics, from the Bronx, New York. George Vascones continued the mambo dance tradition which started two decades earlier during the "Palladium era". It was followed in the 1980s by Eddie Torres, Angel Rodriguez of RazzM'Tazz Mambo Dance Company, and others, many of whom were 2nd generation New York Puerto Ricans. This style is sometimes danced to mambo music, but more often to salsa dura (old-school salsa). It is termed "mambo on 2" because the break, or direction change, in the basic step occurs on count 2. The Eddie Torres and Razz M'Tazz schools each have different basic steps, even though they share this same basic feature. Eddie Torres describes his version as a "street" style he developed out of what he saw on the Bronx streets. The RazzM'Tazz version is closer to the Palladium Mambo (from the Palladium ballroom in the 1950s), whose basic step was in turn derived from Cuban son, with which it shares its timing (234 - 678, with pauses on 1 and 5) both styles derived from the American Mambo with the freestyle steps based on jazz and tap steps.[3]

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