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TABLE OF CONTENT
(SCROLL DOWN TO BROWSE ALL ARTICLES OR Click on a TITLE BELOW)
ISMAEL RIVERA - VERNY VARELA - CELIA, JOHNNY, JUSTO & PAPO - OPA OPA - CACHÉ - ALEX WILSON - LOUIE ROMERO Y SU GRUPO MAZACOTE - FANIA ALL STARS - ORQUESTA UNIVERSAL - GRUPO CARIBE - ANDY MONTAÑEZ - RAY RODRÍGUEZ Y SWING SABROSO - CUBANOSON - ÁNGEL CANALES - DJ DUSTE & LATIN SOUL RECORDS - CALAMBUCO - THE GOLDEN AGE OF DISCO FUENTES - CHINO ESPINOZA Y LOS DUEÑOS DEL SON - DANNY SÁNCHEZ - SONSUBLIME - CELIA CRUZ & WILLIE COLÓN - CHINO NÚÑEZ - SAMMY GARCÍA Y EL SABOR DE PUERTO RICO - JESÚS PAGÁN Y SU ORQUESTA - GENEROSO JIMÉNEZ AND HIS ORCHESTRA - NEW SWING SEXTET - EDDIE PALMIERI - AM I A SALSERO? - DISC JOCKEYS - MEÑIQUE - NABORÍ SALSA ORCHESTRA - DON PERIGNON Y LA PUERTORRIQUEÑA - LUCKY 7 MAMBO - EL NIÑO Y LA VERDAD - FANIA RECORDS - THE DJ CHRONICLES - TROMBORANGA - AVENIDA B - JOHNNY BLAS - GLORIA STEVENSON FARR
GLORIA STEVENSON-FARR
Dancer Extraordinaire
(February 10, 1935 - July 2024)
Today, Monday, July 29, 2024, at approximately 6:30 a. m., I received a phone call from a very good friend from the salsa/mambo community, informing me of the recent passing of the legendary, Gloria Stevenson-Farr, known by most as simply Gloria Farr.
I once had the privilege of interviewing Gloria during one of my radio shows, and I surely have a recording of it stored somewhere. I will be searching for it, diligently, and as soon as I find it, I will share it with the public. There is nothing like hearing someone's story directly from them!
In the meantime, let me tell you what I know about Gloria Farr. Most of the following information has been culled from several online sources. Particular credit has to be given to information provided by the Elnorah Huff-Williamson Collection. Elnorah Huff-Williamson danced alongside Gloria at Club DeLisa in Chicago, Illinois.
Gloria Farr was a notable figure in Chicago’s cultural history. She was a dancer, dance instructor, mambo legend and choreographer. She studied at the Katherine Dunham School of Dance and the Manhattan School of Ballet. She was instrumental in keeping Mambo alive, touring throughout the United States and internationally as a professional dancer. She was a highly recognized Mambo dancer In the '50s and '60s, and even trained for a short while with renowned Cuban Pete.
Gloria had a rich legacy as a showgirl, performing at historic African American nightclubs like Club DeLisa and Robert’s Show Lounge. Even during the later years of her life, Gloria continued to make appearances and to grace the stage at salsa congresses.
Gloria Farr’s performances at Club DeLisa were a significant part of her career as a showgirl. Club DeLisa, located in Chicago’s Bronzeville neighborhood, was one of the most famous African American nightclubs during the mid-20th century. It was known for its vibrant entertainment scene, featuring jazz, blues, and variety shows.
Gloria’s acts at Club DeLisa were characterized by their elegance and energy. She performed alongside other talented artists, contributing to the club’s reputation as a hotspot for top-tier entertainment. Her shows often included elaborate costumes and choreography, captivating the audience and leaving a lasting impression.
Gloria Farr’s dance style is a blend of elegance, energy, and versatility. As a showgirl, she mastered various forms of dance, which allowed her to perform in a wide range of settings, from nightclubs to international stages. Her performances were known for their intricate choreography and expressive movements, often incorporating elements of jazz and salsa.
Gloria Farr also taught dance. Her extensive experience as a performer and her deep understanding of various dance styles made her a valuable teacher. She shared her knowledge and passion for dance with many students, helping to inspire and train the next generation of dancers.
Gloria Farr taught a variety of dance styles, reflecting her diverse background and extensive experience. Some of the key styles she taught include: Mambo/Salsa and Showgirl Routines (a mixture of jazz, ballet and theatrical movements).
Her teaching not only focused on technical skills but also on the artistry and performance aspects of dance, inspiring many students throughout her career.
Gloria Farr had a profound impact on the Chicago dance scene. Her performances at iconic venues like Club DeLisa and Robert’s Show Lounge helped to elevate the city’s cultural landscape, particularly within the African American community. As a showgirl, she brought elegance and energy to the stage, inspiring many with her talent and dedication.
Beyond her performances, Gloria’s role as a dance teacher allowed her to pass on her knowledge and passion to future generations. Her influence extended through her students, many of whom went on to become accomplished dancers themselves. She performed and taught salsa, contributing to the popularity and growth of Latin dance in the city.
Overall, Gloria Farr’s contributions to the dance scene in Chicago were significant, leaving a lasting legacy that continues to inspire and shape the community.
Gloria Farr collaborated with several notable artists throughout her career. One of her most famous collaborations was with the legendary jazz musician Louis Armstrong. Performing alongside Armstrong was a significant highlight and showcased her versatility and talent.
These collaborations not only enriched her career but also left a lasting impact on the audiences who witnessed these remarkable performances.
Dancer Extraordinaire
(February 10, 1935 - July 2024)
Today, Monday, July 29, 2024, at approximately 6:30 a. m., I received a phone call from a very good friend from the salsa/mambo community, informing me of the recent passing of the legendary, Gloria Stevenson-Farr, known by most as simply Gloria Farr.
I once had the privilege of interviewing Gloria during one of my radio shows, and I surely have a recording of it stored somewhere. I will be searching for it, diligently, and as soon as I find it, I will share it with the public. There is nothing like hearing someone's story directly from them!
In the meantime, let me tell you what I know about Gloria Farr. Most of the following information has been culled from several online sources. Particular credit has to be given to information provided by the Elnorah Huff-Williamson Collection. Elnorah Huff-Williamson danced alongside Gloria at Club DeLisa in Chicago, Illinois.
Gloria Farr was a notable figure in Chicago’s cultural history. She was a dancer, dance instructor, mambo legend and choreographer. She studied at the Katherine Dunham School of Dance and the Manhattan School of Ballet. She was instrumental in keeping Mambo alive, touring throughout the United States and internationally as a professional dancer. She was a highly recognized Mambo dancer In the '50s and '60s, and even trained for a short while with renowned Cuban Pete.
Gloria had a rich legacy as a showgirl, performing at historic African American nightclubs like Club DeLisa and Robert’s Show Lounge. Even during the later years of her life, Gloria continued to make appearances and to grace the stage at salsa congresses.
Gloria Farr’s performances at Club DeLisa were a significant part of her career as a showgirl. Club DeLisa, located in Chicago’s Bronzeville neighborhood, was one of the most famous African American nightclubs during the mid-20th century. It was known for its vibrant entertainment scene, featuring jazz, blues, and variety shows.
Gloria’s acts at Club DeLisa were characterized by their elegance and energy. She performed alongside other talented artists, contributing to the club’s reputation as a hotspot for top-tier entertainment. Her shows often included elaborate costumes and choreography, captivating the audience and leaving a lasting impression.
Gloria Farr’s dance style is a blend of elegance, energy, and versatility. As a showgirl, she mastered various forms of dance, which allowed her to perform in a wide range of settings, from nightclubs to international stages. Her performances were known for their intricate choreography and expressive movements, often incorporating elements of jazz and salsa.
Gloria Farr also taught dance. Her extensive experience as a performer and her deep understanding of various dance styles made her a valuable teacher. She shared her knowledge and passion for dance with many students, helping to inspire and train the next generation of dancers.
Gloria Farr taught a variety of dance styles, reflecting her diverse background and extensive experience. Some of the key styles she taught include: Mambo/Salsa and Showgirl Routines (a mixture of jazz, ballet and theatrical movements).
Her teaching not only focused on technical skills but also on the artistry and performance aspects of dance, inspiring many students throughout her career.
Gloria Farr had a profound impact on the Chicago dance scene. Her performances at iconic venues like Club DeLisa and Robert’s Show Lounge helped to elevate the city’s cultural landscape, particularly within the African American community. As a showgirl, she brought elegance and energy to the stage, inspiring many with her talent and dedication.
Beyond her performances, Gloria’s role as a dance teacher allowed her to pass on her knowledge and passion to future generations. Her influence extended through her students, many of whom went on to become accomplished dancers themselves. She performed and taught salsa, contributing to the popularity and growth of Latin dance in the city.
