Latin American music in the United States encompasses musical traditions originating from Spanish, Portuguese, and occasionally French-speaking countries and territories of Latin America, as well as the distinctive styles that have developed within Latino communities in the United States. Latin American musical traditions have significantly influenced the development of American popular music since the early 20th century, shaping genres including jazz, rhythm and blues, and country music. This cross-cultural exchange has resulted in the emergence of hybrid styles unique to the United States, such as salsa, New Mexico music, Tejano, and Western music. Additionally, fusion genres including Chicano rock, Nuyorican rap, and Chicano rap have developed within Latin American diaspora communities, reflecting their cultural identities and experiences.
The U.S. music industry defines "Latin music" as any musical release with lyrics predominantly in Spanish, regardless of the artist's origin or the music's geographic source, a broader definition than the geographic and cultural understanding of Latin American music. Since the early 21st century, Latin music has experienced substantial commercial growth in the United States, facilitated by streaming platforms, recorded music sales, and live performance revenues. According to the Recording Industry Association of America (RIAA), Latin music revenue grew approximately 24 percent in 2022 compared to 2021, significantly exceeding the overall recording industry growth rate of 6 percent for the same period. By 2022, Latin music represented nearly 7 percent of the total U.S. recorded music market, an increase from approximately 6 percent the previous year, reflecting both expanding domestic audiences within Latino communities and increasing mainstream crossover appeal.
History
The term Latin music originated in the United States due to the increasing influence of Latino Americans in the American music market. Notable pioneers of this genre include Xavier Cugat (1940s) and Tito Puente (1950s), and its popularity accelerated in later decades. As one author explained the rising popularity from the 1940s: "Latin America, the one part of the world not engulfed in World War II, became a favorite topic for songs and films for Americans who wanted momentarily to forget about the conflagration." Wartime propaganda for America's "Good Neighbor Policy" further enhanced the cultural impact. Pérez Prado, known as "The Mambo King," composed famous pieces like "Mambo No. 5" and "Mambo No. 8." At the height of the mambo movement in 1955, Pérez topped the American charts with a cha-cha-chá version of "Cherry Pink and Apple Blossom White." In the 1950s, Perez Prado popularized the mambo, and the Afro-Cuban jazz of Dizzy Gillespie introduced many to the harmonic, melodic, and rhythmic possibilities of Latin American music, which continues to influence the genre of salsa.
Artists like Carmen Miranda and Desi Arnaz were popular with audiences of all cultures. Judy Garland's first hit, as a member of the "Gumm Sisters," was "La Cucaracha."
Although Latin music's influence could be seen far before the 1940s. For example, in the bridge of "St. Louis Blues" (1914) with the lyrics "Saint Louis woman, with her diamond rings," a habanera beat is evident, leading Jelly Roll Morton to comment, 'You've got to have that Spanish tinge.' To capture this essence, many American bands have incorporated a conga player, maracas, or other Latin percussion instruments into their music.
The song Amapola (Pretty Little Poppy), written in 1920 by Spanish American composer José María Lacalle García (later known as Joseph Lacalle), featured original lyrics in Spanish. A recorded version made by the Jimmy Dorsey Orchestra with vocalists Helen O'Connell and Bob Eberly reached Billboard charts staying there for 14 weeks and eventually reaching #1
The Argentine tango was a worldwide success in the 1930s. Tango dancers and records could be found from Los Angeles to Beijing. It was common in dance halls in the late 1930s and 1940s for a Latin orchestra, such as that of Vincent López, to alternate with a big band because dancers insisted on it. Latin American music was extremely popular with dancers, encompassing not only the samba, pasodoble, rhumba, and mambo but also the conga, adapted for the ballroom.
During the 1940s, music from Latin America was introduced to larger audiences throughout the United States via international radio networks such as CBS. Programs like Viva America showcased leading musicians from both North and South America, featuring performances of Mexican boleros. These programs included collaborations by notable musicians, vocalists, and composers, including Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Eva Garza, Elsa Miranda, John Serry Sr., Miguel Sandoval, and Terig Tucci.Dissonant Divas in Chicana Music: The Limits of La Onda Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 155-157 Eva Garza and Viva America on google.books.comThe Tango in the United States: A History Carlos G. Groppa. MacFarland & Co., North Carolina, 2004 p. 144 Eva Garza and Terig Tucci on google.books.com Media Sound and Culture In Latin America and the Caribbean Editors Alejandra Bronfman and Andrew Grant Wood. University of Pittsburgh Press 2012 p. 49 "Viva America", Elsa Miranda and Terig Tucci, Alfredo Antonini, CBS Pan American Orchestra, Nestor Mesta Chayres, Juan Arvizu on Google.books.com
Latin American music imported from Cuba (such as chachachá, mambo, and rhumba) and Mexico (including ranchera and mariachi) had brief periods of popularity during the 1950s. The earliest popular Latin American music in the United States came with the rhumba in the early 1930s, followed by calypso in the mid-1940s, mambo in the late 1940s and early 1950s, chachachá and charanga in the mid-1950s, bolero in the late 1950s, and finally boogaloo in the mid-1960s. During the same period, Latin American music mixed with jazz, resulting in Latin jazz and the fusion of cool jazz with bossa nova.
The first Mexican-Texan pop star was Lydia Mendoza, who started recording music in 1934. However, it wasn't until the 1940s that música norteña was popularized by female duets like Carmen y Laura and Las Hermanas Mendoza, who had a series of regional hits. The following decade witnessed the ascent of Chelo Silva, known as the "Queen of the (Mexican) Bolero," who sang romantic pop songs.
In the 1950s, further innovation took place in the Mexican-Texan community, with the addition of electric guitars, drums, and elements of rock and jazz to conjunto music. Valerio Longoria was the first major performer of conjunto, known for introducing Colombian cumbia and Mexican ranchera to conjunto bands. Later, Tony de la Rosa modernized conjunto big bands by adding electric guitars, an amplified bajo sexto, and a drum kit, while slowing down the frenetic dance rhythms of the style. In the mid-1950s, bandleader Isidro Lopez incorporated an accordion into his band, marking the beginning of the evolution of Tejano music. The rock-influenced Little Joe was the first major star of this scene.
The "Spanish tinge" was also a common feature in rhythm and blues in the 1950s. The monster hit "Little Darling" was driven by the clave beat, and Chuck Berry's "Havana Moon" achieved great success. Ritchie Valens, born Ricardo Valenzuela, soared to the top of the hit parade with 'La Bamba,' originally a Mexican wedding song. In 1954, Andy Russell relocated to Mexico, where he became a star in radio, television, motion pictures, records, and nightclubs. The Argentinian band Los Cinco Latinos released their first album, "Maravilloso Maravilloso," which found success in Latin America and the United States.Página oficial de Estela Raval y los Cinco Latinos
In 1963, Trini Lopez burst onto the scene with his chart-topping album, "Trini Lopez at PJ's." While performing at a popular Los Angeles nightclub frequented by Hollywood stars, Frank Sinatra noticed Trini and signed him to his own record label, Reprise Records. Trini was the first rock act on Reprise Records, which later signed Jimi Hendrix.
Trini Lopez, the son of immigrant Mexican parents, was born in Houston, Texas. He was chosen to replace Buddy Holly in the Crickets after Holly's tragic death. Growing up in a Mexican and Black neighborhood in Houston, his father bought him a guitar to keep him engaged in a hobby that wasn't associated with gangs. He began his career as a rockabilly artist in Texas.
After relocating to Los Angeles with the goal of meeting his idol, Frank Sinatra, he found himself at PJ's nightclub, where he played solo guitar and sang for a year and a half. He performed popular tunes during 4 or 5 sets every night. At the time, the folk music scene was thriving, and he incorporated well-known folk songs into his sets, along with rock standards ranging from Ray Charles to show tunes from "West Side Story." His infectious energy and ability to captivate an audience and get them in the party spirit were captured live on the two albums recorded at PJ's, with the addition of drums and bass guitar.
The result was international stardom, marked by several folk-rock hits, including "Lemon Tree" and "If I Had a Hammer," along with a sensational remake of "La Bamba," all recorded live in front of the PJ's crowd. Trini Lopez not only pioneered the folk-rock genre but also paved the way for future generations of Latin stars by refusing to change his last name when early record executives doubted that a Lopez could make a name in the predominantly Anglo radio and TV world.
He later ventured into film acting and became associated with Frank Sinatra's Rat Pack. He was co-billed with the Beatles in Paris just two weeks before they made their iconic appearance on the Ed Sullivan Show.
Similarly, the Tex-Mex and Tejano styles incorporated the conjunto sound, giving rise to important music such as 'Tequila' by The Champs, "96 Tears" by Question Mark and the Mysterians, Sam the Sham & the Pharaohs, Thee Midniters, and the various groups led by Doug Sahm, including the Sir Douglas Quintet and the Texas Tornados. The Texas Tornados included Freddy Fender, who infused Latin soul into country music. Flaco Jiménez, a member of the Tornados, is a genuine conjunto hero, a third-generation accordionist whose grandfather learned the instrument from German settlers in Texas. Johnny Rodriguez is another Latin country star.
In the modern rock and roll era, Carlos Santana featured a full-blown Latin approach. Joe King Carrasco y las Coronas play punk rock in a Tex-Mex style.
Herman Santiago wrote the lyrics to the iconic rock and roll song "Why Do Fools Fall in Love." Another song that became popular in the United States, especially during the holiday season, is "Feliz Navidad" by José Feliciano.
1980s crossover acts