Īntonio Arcaño described the mambo as follows: "Mambo is a type of syncopated montuno that possesses the rhythmic charm, informality and eloquence of the Cuban people. In this piece, some syncopated motives taken from the son style were combined with improvised flute passages.
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It was Arcaño's cellist, Orestes López, who created the first danzón called " Mambo" (1938). During the mid-to-late 1930s, some members of the Arcaño group were saying vamos a mambear ("let's mambo") when referring to the montuno or final improvisation of the danzón. This was a swinging section consisting of a repeated musical phrase, which introduced some elements of the son into the danzón. Prior to the danzón de nuevo ritmo, in 1910, José Urfé had first added a montuno (typical son improvised closing section) as a final part of his composition El bombín de Barreto. This innovation a key step in the process of evolution of the danzón, which over the years had progressively lost its structural rigidity to the benefit of musicians and dancers alike. Orestes López and his brother Israel López "Cachao", main composers of the Maravillas, were the first to denominate a final upbeat, improvised section of the popular Cuban danzón as a mambo. The earliest roots of mambo can be traced to the danzón de nuevo ritmo (danzón with a new rhythm), later known as danzón-mambo, made popular by the orchestra Arcaño y sus Maravillas conducted by flautist Antonio Arcaño. 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. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. By the late 1940s and early 1950s, mambo had become a "dance craze" in the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito Rodríguez and others. These guajeos became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing and jazz. It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the guajeos typical of son cubano (also known as montunos).
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Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado.