Timbamerchant was founded in 2000 primarily to import, distribute retail and promote Timba, Cuba's newest form of popular urban dance music. It closed in 2006 for the reasons you will find in our "Early History" linked below.
In January of 2017 TimbaMerchant returned to trade online, now sourcing digital downloads to complement old CD stock. The mission has broadened as Timba approaches it's thirtieth birthday. While still sourcing the best in contemporary Timba and Cuban Salsa, TimbaMerchant will now aim to draw together an extensive catalogue of classic Cuban popular dance music from all ages. This will take time.
If you've got this far, you probably know what Timba is. In case you are still wondering, here's a brief explanation.
The term was coined by NG La Banda's leader, José Luis Cortés. It describes a hybrid music that took shape in 1989 with the release of their seminal LP, "En La Calle." Cortés was a former member of both Irakere and Los Van Van, bands which had pioneered different strands of Cuban music in the 1970's. Los Van Van was, and is, a popular dance band, while Irakere pioneered Afro-Cuban Jazz-Funk fusions. Drawing on both and with no shortage of his own ideas, Cortés and his band created a new music. Timba was, then, at its inception, very jazzy popular dance music.
The original group was a talent concentrate. It included several musicians who went on to form their own ground breaking bands. Both Issac Delgado as well as polymath Giraldo Piloto, the who founded Klimax, were original members.
The ingredients drawn upon by NG La Banda and those they inspired, were diverse. Timba draws on Afro-Cuban roots while simultaneously looking overseas for fresh inspiration. It tends to use folkloric Guaguancó clave as its fundamental structure rather than the Son clave found in Cuban derived music such as Salsa. From outside, several prominent Timberos cite Earth, Wind and Fire are as a principle influence. In truth, elements of contemporary American Jazz, Funk, Hip-Hop, Rap and Rare Groove have transformed the traditional Cuban song structures, instrument patterns, vocal styles and much more.
Timba places less restraint on its rhythm sections both in composition, division of labour and improvisation. Trap drums are usually added to traditional percussion, and though solos of any kind are rare, musicians are often much freer to improvise than traditionally.
Early in the Castro regime, talented youth were streamed into specialist academies, including those dedicated to musical training. The unequalled quality of musicianship evident in Timba is a result of this. But far from elitism, no less important was the extent to which Timba took the lives and experiences of ordinary Cubans and turned them into art. It's my contention that a divorce of the upwardly mobile musicians from their poverty stricken audience and inspiration, is the principle factor in the decline of creativity in most of today's Timba.
These similarities have given enormous scope for individuality among Timba's proponents. In its most creative phase bands would often create new sounds for each recording. Though certain techniques and styles have come to be associated with it, Timba is, then, a highly diverse genre loosely identified by time and circumstance, heritage and influence.