Overall, Gloria Farr’s contributions to the dance scene in Chicago were significant, leaving a lasting legacy that continues to inspire and shape the community.
Gloria Farr collaborated with several notable artists throughout her career. One of her most famous collaborations was with the legendary jazz musician Louis Armstrong. Performing alongside Armstrong was a significant highlight and showcased her versatility and talent.
These collaborations not only enriched her career but also left a lasting impact on the audiences who witnessed these remarkable performances.
JOHNNY BLAS
El Conguero
2020
For a few years now I have known about the musical prowess of bandleader, percussionist / multi-instrumentalist, Johnny Blas! I initially came to know of Johnny because he resides within the Chicago metropolitan area and hence has performed extensively in the Chicago area; which is my hometown. What I had not realized about him, until recently, was that the accomplished musician has been operating successfully in the Jazz and Latin music industries for more than two decades! Indeed, Johnny Blas has been a long time recording artists for Cubop Records; a sub-label of Ubiquitous Recordings, Inc. The Cubop catalog has recordings from past and living legends from the world of Afro-Cuban and Latin Jazz music; such as Francisco Aguabella, Bobby Matos, Pucho and the Latin Soul Brothers, Papo Vázquez, Jack Constanzo, Arturo Sandoval and others. Respected music critic, Stacia Proefrock has called Johnny a "stylish conguero," a title with which I fully agree!
John "Dandy" Rodríguez, during an interview in 2014, speaking of Latin music artists and their relationship with dancers, told me that "For a while we all were playing to fast, but most of us now understand that the dancers want it a little slower and funkier!" I mention this because, first of all, I fully agree with this assessment, from a true veteran of the music. Dancers do want a more moderate tempo, with which they can dance all night without burning themselves out. Secondly, when I think about the many elements of the music being created by Johnny Blas and his team of skilled musicians, the term "funky" surely comes to mind! Johnny absolutely understands saoco (swing) and its importance to the dancers.
It was in 1994 that Johnny Blas and his band released their first album, A Night in L.A., on the Dos Coronas record label; which would be re-released in 2018; with a slightly different title, That Night in L.A. During my radio shows, I have played every track on the album and would be hard pressed to pick a favorite, but if I were forced to do so, I perhaps would select Don't Change My Song, followed by the mellifluous Dame tu amor. Members of the band during this time were percussionist Ángel Rodríguez, trombonists Humberto Ruiz, Kerry Loeschen, Edwin Blas and Dan Weinstein, guitarist Mark Gutiérrez and bassist Paul Pérez.
Due to their hard work and solid delivery, they were signed to the aforementioned Cubop Records label, and cranked out three more albums: Skin and Bones (1997), Mambo 2000 (1998) and King Congo (1999); the first two of which were critically acclaimed by Jazz and Latin music critics worldwide. KIng Congo featured the songwriting skills of band members Mark Gutiérrez and Dan Weinstein.
After an eight year hiatus, in 2007, Johnny Blas resurfaced with an album, Indestructible Spirit, that departed from his previous work; with nine tracks, and seven of them written by Johnny himself. Johnny also, in addition to his customary conga and timbales work, plays the soprano saxophone on two tracks! Additionally, the number of trombones was reduced from four to now two. New members of his band at this time included bassist and co-producer Jeff Hawley, trombonists Steve Johnson and Leonard Luna, pianist Ryan Prior. Also, on one track each were saxophonists Ray Zapeda (soprano) and Paul Clark (tenor).
In early 2019, Johnny Blas released a rendition of the mambo/salsa standard track Baila que baila; and man oh man was it ever danceable; fully living up to its title! Johnny's version of the track differs from others in that his includes trombones, the bata drum and a very funky bass! This version drives hard from beginning to end and features one of the most succulent flute solos that I've ever heard. As usual, Johnny's percussion work is superb and carries to tune from beginning to end! It is impossible to listen to this track without bobbing your head and wanting to get up and dance!
Now, freshly released in the beginning of February, Johnny Blas has released a track, El Conguero; which inevitably shall become a hallmark of his sound. It features a very jazzy and swinging saxophone solo that will enrapture both cha-cha-chá dancers and Latin Jazz aficionados alike. Then, of course, there is the congo solo carried out by the master himself, Johnny Blas. Once again, Johnny's outstanding percussion work carries to tune from beginning to end! You have to hear it to believe it!
Current members of Johnny Blas' band are:
- Johnny Blas - band leader, conga, bata, other percussions and chorus
- Edwin Blas - musical director, arranger, trombones, chorus
- Daniel Castillo - guest vocalist
- Carlos Ordiano - piano
- Ruben Ordiano - timbales
- Juan Karlos - bongos
- Roberto Zelaya - bass
- Robert Incelli - flute
CLICK HERE TO PURCHASE "El Conguero"!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited without expressed written permission.
Respectfully submitted,
El Caobo
February 2020
CLICK HERE TO RETURN TO TABLE OF CONTENT
El Conguero
2020
For a few years now I have known about the musical prowess of bandleader, percussionist / multi-instrumentalist, Johnny Blas! I initially came to know of Johnny because he resides within the Chicago metropolitan area and hence has performed extensively in the Chicago area; which is my hometown. What I had not realized about him, until recently, was that the accomplished musician has been operating successfully in the Jazz and Latin music industries for more than two decades! Indeed, Johnny Blas has been a long time recording artists for Cubop Records; a sub-label of Ubiquitous Recordings, Inc. The Cubop catalog has recordings from past and living legends from the world of Afro-Cuban and Latin Jazz music; such as Francisco Aguabella, Bobby Matos, Pucho and the Latin Soul Brothers, Papo Vázquez, Jack Constanzo, Arturo Sandoval and others. Respected music critic, Stacia Proefrock has called Johnny a "stylish conguero," a title with which I fully agree!
John "Dandy" Rodríguez, during an interview in 2014, speaking of Latin music artists and their relationship with dancers, told me that "For a while we all were playing to fast, but most of us now understand that the dancers want it a little slower and funkier!" I mention this because, first of all, I fully agree with this assessment, from a true veteran of the music. Dancers do want a more moderate tempo, with which they can dance all night without burning themselves out. Secondly, when I think about the many elements of the music being created by Johnny Blas and his team of skilled musicians, the term "funky" surely comes to mind! Johnny absolutely understands saoco (swing) and its importance to the dancers.
It was in 1994 that Johnny Blas and his band released their first album, A Night in L.A., on the Dos Coronas record label; which would be re-released in 2018; with a slightly different title, That Night in L.A. During my radio shows, I have played every track on the album and would be hard pressed to pick a favorite, but if I were forced to do so, I perhaps would select Don't Change My Song, followed by the mellifluous Dame tu amor. Members of the band during this time were percussionist Ángel Rodríguez, trombonists Humberto Ruiz, Kerry Loeschen, Edwin Blas and Dan Weinstein, guitarist Mark Gutiérrez and bassist Paul Pérez.
Due to their hard work and solid delivery, they were signed to the aforementioned Cubop Records label, and cranked out three more albums: Skin and Bones (1997), Mambo 2000 (1998) and King Congo (1999); the first two of which were critically acclaimed by Jazz and Latin music critics worldwide. KIng Congo featured the songwriting skills of band members Mark Gutiérrez and Dan Weinstein.
After an eight year hiatus, in 2007, Johnny Blas resurfaced with an album, Indestructible Spirit, that departed from his previous work; with nine tracks, and seven of them written by Johnny himself. Johnny also, in addition to his customary conga and timbales work, plays the soprano saxophone on two tracks! Additionally, the number of trombones was reduced from four to now two. New members of his band at this time included bassist and co-producer Jeff Hawley, trombonists Steve Johnson and Leonard Luna, pianist Ryan Prior. Also, on one track each were saxophonists Ray Zapeda (soprano) and Paul Clark (tenor).
In early 2019, Johnny Blas released a rendition of the mambo/salsa standard track Baila que baila; and man oh man was it ever danceable; fully living up to its title! Johnny's version of the track differs from others in that his includes trombones, the bata drum and a very funky bass! This version drives hard from beginning to end and features one of the most succulent flute solos that I've ever heard. As usual, Johnny's percussion work is superb and carries to tune from beginning to end! It is impossible to listen to this track without bobbing your head and wanting to get up and dance!
Now, freshly released in the beginning of February, Johnny Blas has released a track, El Conguero; which inevitably shall become a hallmark of his sound. It features a very jazzy and swinging saxophone solo that will enrapture both cha-cha-chá dancers and Latin Jazz aficionados alike. Then, of course, there is the congo solo carried out by the master himself, Johnny Blas. Once again, Johnny's outstanding percussion work carries to tune from beginning to end! You have to hear it to believe it!
