Mambo to Salsa - Part I

Looking at Mambo from a purely social aspect, it would be fair to say, that the A/M Studios were the driving force behind its resurgence in the 50s. It crept into the States in the 40s mainly in the NYC area and LA, also, the more authentic forms were very much confined to the barrios in NY and other Latino enclaves but never reached the masses.

The reason for the public awareness was in large part due to the TV show in the 50s, when Arthur Murray personally, with his wife, fronted the program. Each week a dance was performed by two of his teachers Terry Leone and Pat Traymore from the NYC studio. (I actually managed Terry many years later when he was Mrs Murrays personal teacher).

When Mambo was demonstrated on the show, it was the beginning of a new paradigm in dance. It flooded the studios with wannabe Mambo dancers, and they obliged.

It had attracted so much attention, that in 1961 in LA, when the Arthur Murray Regional Medal Ball was held at the Palladium with over 2000 attending , the band they booked was Tito Puente!

The NYC Palladium, of course, was in high gear at this time and the only other club that to my knowledge that would compete was Virginias in L.A, with the distinct difference between the 2  venues (size apart) were its clientele .

NYC was in a position to attract many of the indigenous Latino locals from the Boros, as well as the general public. But, if memory serves me well, in LA it was the teachers in the many studios that gave great support to the many bands that appeared on a regular basis, such as Tito Puente, T. Rodgriguez, Cal TJader, Machito et al.

The Crescendo on Sunset attracted a more diverse crowd due to its location and was one of the venues that Machito played on a regular basis, whereas Virginias, being downtown, was more of an aficionados hangout. There was one other club that Rocki Mari promoted, whose name escapes me, but was always well attended .

There were several well known ” characters ” in the scene at the time from the inimitable Steve Peck (who went on to movie fame) and the likes of promoter/dancer, Rocki Mari, Natalia, Jimmy Ramos, and the Rivera twins. And of course, the Palladium had their luminaries in the likes of Cuban Pete and Millie and “Killer” Joe Piro, among the countless other dancers of that era .

In the next edition: Mambo to Salsa - Part II

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About the author

Terence is a Dual Fellow with the IDTA and the UKA , in Ballroom and Latin, and is a former Examiner with the NADTA.  He spent over 45 yrs in the States, developing his knowledge in the Latino culture.