Son Jarocho was born as the regional sound of Veracruz but over time became a Mexican national genre, even transnational, genre-a touchstone of Chicano identity in the United States. Mario Barradas and Son Jarocho traces a musical journey from the Gulf Coast to interior Mexico and across the border, describing the transformations of Son Jarocho along the way. This comprehensive cultural study pairs ethnographic and musicological insights with an oral history of the late Mario Barradas, one of Son Jarocho's preeminent modern musicians. Chicano musician Francisco Gonzalez offers an insider's account of Barradas's influence and Son Jarocho's musical qualities, while Rafael Figueroa Hernandez delves into Barradas's recordings and films. Yolanda Broyles-Gonzalez examines the interplay between Son Jarocho's indigenous roots and contemporary role in Mexican and US society. The result is a nuanced portrait of a vital and evolving musical tradition.

The Latin sound called salsa, or, more correctly, Afro-Hispanic music of the Antilles, is a vital force on the international contemporary music scene. Having followed the same path as did other popular music genres, such as jazz, from ethnic origins to urban underground and on to worldwide acceptance, salsa has recently also become a subject of academic study. Here Figueroa presents materials about salsa and related musical genres that are accessible in the non-Latin world, with an emphasis on English-language sources. Attempting to serve the varied interests of the musicologist and the anthropologist, the journalist and music critic, the musician and the listener, this bibliographical guide documents useful data in books, articles, dissertations, encyclopedia entries, videos, recordings, liner notes, and reviews. Included are certain Hispanic publications, self-published books, and materials for musicians not readily classified in libraries or entered in indexing sources. Entries here are organized by subject and grouped within four broad sections, proceeding from sources covering whole areas or countries, to those on specific styles, genres, and rhythms, to those with biographical information, and to topics related to playing, teaching, or arranging for the various instruments. Author-title and subject indexes complete the work.

Son Jarocho was born as the regional sound of Veracruz but over time became a Mexican national genre, even transnational, genre—a touchstone of Chicano identity in the United States. Mario Barradas and Son Jarocho traces a musical journey from the Gulf Coast to interior Mexico and across the border, describing the transformations of Son Jarocho along the way. This comprehensive cultural study pairs ethnographic and musicological insights with an oral history of the late Mario Barradas, one of Son Jarocho’s preeminent modern musicians. Chicano musician Francisco González offers an insider’s account of Barradas’s influence and Son Jarocho’s musical qualities, while Rafael Figueroa Hernández delves into Barradas’s recordings and films. Yolanda Broyles-González examines the interplay between Son Jarocho’s indigenous roots and contemporary role in Mexican and US society. The result is a nuanced portrait of a vital and evolving musical tradition.