Tito puente tambo

In the hands of his successor, Ignacio Cervantes Kawanagh, the piano idiom related to the contradanza achieved even greater sophistication. Cervantes was called by Aaron Copland a "Cuban Chopin " because of his Chopinesque piano compositions. Cervantes' reputation today rests almost solely upon his famous forty-one Danzas Cubanas , which Carpentier said, "...occupy the place that the Norwegian Dances of Grieg or the Slavic Dances of Dvořák occupy in the musics of their respective countries". Cervantes' never-finished opera, Maledetto , is forgotten. [8]

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In the 1950s, various publications in New York City began to run articles on an emerging "mambo revolution" in music and dance. Recording companies began to use mambo to label their records and advertisements for mambo dance lessons were in local newspapers. New York City had made mambo a transnational popular cultural phenomenon. By the mid-1950s mambo mania had reached fever pitch. In New York the mambo was played in a high-strung, sophisticated way that had the Palladium Ballroom , the famous Broadway dance-hall, jumping. The Ballroom soon proclaimed itself the "temple of mambo", for the city's best dancers—the Mambo Aces, "Killer Joe" Piro , Augie and Margo Rodriguez, Paulito and Lilon, Louie Maquina and Pedro " Cuban Pete " Aguilar—gave mambo demonstrations there and made a reputation for their expressive use of arms, legs, head and hands. Augie and Margo were still dancing 50 years later (2006) in Las Vegas .

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