It was recorded on August 22, 1938 by Decca Records, whom he had a record deal with. I would consider this piece’s genre to be Big Band Jazz/Swing with a medium/fast tempo. The detailed dynamics, syncopated rhythms, and up-tempo swing really add to the excitement of this tune, which is in the musical form AABA. The song starts off with a 2 bar piano intro which gets the rhythm flowing and lets sections continuously join in, and is followed by four 32 bar AABA choruses. The soloing instruments seem to be the tenor saxophone, piano, trumpet (sometimes muted), and more saxophones.
Hip hop originated when New York DJ’s began isolating the percussion breaks on funk and rock records. Pioneering DJ’s such as Grand Master Flash, Africa Bambataa, DJ Jazzy J started scratching jazz and jazz funk records creating a new sound with immense energy. DJ’s and hip hop producers have always gravitated to jazz records for their richness and flexibility due majorly to jazz’s instrumental based structure. This makes a song ideal for sampling. In its early days
Dixieland jazz style is strongly inﬂuenced by the ‘traditions of blues, ragtime and brass band because Dixieland jazz was created when the traditions of blues, ragtime, and brass band were integrated into one musical piece’ (http://www.historyjazz.com). Common instruments used in this style of music are trumpet, cornet, clarinet, trombone, banjo, piano, drums, string bass, tuba and sometimes saxophone. The instruments that are in charge of rhythms and bass are the banjo, piano, drums, string bas, and tuba, and the instruments that played the melody are the trumpet, cornet, clarinet, trombone, and saxophone. Collective improvisations were used in the piece. Collective improvisations are when different front-line group instruments all play their improvisations at the same time!
Although, many argue that salsa originated in Cuba, Puerto Rico also played an enormous role in the orgin of salsa music. The Puerto Rican plena which can be found in salsa is a tropical sound accompanied by percussion, the plena is a uniquely Puerto Rican style that deals with contemporary events, it is often referred to as "el periodico cantado" (the sung newspaper.) It is composed of an alternating, call-and-response scheme between the soloist and the chorus. As time progressed and immigrants from Cuba began to migrate to the United States due to the Cuban embargo, salsa became a blend of many genres; hybrid that it is today. Salsa played an important role for these new immigrants living in the barrios of the South Bronx and Brooklyn at a time where there was violence, illicit drugs, and political and economic disparities among its community.
The Swing Bands The music industry has redefined itself over the years to accommodate the ongoing changes in American culture. During the thirties and forties band music began to transcend toward a younger generation (Starr, Waterman, 2010, p. 118). The most popular bands that erupted airways and venues during this time were swing bands (Starr, waterman, 2010, p. 119). In retrospect, swing bands followed the same chord patterns of Tin Pan Alley’s blues compositions that was common in the early twenties and thirties (Starr, Waterman, 2010, p. 131) In addition, both styles of music were formed from African-American culture (Starr, Waterman, 2010). Moreover, each band also used specific techniques in their music to gain attention from a variety of ethnic groups and often promoted dancing during the band’s performances (Starr, Waterman, 2010).
Latin music Latin music imported from Cuba (chachachá, mambo, rumba) and Mexico (ranchera and mariachi) had brief periods of popularity during the 50s. The earliest popular Latin music in the United States came with rumba in the early 1930s, and was followed by calypso in the mid-40s, mambo in the late 40s and early 50s, chachachá and charanga in the mid-50s, bolero in the late 50s and finally boogaloo in the mid-60s, while Latin music mixed with jazz during the same period, resulting in Latin jazz and the bossa nova fusion cool jazz. The first Mexican-Texan pop star was Lydia Mendoza, who began recording in 1934. It was not until the 40s, however, that musica norteña became popularized by female duets like Carmen y Laura and Las Hermanas Mendoza, who had a string of regional hits. The following decade saw the rise of Chelo Silva, known as the "Queen of the (Mexican) Bolero", who sang romantic pop songs.
Also uses of Latin-American instruments – castanets and maracas to reflect the Puerto Rican gang. The rhythm of this piece uses a lot of syncopation from American-Latin and African roots and triplets are used to give a lazy feel to the song. The time signature is 3/4 however cross rhythms are used so the piece can sound like it is
The history of bachata Bachata is popular guitar music from the Dominican Republic. Now overwhelmingly successful among Latinos in the United States, bachata took shape over a period of about forty years in the bars and brothels of Santo Domingo, not gaining acceptance in its native land until about ten years ago. Young groups like Aventura have a similar relationship to original bachata as rock and rollers do to the blues, which has languished in the shadow of its more commercially viable descendant. In fact, the parallel between bachata and the blues is marked. Although bachata developed out of, and bachateros play, a variety of different rhythms, notably including merengue, the music which is specifically called bachata is a variant of the bolero.
Also in the melting pot creating a new musical form were country and western music (including Western swing and influences from traditional Appalachian folk music), jazz, and gospel music. However, elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s.  During that period many white Americans enjoyed African-American jazz and blues performed by white musicians.  Often "black" music was usually relegated to "race music" outlets (music industry code for rhythm and blues stations) and was rarely heard by mainstream white audiences.  A few black rhythm and blues musicians, notably Louis Jordan, the Mills Brothers, and The Ink Spots, achieved crossover success; in some cases (such as Jordan's "Choo Choo Ch'Boogie") this success was achieved with songs written by white songwriters.
The members of the band are Luis Rodriguez, Cristian Cuevas, Harold Palaez, Luis Ruiz, Rodrigo Escobar, Mario Paz, Daniel Marmolejo, Emiliano Torres, Morist Jimenez Jr and Julio Luna. The other instruments that are played in this vidio are Bass, Paino, Timbale, Congas and Bongo. The tempo of the song was fast because it was Salsa. My reaction of the song was postive because then song got my attention which made me like it. In conclusion, congas are instruments that most of the carribean music genres use like for example Salsa, Merengue, Samba etc.