Descarga, a term that literally means “discharge” in Spanish, is deeply ingrained in the landscape of Latin jazz and Cuban music. It refers to an improvised jam session consisting of variations on Cuban music themes, primarily son montuno, but also guajira, bolero, guaracha, and rumba. The essence of a descarga is the collective improvisation or solos around a simple theme, where musicians take turns improvising over the chord changes.
Origins and Instruments
Descarga originated in Cuba in the late 1950s, a period marked by the fusion of jazz and Cuban rhythms, cultivating a vibrant scene in clubs and recording studios primarily in Havana. This genre was pioneered by musicians who gathered after their regular nightclub gigs to play music for the sheer joy of it, without the constraints of commercial music formats.
Key instruments in descarga include the piano, bass, congas, bongos, timbales, trumpets, and trombones, with the addition of saxophones, flutes, and sometimes stringed instruments like the tres or guitar. The piano and bass lay down the foundation with a repetitive tumbao and montuno patterns, while the congas, bongos, and timbales add complex rhythms. Horns and melodic instruments then improvise over these rhythms, creating a rich tapestry of sound.
Associated Dances and Cultural Significance
Descarga sessions are not specifically dance events but more about musical exploration and virtuosity. However, the rhythms played are rooted in dance forms such as son, cha-cha-chá, and mambo, which means they are inherently danceable.
Notable Artists and Recordings
- Cachao: Israel López “Cachao” is often credited with creating the first descargas in the late 1950s. His sessions brought together many of Cuba’s most skilled musicians, leading to the recording of “Cuban Jam Sessions in Miniature” which are considered classics of the genre.
- Niño Rivera: José Antonio Méndez, known as Niño Rivera, was a tres player and composer who contributed significantly to the development of descarga with his intricate and rhythmically complex compositions.
- Bebo Valdés: A masterful pianist, Valdés led several descarga sessions that were recorded, showcasing his skill as both a pianist and a composer in this genre.
One foundational rhythm that often underpins these styles is the “Tumbao” bass pattern, which is integral to the son montuno and therefore commonly found in Descargas. This pattern is characterized by its syncopation and emphasis on the second and fourth beat in a 4/4 measure, often played as follows:
“X” marks the beats where the hits occur, and “-” represents no hits. The hits are placed on the first and second beats of each measure.
Another essential component is the Clave rhythm, a 5-note pattern divided across two measures, foundational to many Cuban music styles. In a 3-2 Clave, often used in Descargas, the pattern might be played as:
