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Cuban Guaracha: Originating in Spain, evolved largely in Cuba, and more
recently in Miami, and New York City. Traditionally an early form of peasant street music with satirical lyric content somewhat
in the Son rhythm style. In Cuba it is now use as a loose term for a general, medium-tempo Son Montuno or a little brighter-style
tune or groove.
Guaracha derived from the fusion of a vast cloud of rhythms during the mid 1950s in Cuba. It started as a
descarga-like musicalization (in fact, called descarga) provided by various bands. But it was actually the Sonora Matancera orchestra who put a seal of perfection when Celia Cruz joined it. Because she was mainly a Santería (Afro Cuban) singer, she was able to integrate her style to further enrich this mixture of all Cuban rhythms.
Following the Sonora Matancera, others, like Beny Moré, Roberto Faz, Pío Leyva, Riverside and Rumba Havana expanded it to exhibit it in New York, Mexico, Puerto Rico, Venezuela and other countries.
At the mid 1960s, the Guaracha name started to fade away without losing its popularity. By the end
of the 1960s, Guaracha would have acquired a new name and style: Casino, what most people refer to as Salsa.
Puerto Rican Guaracha: Originating in Spain, the old Spanish version was a dance
in two sections. One is the triple and the other double. It originally was played in 4/4 time. The Spanish guaracha came to
Puerto Rico from Cuba in the 1850's, and developed into its current modern jazz, salsa style. Now it is generally played with
a bolero section in 2/4 time and a clave section in either 6/8 or 3/4 time, although the order of these sections is sometimes
reversed. The guaracha then ends with a rumba section.
Cortijo Y Su Combo, Ismael Rivera, Mirta Silva, a prime singer of La Sonora Matancera better known as "La
Reina de la Guaracha" where great examples of Puerto Rican guaracheros. La Negra Tomasa composed in the 1940's. Another example
is Corneta sung by Daniel Santos.
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