Cha Cha Cha

Shroud pattern.

The chachachá is a Cuban musical rhythm as well as a popular dance style, which was developed from the danzón-mambo in the early 1950s, and became very popular in everyone.

History

The chachachá is a genre of Cuban music whose creation has traditionally been attributed to the Cuban composer and violinist Enrique Jorrín, who began his violin studies at the Municipal Conservatory of Havana. He began his musical career as a violinist in the orchestra of the National Institute of Music, under the direction of González Mantici. He joined the Contreras Brothers danzonera orchestra in 1941: later he joined the Arcaño y Sus Maravillas orchestra, and at the beginning of the 50s XX is linked to Ninon Mondéjar's Orquesta América.

According to the testimony of Enrique Jorrín himself, he composed some danzones in which the musicians of the orchestra had to sing short refrains, and this style received great acceptance from the public. In the danzón "Constancia", he introduced some montunos and the audience felt motivated to sing the refrains. Jorrín asked the members of the orchestra to sing in unison, so that the lyrics could be perceived more clearly and cause a greater impact on the public. That style of music also contributed to masking the vocal imperfections of the orchestra members.

In 1948, Jorrín changed the style of a song by the Mexican Guty Cárdenas called "Nunca", composing a separate part for the Trío or Montuno del Danzón; and, in 1951 he composed the famous chachachá "La Engañadora". Jorrín noticed that most of the dancers had problems dancing to the rhythms that were highly syncopated and for this reason he simplified the musical texture of his pieces, trying to use as little syncopation as possible. The new style of chachachá was born from those melodies that were very easy for the public to dance to.

Since its creation, the music of the cha-cha-chá had a close relationship with the dance steps connected with this style. The well-known name of chachachá arose with the help of the dancers of the Club Silver Star in Havana. When the dance was coupled to the rhythm of the music, it was evident that the feet of the dancers produced a peculiar sound when they brushed against the floor in three successive blows. It was like an onomatopoeia that sounded like: "cha-cha-cha." From those rhythmic sounds a new genre was born that motivated many people to dance to its rhythm throughout the world.

Features

According to Odilio Urfé, the chachachá was a musical genre that was based on the rhythm of the Danzón-mambo, but with a different structural conception. This used elements of the Madrid Chotis and a monodic vocal style. After "La Engañadora", its original structure was modified by Jorrín himself, as well as by other composers.

Cuban musicologist Olavo Alén emphasizes the heritage that the chachachá received from the danzón. He points out that the chachachá actually seems to be a derivative of the danzón. This maintains a structure very similar to that of the danzón, only transforming the rhythmic and melodic elements used in the composition of each of its sections. The interpretative function of the flute is maintained. His function as a soloist, and the characteristics of his improvisation in the Danzón reappear in the cha-cha-chá with almost no alteration. The melodies of the violins alternate with those of the flute and the voices in a way that was established in the Danzón and the Danzonete.

The main element that differentiates the chachachá from the danzón is the rhythmic cell that gives the genre its name. It is also significant that the chachachá abandons the elements of the Cuban son that were incorporated into the danzonete and returns to the strict use of stylistic elements that arose and developed within the context of the danzón.

Later development

According to Olavo Alén, «during the fifties, the chachachá maintained its popularity thanks to the efforts of many composers who were familiar with the composition of danzones, and who exercised their creativity in the chachachá, such as Rosendo Ruiz Jr. (Los Marcianos and Rico Vacilón), Félix Reina (Tell me Chinita, How Mexicans dance chachachá), Richard Egües (El bodeguero and La cantina) and Rafael Lay (Zero elbows, zero headbutts)».

Although the chachachá rhythm originated with the Orquesta América, some scholars of the subject, including John Santos (1982), consider that the Orquesta Aragón led by Rafael Lay and Richard Egües, and the Fajardo y sus Estrellas orchestra led by José Fajardo, were particularly influential in the development of the chachachá. The coincidental emergence of television and 33 1/3 RPM records were also significant factors in the sudden international popularity of cha-cha-chá music and dance.

The chachachá was presented to the public from its beginnings through the instrumental format of the charanga, a typically Cuban musical group, composed of a flute, strings, piano, bass and percussion. The popularity of the chachachá revitalized the popularity of this type of grouping.

Discography

• Orchestra Enrique Jorrín; "All Chachachá"; Egrem CD-0044
• Johnny Pacheco; "Early Rhythms"; Musical Productions MP-3162 CD
• Randy Carlos and his Orchestra; "Pachanga con Cha Cha Cha"; Fiesta FLPS-1313
• Various orchestras; "The Chachachachachachama Loves"; Egrem CD-0503