Current members of Johnny Blas' band are:
- Johnny Blas - band leader, conga, bata, other percussions and chorus
- Edwin Blas - musical director, arranger, trombones, chorus
- Daniel Castillo - guest vocalist
- Carlos Ordiano - piano
- Ruben Ordiano - timbales
- Juan Karlos - bongos
- Roberto Zelaya - bass
- Robert Incelli - flute
CLICK HERE TO PURCHASE "El Conguero"!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited without expressed written permission.
Respectfully submitted,
El Caobo
February 2020
CLICK HERE TO RETURN TO TABLE OF CONTENT
AVENIDA B
Salsa No Parará
2018
This group of swinging musicians, Avenida B, has climbed to the very top of our listing of great contemporary salsa/mambo groups! It was in September 2014 when these fine musicians had come to our attention. Then we heard their version of Tiahuanaco; which is their cover of a 1973 instrumental tune, originally done by pianist, composer and arranger, Alfredo Linares.
After doing a little research, we discovered that Avenida B had been formed in New York, in 2011, by bandleader, sonero, pianist and percussionist, David Frankel. David's late father, Daniel "El Mago del Órgano" Franklin, had been a Latin music pianist who during the heyday of "salsa" in New York's Lower Manhattan, had several salsa bands that rehearsed weekly at his home on Avenue B. David grew up observing his father's rehearsals and gigs and eventually became a passionate Latin music aficionado himself. In 2003, when his father passed way, David decided to carry his father's torch, and later in 2011, he would create Avenida B.
David first prepared himself for the journey by taking music lessons (percussion and piano), as well as salsa dance lessons! He had recalled that his father, "El Mago" had told him that salsa music in intended for dancing; that it is a lot more enjoyable if you can dance to it. Truer words have never been spoken! In our opinion, David was doing the wisest thing that a salsa musician can do! Learning, first hand, what type of salsa music makes the dancers yearn to hit the dance floor, is a huge advantage for a bandleader. Indeed, knowing the ideal range of tempo and duration of songs is certainly an invaluable edge.
Another important occurrence in the trajectory of David Frankel, and something that would later define the hallmark sound and swing of Avenida B, was that during those music and dance lessons, he was smitten by the old school sound and swing of the rhythm section (percussion, including the piano). He could not resist the allure of what many of us call "salsa dura" or mambo. David attributes this allure to his study of the music of Eddie Palmieri and Ray Perez. With this understanding, it was in 2011 that David created Avenida B. He was certainly up to the task! His stated mission is to "reconnect salsa dancers, musicians and DJ's in a meaningful way, and to inspire the perpetuity and evolution of Salsa Dura and its singular energy and swing."
As we stated at the top of this review, it was in September 2014 that we first heard, and began to play for dancers, Avenida B's version of Tiahuanaco, to the sheer delight of the dancers. The silent feedback, reflected only by the state of swinging dance floors, was very good. In 2017, we discovered and began to play another tune from their 2014 album, El Viaje; which turned out to be the same album on which Tiahuanaco can be found Although first released in 2014, El Viaje had been re-released in 2016 and that version included Guaguancó as a bonus track. This new discovery was a tune that lives up to its title: Guaguancó! The feedback to this tune was not so silent! The very first time that we played it to a crowd of dancers was in late May of 2017. Immediately after the song ended, first one dancer, then two, then three, came to the DJ booth and asked us for the name of the artist and song. We recall vividly that one of them remarked "That's the real deal right there!"
Guaguancó became our top floor mover and remained so for a very long time. We still can't get enough of it! For those who speak Spanish, the lyrics, delivered by a very skillful sonero, are extremely moving. We invite you to sing along to it the next time that you hear it. Here are the lyrics.
GUAGUANCÓ
Yo soy coleccionista
Melómano lo digo yo
Dándole puros golpes
Salsa del piso pa'l bailador
LP y 45, todos son clásicos
Ritmo sabroso para prender este vacilón
El mambo que sí está bueno
Chachachá y el son
Pero cuando quiero curarme
Lo que quiero es guaguancó
En la mañana y la noche la gente me pide
Guaguancó
Avenida B es sabroso eso es lo que dicen
Guaguancó
Guagua, guagua, guaguancó y tú verás
Guaguancó
Levántate de la silla, agarra tu pareja y ponte a bailar al son
Guanguacó
Párate, párate, párate, párate
Guaguancó
¡Oye! Levántate de la silla, agarra tu pareja y ponte a bailar
Here we go! ¡Demetrios! ¡Avenida B!
Yo soy el DJ no te pongas celoso
Guanguancó
Antes de bailar no me siento dichoso
Lo que quiero es guaguancó
Saco la campana caballero, mira cómo lo gozo
Lo que quiero es guaguancó
Tú tranquilo, pero el guaguancó me tiene loco
Lo que quiero es guaguancó
Loco lo quiero, loco lo quiero, loco lo quiero, y loco me tenía
Lo que quiero es guaguancó
¡Oye! Avenida B que rompe tarima
Lo que quiero es guaguancó
Ala lalé ala lala le lalá
Lo que quiero es guaguancó
Por eso vamos pa encima
Lo que quiero es guaguancó
Buru bá, buru bá, buru bá
Lo que quiero es guaguancó
There are so many other great tunes on their 2014 album, El Viaje, that we don't feel the need to itemize them! We simply suggest that you purchase the entire album! You will thank us later!
In July 2018, Avenida B released the album, Salsa No Parará. Now that we were very familiar with the group, we did not waste any time and bought the album as soon as it was available! Immediately, five tracks grabbed our attention and we began playing them to the dancers. Just as we expected, the dancers were thrilled! Those five tracks are Ahora quiero bailar, Es mi barrio, Me interesas tú, La paradoja and Qué humanidad.
Current Avenida B members are
- Juan Bowers - piano
- Alvin Céspedes - bass
- Ricky Rosa - congas/coro
- Brian Pozo - bongos/coro/stage direction
- Jhohan Hernandez - timbales
- Demetrios Kehagias - trombone
- Dan Lehner - trombone
- David Frankel - lead vocals
CLICK HERE TO PURCHASE THIS GROUPS MUSIC!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
January 2019
CLICK HERE TO RETURN TO TABLE OF CONTENT
Salsa No Parará
2018
This group of swinging musicians, Avenida B, has climbed to the very top of our listing of great contemporary salsa/mambo groups! It was in September 2014 when these fine musicians had come to our attention. Then we heard their version of Tiahuanaco; which is their cover of a 1973 instrumental tune, originally done by pianist, composer and arranger, Alfredo Linares.
After doing a little research, we discovered that Avenida B had been formed in New York, in 2011, by bandleader, sonero, pianist and percussionist, David Frankel. David's late father, Daniel "El Mago del Órgano" Franklin, had been a Latin music pianist who during the heyday of "salsa" in New York's Lower Manhattan, had several salsa bands that rehearsed weekly at his home on Avenue B. David grew up observing his father's rehearsals and gigs and eventually became a passionate Latin music aficionado himself. In 2003, when his father passed way, David decided to carry his father's torch, and later in 2011, he would create Avenida B.
David first prepared himself for the journey by taking music lessons (percussion and piano), as well as salsa dance lessons! He had recalled that his father, "El Mago" had told him that salsa music in intended for dancing; that it is a lot more enjoyable if you can dance to it. Truer words have never been spoken! In our opinion, David was doing the wisest thing that a salsa musician can do! Learning, first hand, what type of salsa music makes the dancers yearn to hit the dance floor, is a huge advantage for a bandleader. Indeed, knowing the ideal range of tempo and duration of songs is certainly an invaluable edge.
Another important occurrence in the trajectory of David Frankel, and something that would later define the hallmark sound and swing of Avenida B, was that during those music and dance lessons, he was smitten by the old school sound and swing of the rhythm section (percussion, including the piano). He could not resist the allure of what many of us call "salsa dura" or mambo. David attributes this allure to his study of the music of Eddie Palmieri and Ray Perez. With this understanding, it was in 2011 that David created Avenida B. He was certainly up to the task! His stated mission is to "reconnect salsa dancers, musicians and DJ's in a meaningful way, and to inspire the perpetuity and evolution of Salsa Dura and its singular energy and swing."
As we stated at the top of this review, it was in September 2014 that we first heard, and began to play for dancers, Avenida B's version of Tiahuanaco, to the sheer delight of the dancers. The silent feedback, reflected only by the state of swinging dance floors, was very good. In 2017, we discovered and began to play another tune from their 2014 album, El Viaje; which turned out to be the same album on which Tiahuanaco can be found Although first released in 2014, El Viaje had been re-released in 2016 and that version included Guaguancó as a bonus track. This new discovery was a tune that lives up to its title: Guaguancó! The feedback to this tune was not so silent! The very first time that we played it to a crowd of dancers was in late May of 2017. Immediately after the song ended, first one dancer, then two, then three, came to the DJ booth and asked us for the name of the artist and song. We recall vividly that one of them remarked "That's the real deal right there!"
Guaguancó became our top floor mover and remained so for a very long time. We still can't get enough of it! For those who speak Spanish, the lyrics, delivered by a very skillful sonero, are extremely moving. We invite you to sing along to it the next time that you hear it. Here are the lyrics.
GUAGUANCÓ
Yo soy coleccionista
Melómano lo digo yo
Dándole puros golpes
Salsa del piso pa'l bailador
LP y 45, todos son clásicos
Ritmo sabroso para prender este vacilón
El mambo que sí está bueno
Chachachá y el son
Pero cuando quiero curarme
Lo que quiero es guaguancó
En la mañana y la noche la gente me pide
Guaguancó
Avenida B es sabroso eso es lo que dicen
Guaguancó
Guagua, guagua, guaguancó y tú verás
Guaguancó
Levántate de la silla, agarra tu pareja y ponte a bailar al son
Guanguacó
Párate, párate, párate, párate
Guaguancó
¡Oye! Levántate de la silla, agarra tu pareja y ponte a bailar
Here we go! ¡Demetrios! ¡Avenida B!
Yo soy el DJ no te pongas celoso
Guanguancó
Antes de bailar no me siento dichoso
Lo que quiero es guaguancó
Saco la campana caballero, mira cómo lo gozo
Lo que quiero es guaguancó
Tú tranquilo, pero el guaguancó me tiene loco
Lo que quiero es guaguancó
Loco lo quiero, loco lo quiero, loco lo quiero, y loco me tenía
Lo que quiero es guaguancó
¡Oye! Avenida B que rompe tarima
Lo que quiero es guaguancó
Ala lalé ala lala le lalá
Lo que quiero es guaguancó
Por eso vamos pa encima
Lo que quiero es guaguancó
Buru bá, buru bá, buru bá
Lo que quiero es guaguancó
There are so many other great tunes on their 2014 album, El Viaje, that we don't feel the need to itemize them! We simply suggest that you purchase the entire album! You will thank us later!
In July 2018, Avenida B released the album, Salsa No Parará. Now that we were very familiar with the group, we did not waste any time and bought the album as soon as it was available! Immediately, five tracks grabbed our attention and we began playing them to the dancers. Just as we expected, the dancers were thrilled! Those five tracks are Ahora quiero bailar, Es mi barrio, Me interesas tú, La paradoja and Qué humanidad.
Current Avenida B members are
- Juan Bowers - piano
- Alvin Céspedes - bass
- Ricky Rosa - congas/coro
- Brian Pozo - bongos/coro/stage direction
- Jhohan Hernandez - timbales
- Demetrios Kehagias - trombone
- Dan Lehner - trombone
- David Frankel - lead vocals
CLICK HERE TO PURCHASE THIS GROUPS MUSIC!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
January 2019
CLICK HERE TO RETURN TO TABLE OF CONTENT
Guaguancó by Avenida B - From the 2016 re-release of the album El Viaje
(added as a bonus track to the original 2014 version of the album)
(added as a bonus track to the original 2014 version of the album)
TROMBORANGA
Sangre Sudor y Salsa
2016
This band, Tromboranga, clearly ranks among the very best of today's Latin music orchestras. Their trademark sound, as alluded to by their name, is that of the trombone, anchored by a swinging rhythm section and driving soneos. Inveterate salsa aficionados quickly recognize that the band's primary influence is that of the salsa music from the heyday of salsa: the 60s and 70s. Indeed, their sound is "the real deal" and perfectly fits the definition of what I affectionately call salsa de la mata (grassroots salsa). Tromboranga's standard delivery embodies a mellifluous saoco (swing) that only very few exceptional bands manage to achieve and it is to the delight of the consummate dancer. In short, their sound is most definitely "tight" and "in the pocket!"
My exposure to the hallmark sound of this band came in 2009 when because of the radio show that I have been fortunate to produce since 2001, band leader, timbales player and composer, Joaquín Arteaga, sent me a copy of a newly released album, Ruta de la Salsa, by his band at the time, Bloque 53. I very much enjoyed the entire album, and one particular song, Ese dolor, seemed to me to be the epitome of saoco! That song, Ese dolor, remains one of the select few songs that I play very often during my radio shows and at dance venues! The song's moderate and swinging tempo, along with very inspirational lyrics will surely earn it a place as a classic in the salsa history books!
Later, in November of 2011, from one of my professional music sources I received a single called Agua que va a caer, by a new salsa band called Tromboranga. As it is very common for new bands to cover legendary hits, I mistakenly believed that this new song was a cover of the 1965 uptempo classic by Cortijo y su Combo, with Ismael Rivera on lead vocals, by the same name. So, I made the monumental mistake of not listening to it right away. Probably a month or so after having received it, I got around to listening to it and wow was I ever surprised! Not only was it not at all a cover, it featured that irresistible saoco that I now know to be characteristic of the Tromboranga sound and I was quick to put it on the playlists for my radio shows and dance venues! It became one of my favorite dance floor movers!
In April of 2012, Tromboranga released their debut album, Salsa Dura; which included Agua que va a caer. Since I was then familiar with the band, I wasted no time listening to the entire album and I was thrilled that I had done so! The album included other swinging tunes and dance floor movers; such as Amigo el ratón, Humildad and Hoy no quiero trabajar, After hearing such awe-inspiring productions from Tromboranga it was time to do some research on the band, and upon doing so I discovered that the veteran Venezuelan band leader, timbales player and composer of Bloque 53, Joaquín Arteaga, was also the band leader, timbales player and composer of Tromboranga! So, it then all begin to make perfect sense!
Following the debut album release of Salsa Dura (2012), Tromboranga lauched a series of successful albums: Tumba Puchunga [with Bloque 53] (2012), Al Mal Tiempo Buena SALSA (2013), Solo Para Coleccionistas (2013), Salsa Pa' Rato (2014), Golpe con Melodía (2015) and only recently Sangre Sudor y Salsa (2016). Included in these albums, Tromboranga has produced an amazing string of original songs with lyrical content that ventilates the stories of everyday life, while at the same time becoming dance floor favorties; such as Humildad, Palo pa' la campana, Amigo el ratón and Adiós que te vaya bien. Of their long list of hits, other tunes that I particularly enjoy from Tromboranga have been Me alborotas, Tumba puchunga, Sentimiento caleño, Boogaloo de Marilú, Rompe colchón and Mírame.
Indeed, the level of success garnered by Tromboranga has been exceptional. In 2015 they were invited to the United States for a month and a half tour, during which time they performed in New York, New Jersey, Miami, Las Vegas, Los Angeles and Houston, among other cities.
Now enters their latest release, Sangre Sudor y Salsa (2016), and what a production it is! It is much too soon to give a definitive list of the hits on this album, but among them are Ah caraj (aquí qué pasó), Cambumbo, Mi china colombiana and Sangre sudor y salsa.
Joaquín Arteaga has put together a band that is tailor made for the dancer and fan of the authentic salsa sound! The band includes
- Joaquín Arteaga: band leader, timbalero (timbales player) and composer
- Diego Coppinger: sonero (improvisational singer)
- Freddy Ramos: cantante (singer)
- Rafael "Madagascar" Arciniegas: pianist and arranger
- Lorenzo "El Diablo" Barriendos: bassist
- Vladimir Peña: trombonist
- Josep Blanes: trombonist
- Albert Costa: trombonist
- Cristián "El Niño" Cosanatan: conga player
- José Cubas: bongo player
CLICK HERE TO PURCHASE THE ALBUM!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
May 2016
CLICK TO RETURN TO TABLE OF CONTENT
Sangre Sudor y Salsa
2016
This band, Tromboranga, clearly ranks among the very best of today's Latin music orchestras. Their trademark sound, as alluded to by their name, is that of the trombone, anchored by a swinging rhythm section and driving soneos. Inveterate salsa aficionados quickly recognize that the band's primary influence is that of the salsa music from the heyday of salsa: the 60s and 70s. Indeed, their sound is "the real deal" and perfectly fits the definition of what I affectionately call salsa de la mata (grassroots salsa). Tromboranga's standard delivery embodies a mellifluous saoco (swing) that only very few exceptional bands manage to achieve and it is to the delight of the consummate dancer. In short, their sound is most definitely "tight" and "in the pocket!"
My exposure to the hallmark sound of this band came in 2009 when because of the radio show that I have been fortunate to produce since 2001, band leader, timbales player and composer, Joaquín Arteaga, sent me a copy of a newly released album, Ruta de la Salsa, by his band at the time, Bloque 53. I very much enjoyed the entire album, and one particular song, Ese dolor, seemed to me to be the epitome of saoco! That song, Ese dolor, remains one of the select few songs that I play very often during my radio shows and at dance venues! The song's moderate and swinging tempo, along with very inspirational lyrics will surely earn it a place as a classic in the salsa history books!
Later, in November of 2011, from one of my professional music sources I received a single called Agua que va a caer, by a new salsa band called Tromboranga. As it is very common for new bands to cover legendary hits, I mistakenly believed that this new song was a cover of the 1965 uptempo classic by Cortijo y su Combo, with Ismael Rivera on lead vocals, by the same name. So, I made the monumental mistake of not listening to it right away. Probably a month or so after having received it, I got around to listening to it and wow was I ever surprised! Not only was it not at all a cover, it featured that irresistible saoco that I now know to be characteristic of the Tromboranga sound and I was quick to put it on the playlists for my radio shows and dance venues! It became one of my favorite dance floor movers!
In April of 2012, Tromboranga released their debut album, Salsa Dura; which included Agua que va a caer. Since I was then familiar with the band, I wasted no time listening to the entire album and I was thrilled that I had done so! The album included other swinging tunes and dance floor movers; such as Amigo el ratón, Humildad and Hoy no quiero trabajar, After hearing such awe-inspiring productions from Tromboranga it was time to do some research on the band, and upon doing so I discovered that the veteran Venezuelan band leader, timbales player and composer of Bloque 53, Joaquín Arteaga, was also the band leader, timbales player and composer of Tromboranga! So, it then all begin to make perfect sense!
Following the debut album release of Salsa Dura (2012), Tromboranga lauched a series of successful albums: Tumba Puchunga [with Bloque 53] (2012), Al Mal Tiempo Buena SALSA (2013), Solo Para Coleccionistas (2013), Salsa Pa' Rato (2014), Golpe con Melodía (2015) and only recently Sangre Sudor y Salsa (2016). Included in these albums, Tromboranga has produced an amazing string of original songs with lyrical content that ventilates the stories of everyday life, while at the same time becoming dance floor favorties; such as Humildad, Palo pa' la campana, Amigo el ratón and Adiós que te vaya bien. Of their long list of hits, other tunes that I particularly enjoy from Tromboranga have been Me alborotas, Tumba puchunga, Sentimiento caleño, Boogaloo de Marilú, Rompe colchón and Mírame.
Indeed, the level of success garnered by Tromboranga has been exceptional. In 2015 they were invited to the United States for a month and a half tour, during which time they performed in New York, New Jersey, Miami, Las Vegas, Los Angeles and Houston, among other cities.
Now enters their latest release, Sangre Sudor y Salsa (2016), and what a production it is! It is much too soon to give a definitive list of the hits on this album, but among them are Ah caraj (aquí qué pasó), Cambumbo, Mi china colombiana and Sangre sudor y salsa.
Joaquín Arteaga has put together a band that is tailor made for the dancer and fan of the authentic salsa sound! The band includes
- Joaquín Arteaga: band leader, timbalero (timbales player) and composer
- Diego Coppinger: sonero (improvisational singer)
- Freddy Ramos: cantante (singer)
- Rafael "Madagascar" Arciniegas: pianist and arranger
- Lorenzo "El Diablo" Barriendos: bassist
- Vladimir Peña: trombonist
- Josep Blanes: trombonist
- Albert Costa: trombonist
- Cristián "El Niño" Cosanatan: conga player
- José Cubas: bongo player
CLICK HERE TO PURCHASE THE ALBUM!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
May 2016
CLICK TO RETURN TO TABLE OF CONTENT
Ah caraj (aquí qué pasó) by Tromboranga
THE DJ CHRONICLES
In a Nutshell
DJs love customers and especially the dancers! The customers' happiness is our happiness! That happiness is what makes the job enjoyable! Nevertheless, there are many "delicate" situations that DJs have to learn to handle skillfully! Customers also should be aware of some of these situations. For example, consider the following scenario that took place the night before I decided to begin this series of articles.
As is usually the case, included in my rotating sets of genres for this night was cha-cha-chá. After playing the very first cha-cha-chá, a customer comes to the booth and says...
"I loved that cha-cha-chá you played! We love cha-cha-chá here! Can you play more than one next time around?"
When the time came to play cha-cha-chá again, while the second one was playing, a different customer comes to the booth and says...
"Can you change the music? We don't like cha-cha-chá here. Just salsa, bachata and a little merengue, man!"
This is a rather common scenario for a DJ. Ironically, if we consider the two different perceptions of these two customers, the fair conclusion is that both are correct. They obviously perceive the crowd differently and their individual perceptions are just that... "their" perceptions. Nevertheless, the DJ also has a perception and It is the DJ's job to analyze the crowd and the "vibe" throughout the course of the event, and spin accordingly. This is not to say that the DJ's perception is any more "right" than anyone else's, but the overall outcome of the event falls squarely on the shoulders of the DJ. However, in time, DJs become very adept at assessing the overall vibe of an event, since it is critical that they do this well. Therefore, experienced DJs learn to weigh very carefully any opinions and requests from customers with their own perceptions and then proceed accordingly.
If a DJ were to fulfill every request and follow all the suggestions that are received during the course of an event, the resulting "vibe" would not be that of the DJ. The resulting vibe would not be cohesive, but instead would be choppy and much less smooth. Unfortunately, too many of those who make requests and suggestions become upset and/or cop negative attitudes if the DJ does not acquiesce. So, the skill that the DJ has to learn is how to avoid letting the "tail wag the dog" without creating a situation in which someone is expressing sentiments that might poison the atmosphere.
My first suggestion is to never become angry, or display any negative feelings at all when such a customer is making a request or suggestion. Keep in mind that the customer really is trying to be helpful. Always smile and display a sincere demeanor of contemplation about what the customer is suggesting. Remember, the customer's perception is his or her reality, even if it is only his or hers. Also, a DJ should never out right say "no," even when knowing that the request or suggestion is completely out of line with what the DJ is trying to accomplish. Instead, the Dj should explain as cheerfully as possible what he or she is trying to achieve and why the request or suggestion doesn't fit, but then, and this is very important, express that you will try to accommodate the request or suggestion later; even when you already know that you will not! I know that this last part seems disingenuous, but remember that you are trying to keep every single customer "on your side," and who knows, later during the night it is possible, even if not probable, that you will slip in the request or suggestion. If a DJ does this, he or she will have done everything possible, short of allowing their vibe to be usurped, in order to keep a customer happy. However, there are some patrons who will become upset, no matter what, unless the DJ does what they suggest. In those cases, a DJ should just grin and bear it, since displaying any kind of negativity is a "no-no."
The upcoming series of articles will shed light on many of the delicate situations that DJs often find themselves! The idea is to shed light on these scenarios as positively as possible.
Regards,
El Caobo
July 2015
CLICK TO RETURN TO TABLE OF CONTENT
In a Nutshell
DJs love customers and especially the dancers! The customers' happiness is our happiness! That happiness is what makes the job enjoyable! Nevertheless, there are many "delicate" situations that DJs have to learn to handle skillfully! Customers also should be aware of some of these situations. For example, consider the following scenario that took place the night before I decided to begin this series of articles.
As is usually the case, included in my rotating sets of genres for this night was cha-cha-chá. After playing the very first cha-cha-chá, a customer comes to the booth and says...
"I loved that cha-cha-chá you played! We love cha-cha-chá here! Can you play more than one next time around?"
When the time came to play cha-cha-chá again, while the second one was playing, a different customer comes to the booth and says...
"Can you change the music? We don't like cha-cha-chá here. Just salsa, bachata and a little merengue, man!"
This is a rather common scenario for a DJ. Ironically, if we consider the two different perceptions of these two customers, the fair conclusion is that both are correct. They obviously perceive the crowd differently and their individual perceptions are just that... "their" perceptions. Nevertheless, the DJ also has a perception and It is the DJ's job to analyze the crowd and the "vibe" throughout the course of the event, and spin accordingly. This is not to say that the DJ's perception is any more "right" than anyone else's, but the overall outcome of the event falls squarely on the shoulders of the DJ. However, in time, DJs become very adept at assessing the overall vibe of an event, since it is critical that they do this well. Therefore, experienced DJs learn to weigh very carefully any opinions and requests from customers with their own perceptions and then proceed accordingly.
If a DJ were to fulfill every request and follow all the suggestions that are received during the course of an event, the resulting "vibe" would not be that of the DJ. The resulting vibe would not be cohesive, but instead would be choppy and much less smooth. Unfortunately, too many of those who make requests and suggestions become upset and/or cop negative attitudes if the DJ does not acquiesce. So, the skill that the DJ has to learn is how to avoid letting the "tail wag the dog" without creating a situation in which someone is expressing sentiments that might poison the atmosphere.
My first suggestion is to never become angry, or display any negative feelings at all when such a customer is making a request or suggestion. Keep in mind that the customer really is trying to be helpful. Always smile and display a sincere demeanor of contemplation about what the customer is suggesting. Remember, the customer's perception is his or her reality, even if it is only his or hers. Also, a DJ should never out right say "no," even when knowing that the request or suggestion is completely out of line with what the DJ is trying to accomplish. Instead, the Dj should explain as cheerfully as possible what he or she is trying to achieve and why the request or suggestion doesn't fit, but then, and this is very important, express that you will try to accommodate the request or suggestion later; even when you already know that you will not! I know that this last part seems disingenuous, but remember that you are trying to keep every single customer "on your side," and who knows, later during the night it is possible, even if not probable, that you will slip in the request or suggestion. If a DJ does this, he or she will have done everything possible, short of allowing their vibe to be usurped, in order to keep a customer happy. However, there are some patrons who will become upset, no matter what, unless the DJ does what they suggest. In those cases, a DJ should just grin and bear it, since displaying any kind of negativity is a "no-no."
The upcoming series of articles will shed light on many of the delicate situations that DJs often find themselves! The idea is to shed light on these scenarios as positively as possible.
Regards,
El Caobo
July 2015
CLICK TO RETURN TO TABLE OF CONTENT
FANIA RECORDS
Brief History & Connection to El Caobo
Fania Records was a New York based record label founded by Dominican-born composer and bandleader Johnny Pacheco and Italian-American lawyer Jerry Masucci in 1964. The label took its name from an old Cuban song by the singer Reinaldo Bolaño. Fania is known for its promotion of what has become known as Salsa music.
The label started out as a small venture, but gained popularity after the success of its first official record, Pacheco's "Cañonazo", leading to the expansion of its talent base. Among Fania's signature stars are: Willie Colon , Celia Cruz, Larry Harlow, Ray Barretto, Ralfi Pagan, Luis "Perico" Ortiz, Bobby Valentín, Rubén Blades, Héctor Lavoe, Cheo Feliciano and many others.
The second album released under the Fania imprint was Larry Harlow's 1965 Heavy Smoking. The record's modern take on traditional Afro-Caribbean music served as the template for what soon would come to be known as the Fania Sound.
In 1968, Pacheco created a super-group known as the Fania All-Stars that brought together the elite of Salsa musicians and singers for joint performances and recording. The Fania All-Stars were Fania's best selling band, outlasting the label itself. They made their debut at the Red Garter club located in New York's Greenwich Village, but it was their 1971 performance at the Cheetah, a club in Midtown Manhattan, which became legendary. Larry Harlow was chosen by Jerry Masucci to produce the band's records while Pacheco acted as director on stage. The Fania All-Stars were filmed for the documentary "Our Latin Thing" released a year later. Leon Gast, the Academy Award winning director of When We Were Kings filmed the Fania All-Stars for the documentary "Our Latin Thing" released in 1972.
Masucci would eventually become sole owner of Fania Records and the numerous other labels and umbrella labels in South America that he acquired and created.
In September 2005, Fania's assets were sold to Miami-based label Emusica, and by early 2006, the new owners began to reissue material from Fania's backlog catalog (some of which has never appeared on CD before) with enhanced sound and liner notes. Emusica began sending the reissued albums to radio hosts known for their continued support of salsa music.
Independent radio host, Latin Lady DJ Margarita, who already had been receiving the reissued / remastered albums, contacted El Caobo and other radio hosts, and put them in touch with Emusica. As a result, in 2007, Emusica began sending reissued / remastered albums to El Caobo as well.
In 2009, Fania's assets were bought from Emusica by an investment firm called Signal Equity Partners, operating under the name Codigo Group. One of the owners of Codigo Group, who previously had been an employee of Emusic and knew very well of El Caobo's previous work with the Fania catalog, contacted him and initiated a conversation that would ultimately lead to El Caobo becoming Fania Records' only official SALSA DJ! In a post on Fania Records' official website, El Caobo was referred to as "one of the best salsa djs in the world," an accolade that would challenge El Caobo to study very diligently the history / evolution of Salsa music, so that he could share it with the listeners of his radio show; which now has been on the air for well over a decade.
Indeed, having the entire Fania catalog at his disposal, along with his connections to multiple contemporary record labels, both commercial and independent, puts El Caobo at the pinnacle of this trade. Always keeping up with musical trends, he also is able to shine with bachata, kizomba, merengue, cumbia and reggaetón, to list just the tip of the iceberg.
Click the red button below to hear one of El Caobo's salsa mixes on Fania Records' official soundcloud page.
Brief History & Connection to El Caobo
Fania Records was a New York based record label founded by Dominican-born composer and bandleader Johnny Pacheco and Italian-American lawyer Jerry Masucci in 1964. The label took its name from an old Cuban song by the singer Reinaldo Bolaño. Fania is known for its promotion of what has become known as Salsa music.
The label started out as a small venture, but gained popularity after the success of its first official record, Pacheco's "Cañonazo", leading to the expansion of its talent base. Among Fania's signature stars are: Willie Colon , Celia Cruz, Larry Harlow, Ray Barretto, Ralfi Pagan, Luis "Perico" Ortiz, Bobby Valentín, Rubén Blades, Héctor Lavoe, Cheo Feliciano and many others.
The second album released under the Fania imprint was Larry Harlow's 1965 Heavy Smoking. The record's modern take on traditional Afro-Caribbean music served as the template for what soon would come to be known as the Fania Sound.
In 1968, Pacheco created a super-group known as the Fania All-Stars that brought together the elite of Salsa musicians and singers for joint performances and recording. The Fania All-Stars were Fania's best selling band, outlasting the label itself. They made their debut at the Red Garter club located in New York's Greenwich Village, but it was their 1971 performance at the Cheetah, a club in Midtown Manhattan, which became legendary. Larry Harlow was chosen by Jerry Masucci to produce the band's records while Pacheco acted as director on stage. The Fania All-Stars were filmed for the documentary "Our Latin Thing" released a year later. Leon Gast, the Academy Award winning director of When We Were Kings filmed the Fania All-Stars for the documentary "Our Latin Thing" released in 1972.
Masucci would eventually become sole owner of Fania Records and the numerous other labels and umbrella labels in South America that he acquired and created.
In September 2005, Fania's assets were sold to Miami-based label Emusica, and by early 2006, the new owners began to reissue material from Fania's backlog catalog (some of which has never appeared on CD before) with enhanced sound and liner notes. Emusica began sending the reissued albums to radio hosts known for their continued support of salsa music.
Independent radio host, Latin Lady DJ Margarita, who already had been receiving the reissued / remastered albums, contacted El Caobo and other radio hosts, and put them in touch with Emusica. As a result, in 2007, Emusica began sending reissued / remastered albums to El Caobo as well.
In 2009, Fania's assets were bought from Emusica by an investment firm called Signal Equity Partners, operating under the name Codigo Group. One of the owners of Codigo Group, who previously had been an employee of Emusic and knew very well of El Caobo's previous work with the Fania catalog, contacted him and initiated a conversation that would ultimately lead to El Caobo becoming Fania Records' only official SALSA DJ! In a post on Fania Records' official website, El Caobo was referred to as "one of the best salsa djs in the world," an accolade that would challenge El Caobo to study very diligently the history / evolution of Salsa music, so that he could share it with the listeners of his radio show; which now has been on the air for well over a decade.
Indeed, having the entire Fania catalog at his disposal, along with his connections to multiple contemporary record labels, both commercial and independent, puts El Caobo at the pinnacle of this trade. Always keeping up with musical trends, he also is able to shine with bachata, kizomba, merengue, cumbia and reggaetón, to list just the tip of the iceberg.
Click the red button below to hear one of El Caobo's salsa mixes on Fania Records' official soundcloud page.
EL NIÑO Y LA VERDAD
Llegó La Verdad
He’s only 26, but Emilio Frías – better known to Cuban music fans as “El Niño” – is on top of the world. In just seven years he went from anonymity to being the internationally recognized director and lead singer of his own orchestra Emilio Frías “El Niño” y La Verdad. In September 2014 band released their first album to popular acclaim, three months later Emilio became a father for the second time, and he and La Verdad are currently finishing up their first European tour. To top it off his girlfriend is Arlenys Rodríguez – one of Cuba’s best young female vocalists – known to timba fans for her time with NG La Banda but to the younger crowd for her Latin soul hits. Emilio and Arlenys are Havana’s new power music couple. So how did “El Niño” go so far so fast?
His story goes something like this: at age 19 Pascualito Cabreras – director of Tumbao Habana – saw him singing rumba and recognized his vocal talent. Emilio was with Tumbao Habana for about two years and recorded lead vocals on three songs on the 2009 album “Mambo Duro”, most notably the mega-hit “El Padrino”, which was one of Emilio´s own compositions.
That same year he was invited to join Elito Revé y Su Charangón. Emilio was only 21 years old at the time, and Elito gave him the nickname “El Niño”. It stuck. Emilio spent three-and-a-half years with Orquesta Revé during which time he recorded four songs on “De Que Estamos Hablando” including the international mega-hit “Agua pa’ Yemayá”, which he authored along with "El nombrecito", "Jala, Jala" and "El negocio personal", which were recorded by Orquesta Revé after his departure.
In 2012 Emilio teamed-up with Revé pianist Wilfredo Naranjo “Pachy Jr.” to record some solo songs that would allow them to experiment with their own sound and satisfy their own musical interests, not intending to leave their “day job” with La Revé. However, the response among Cuban music fans was overwhelming, and in March 2013, Emilio and Pachy decided to start their own project giving it the title “El Niño y La Verdad”, counting on the name recognition that Emilio had built up during his time with La Revé.
There is no question that Emilio hit a chord with Cuban music fans. Despite his youth, his influences are the great singers of the 40s and 50s and modern greats such as Cándido Fabre. His style is son with rumba, coupled with a charismatic stage presence and a talent for improvisation that make concerts by El Niño y La Verdad popular with native Habaneros and tourists alike. The arrangements by Pachy and guitarist Dayron Ortega are so contagious that dancers find themselves singing all the way home and into the next day. No really, I’m serious.
El Niño y La Verdad has gone from success to success. From their very first concert in Havana, their shows have been packed. They keep the audience on its feet from start to finish. This is something almost unheard of for a new band in Havana’s highly competitive dance music scene where dancers are jaded and often sit sullenly through the first half of a show as if to demonstrate that they are not easily impressed. When La Verdad launched their first album – “Llegó La Verdad” – it proved their ability to deliver hit after hit and solidified their position as one of the top young bands in Havana. The success of the current European tour has confirmed that they are as popular internationally as at home.
La Verdad keeps their repertoire fresh by constantly adding new songs such as “Llévame papá” – a number about a girl trying to convince her father to take her to see a concert by El Niño y La Verdad. They are also promoting the most recent single from the album – “Loco pero te amo”. If you live (or vacation) in Europe you can get another chance to see them live during the summer festival season. If you visit Havana don’t miss them at their standing gig 5pm Fridays at Casa de la Música Miramar. If you can’t see them in concert – and even if you can – I highly recommend “Llegó La Verdad”, which is available in digital format on-line. Stay tuned for the album review.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited without the expressed written authorization of the appropriate contributor.
Submitted by,
Michelle White
February, 2015
CLICK TO RETURN TO TABLE OF CONTENT
Llegó La Verdad
He’s only 26, but Emilio Frías – better known to Cuban music fans as “El Niño” – is on top of the world. In just seven years he went from anonymity to being the internationally recognized director and lead singer of his own orchestra Emilio Frías “El Niño” y La Verdad. In September 2014 band released their first album to popular acclaim, three months later Emilio became a father for the second time, and he and La Verdad are currently finishing up their first European tour. To top it off his girlfriend is Arlenys Rodríguez – one of Cuba’s best young female vocalists – known to timba fans for her time with NG La Banda but to the younger crowd for her Latin soul hits. Emilio and Arlenys are Havana’s new power music couple. So how did “El Niño” go so far so fast?
His story goes something like this: at age 19 Pascualito Cabreras – director of Tumbao Habana – saw him singing rumba and recognized his vocal talent. Emilio was with Tumbao Habana for about two years and recorded lead vocals on three songs on the 2009 album “Mambo Duro”, most notably the mega-hit “El Padrino”, which was one of Emilio´s own compositions.
That same year he was invited to join Elito Revé y Su Charangón. Emilio was only 21 years old at the time, and Elito gave him the nickname “El Niño”. It stuck. Emilio spent three-and-a-half years with Orquesta Revé during which time he recorded four songs on “De Que Estamos Hablando” including the international mega-hit “Agua pa’ Yemayá”, which he authored along with "El nombrecito", "Jala, Jala" and "El negocio personal", which were recorded by Orquesta Revé after his departure.
In 2012 Emilio teamed-up with Revé pianist Wilfredo Naranjo “Pachy Jr.” to record some solo songs that would allow them to experiment with their own sound and satisfy their own musical interests, not intending to leave their “day job” with La Revé. However, the response among Cuban music fans was overwhelming, and in March 2013, Emilio and Pachy decided to start their own project giving it the title “El Niño y La Verdad”, counting on the name recognition that Emilio had built up during his time with La Revé.
There is no question that Emilio hit a chord with Cuban music fans. Despite his youth, his influences are the great singers of the 40s and 50s and modern greats such as Cándido Fabre. His style is son with rumba, coupled with a charismatic stage presence and a talent for improvisation that make concerts by El Niño y La Verdad popular with native Habaneros and tourists alike. The arrangements by Pachy and guitarist Dayron Ortega are so contagious that dancers find themselves singing all the way home and into the next day. No really, I’m serious.
El Niño y La Verdad has gone from success to success. From their very first concert in Havana, their shows have been packed. They keep the audience on its feet from start to finish. This is something almost unheard of for a new band in Havana’s highly competitive dance music scene where dancers are jaded and often sit sullenly through the first half of a show as if to demonstrate that they are not easily impressed. When La Verdad launched their first album – “Llegó La Verdad” – it proved their ability to deliver hit after hit and solidified their position as one of the top young bands in Havana. The success of the current European tour has confirmed that they are as popular internationally as at home.
La Verdad keeps their repertoire fresh by constantly adding new songs such as “Llévame papá” – a number about a girl trying to convince her father to take her to see a concert by El Niño y La Verdad. They are also promoting the most recent single from the album – “Loco pero te amo”. If you live (or vacation) in Europe you can get another chance to see them live during the summer festival season. If you visit Havana don’t miss them at their standing gig 5pm Fridays at Casa de la Música Miramar. If you can’t see them in concert – and even if you can – I highly recommend “Llegó La Verdad”, which is available in digital format on-line. Stay tuned for the album review.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited without the expressed written authorization of the appropriate contributor.
Submitted by,
Michelle White
February, 2015
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LUCKY 7 MAMBO
Chapter Two
I often have explained that the type of salsa that I enjoy most is that which conserves the classic sound. When pressed further, I explain that it must be percussive; that is, that it must have a rhythm section that is "in the pocket" as described during recent interviews on my radio show by veterans John 'Dandy' Rodríguez, José Madera and José Mangual Jr. Along with my good friend and salsa guru, Ana Flores, all four of these veterans expressed that the rhythm section (all the percussion instruments; including the piano) has to be 'tight,' 'swinging,' and 'locked.' Another critical element of the classic sound is the sonero; who must deliver the improvisational vocal phrasing with feeling and saoco (swing); while riding the son. Let us not forget the chorus, whose members also must straddle the son as they engage the sonero in the 'call and response' of the guaguancó. Layer these elements properly, and there you have it: the classic sound referred to by many as salsa de la mata (grassroots salsa)!
Now, enter the California based group, Lucky 7 Mambo, led by percussionist, Ángelo Rodríguez! After listening to selections from their sophomore album, Chapter Two, in a single word, my impression was simply "Wow!'
The first song from the album that grabbed my attention was "Éste es el guaguancó." Within just five seconds of hearing this song, I was smitten! It begins with the jazzy and attention demanding vibraphonic work of Craig Fundyga; whose skillful play persists throughout the song, accompanied by a rhythm section that, as described above, is "in the pocket," and swinging. Then, there is the sonero, George Luis Balmeseda, sweetening the sound with soneos reminiscent of the vocalizations of the late, great, Cheo Feliciano (RIP). Also, the call and response between the lead singer and the chorus serves up the tradition of the guanguancó precisely as it should be! It only took one listen, and I knew that this tune was a hit and the real deal!
The second song that captivated me from this album was "Bang Bang (Que suene ese pito)," a title obviously coined as a tribute to the great and dearly departed, Joe Cuba, and two of his previous lead singers, who also are no longer with us, Jimmy Sabater and Cheo Feliciano. What an amazing and original tribute to these great artists! Throughout the song Balmeseda and the chorus chime the names of these three great artists and, in the soneos, there are many phrasings that reference these men, their songs, and some of their tag lines. For example, in this song can be heard phrases such as "Bang Bang," "El Pito (I'll Never Come Back to Georgia)", "Sentimiento tú". "Bazábazu". "Mo," and "Salchicha con huevos." All terms that evoke the amazing work of three great and important men from the heydey of salsa! This is clearly another hit out of the gate!
I could go on and on describing the hits on this album, but for the sake of brevity, I will just give you the names of the other blockbuster tunes, from the dancer's perspective, that are on this album: "La morenita," "Joyce," "Clásico son," "La diciplina," Pa'l bailador" and "Papa a la Huanca." Each will keep your head bobbing, your body swaying and your feet moving! By the way, cha-cha-chá dancers will love "Clásico son!"
If you have been keeping track, you will realize that I have mentioned an amazing EIGHT tracks from this album that are undoubtedly big hits for the dancers! Truly amazing considering that nowadays, some albums don't even have that many total tracks! This album has 10 tracks!
It is with the utmost sincerity that I recommend this album. Its rhythms section is "in the pocket" and swings (has saoco), it is jazzy, the lead vocalizations and the chorus are "on point," all layered just right! It is simply an amazing production!
Job well done!
Musicians include:
- Ángelo Rodríquez (leader, congas, bongós, timbales, güiro, maracas, rumba cajón)
- George Luis Balmeseda (lead vocals)
- Joseph Rotondi (piano)
- Rene Camacho (bass, chorus)
- Craig Fundyga (vibraphone)
- Kevin Ricard (bongo, maraca, güiro and festejo percussion)
- Joey De Leon (timbales, bata drums, chorus)
Guest Musicians:
- Poncho Sánchez (congas)
- Artie Webb (flute)
CLICK HERE TO PURCHASE THE ALBUM!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
January 2015
CLICK TO RETURN TO TABLE OF CONTENT
Chapter Two
I often have explained that the type of salsa that I enjoy most is that which conserves the classic sound. When pressed further, I explain that it must be percussive; that is, that it must have a rhythm section that is "in the pocket" as described during recent interviews on my radio show by veterans John 'Dandy' Rodríguez, José Madera and José Mangual Jr. Along with my good friend and salsa guru, Ana Flores, all four of these veterans expressed that the rhythm section (all the percussion instruments; including the piano) has to be 'tight,' 'swinging,' and 'locked.' Another critical element of the classic sound is the sonero; who must deliver the improvisational vocal phrasing with feeling and saoco (swing); while riding the son. Let us not forget the chorus, whose members also must straddle the son as they engage the sonero in the 'call and response' of the guaguancó. Layer these elements properly, and there you have it: the classic sound referred to by many as salsa de la mata (grassroots salsa)!
Now, enter the California based group, Lucky 7 Mambo, led by percussionist, Ángelo Rodríguez! After listening to selections from their sophomore album, Chapter Two, in a single word, my impression was simply "Wow!'
The first song from the album that grabbed my attention was "Éste es el guaguancó." Within just five seconds of hearing this song, I was smitten! It begins with the jazzy and attention demanding vibraphonic work of Craig Fundyga; whose skillful play persists throughout the song, accompanied by a rhythm section that, as described above, is "in the pocket," and swinging. Then, there is the sonero, George Luis Balmeseda, sweetening the sound with soneos reminiscent of the vocalizations of the late, great, Cheo Feliciano (RIP). Also, the call and response between the lead singer and the chorus serves up the tradition of the guanguancó precisely as it should be! It only took one listen, and I knew that this tune was a hit and the real deal!
The second song that captivated me from this album was "Bang Bang (Que suene ese pito)," a title obviously coined as a tribute to the great and dearly departed, Joe Cuba, and two of his previous lead singers, who also are no longer with us, Jimmy Sabater and Cheo Feliciano. What an amazing and original tribute to these great artists! Throughout the song Balmeseda and the chorus chime the names of these three great artists and, in the soneos, there are many phrasings that reference these men, their songs, and some of their tag lines. For example, in this song can be heard phrases such as "Bang Bang," "El Pito (I'll Never Come Back to Georgia)", "Sentimiento tú". "Bazábazu". "Mo," and "Salchicha con huevos." All terms that evoke the amazing work of three great and important men from the heydey of salsa! This is clearly another hit out of the gate!
I could go on and on describing the hits on this album, but for the sake of brevity, I will just give you the names of the other blockbuster tunes, from the dancer's perspective, that are on this album: "La morenita," "Joyce," "Clásico son," "La diciplina," Pa'l bailador" and "Papa a la Huanca." Each will keep your head bobbing, your body swaying and your feet moving! By the way, cha-cha-chá dancers will love "Clásico son!"
If you have been keeping track, you will realize that I have mentioned an amazing EIGHT tracks from this album that are undoubtedly big hits for the dancers! Truly amazing considering that nowadays, some albums don't even have that many total tracks! This album has 10 tracks!
It is with the utmost sincerity that I recommend this album. Its rhythms section is "in the pocket" and swings (has saoco), it is jazzy, the lead vocalizations and the chorus are "on point," all layered just right! It is simply an amazing production!
Job well done!
Musicians include:
- Ángelo Rodríquez (leader, congas, bongós, timbales, güiro, maracas, rumba cajón)
- George Luis Balmeseda (lead vocals)
- Joseph Rotondi (piano)
- Rene Camacho (bass, chorus)
- Craig Fundyga (vibraphone)
- Kevin Ricard (bongo, maraca, güiro and festejo percussion)
- Joey De Leon (timbales, bata drums, chorus)
Guest Musicians:
- Poncho Sánchez (congas)
- Artie Webb (flute)
CLICK HERE TO PURCHASE THE ALBUM!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
January 2015
CLICK TO RETURN TO TABLE OF CONTENT
DON PERIGNON Y LA PUERTORRIQUEÑA
Música Maestro
Don Perignon y la Puertorriqueña, strike once again...y duro!! On his latest production, his number 9, "Música Maestro" has lots of swing. All the tracks are completely danceable.
Songs like "Baila Bailador" and "Guarachando" will keep your feet and body moving. With the traditional sound of La Puertorriqueña and the great voices of Rico Walker, Josué Rosado and Joe González, this album will not disappoint the Cocolos(as).
Compositions by Rico Walker and the legendary Adalberto Alvarez,
arrangements by Pablo "Chino" Nuñez and Julito Alvarado, just to name a few.
Highly recommended
Note: Cocolo means a die-hard salsero in Puerto Rico
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by:
Ivette Fuentes "DJ La Coquí"
Sabor Boricua Radio
January 2015
www.saborboricuaradio.com
www.ivettefuentesphotography.com
http://www.live365.com/stations/djlacoqui
With Great Determination to Keep Salsa Alive !!!
CLICK TO RETURN TO TABLE OF CONTENT
Música Maestro
Don Perignon y la Puertorriqueña, strike once again...y duro!! On his latest production, his number 9, "Música Maestro" has lots of swing. All the tracks are completely danceable.
Songs like "Baila Bailador" and "Guarachando" will keep your feet and body moving. With the traditional sound of La Puertorriqueña and the great voices of Rico Walker, Josué Rosado and Joe González, this album will not disappoint the Cocolos(as).
Compositions by Rico Walker and the legendary Adalberto Alvarez,
arrangements by Pablo "Chino" Nuñez and Julito Alvarado, just to name a few.
Highly recommended
Note: Cocolo means a die-hard salsero in Puerto Rico
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by:
Ivette Fuentes "DJ La Coquí"
Sabor Boricua Radio
January 2015
www.saborboricuaradio.com
www.ivettefuentesphotography.com
http://www.live365.com/stations/djlacoqui
With Great Determination to Keep Salsa Alive !!!
CLICK TO RETURN TO TABLE OF CONTENT
NABORÍ SALSA ORCHESTA: De Nuevo En El Solar
NABORÍ SALSA ORCHESTRA
De Nuevo En El Solar
Naborí Salsa Orchestra will surely go down in history as one of the finest groups to have produced original salsa music! At this point, you are probably thinking that this is such a strong statement that it must be somewhat of an exaggeration, but I assure you that I do not make such statements lightly. I have witnessed Naborí's evolution since the release of their first production "Historias Del Barrio" in 2008. I have seen and heard their live performances; such as their performances at the Chicago International Salsa Congress and the St. Louis International Salsa Congress, and I can attest that this band, under the direction and leadership of percussionist, Wichy Ayala and vocalist, Roberto Figueroa, has found the at times elusive "swing" that all bands seek to achieve.
Upon forming the band, Wichy and Roberto established its mission as that of creating and performing original salsa music in the tradition of the salsa explosion of the seventies. To this end, they have been very successful. Indeed, the band has produced an impressive string of original music that adheres to the very traditions that they spoke of; such as the basic son montuno model of theh verse section, followed by a call-and-response chorus section known as the montuno, the fundamental rhythmic pattern, the concept in salsa music known as la clave, and story-telling delivered by a seasoned sonero; who has the ability to improvise between repeating montunos. In all of these traditional aspects of salsa music, Naborí has excelled!
Naborí's latest production, "De Nuevo En El Solar," includes eight original recordings and illustrates, as stated in their website, "a higher level of musical sophistication;" which I will simply refer to as "swing." Perhaps the song that best demonstrates this swing is the tune "Mi Chele Cumbae." Whether you are a dancer, or casual listener of salsa music, you will literally swing along with the instrumentation and vocalizations of these talented musicians during this song! I assure you that this swing is found in all eight of these recordings, of various tempos. With the utmost sincerity, I can tell you that Naborí's cd, "De Nuevo En El Solar," is one that must be added to your collection.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
CLICK HERE TO PURCHASE CD
Sincerely and respectfully submitted,
El Caobo
September 2014
CLICK TO RETURN TO TABLE OF CONTENT
De Nuevo En El Solar
Naborí Salsa Orchestra will surely go down in history as one of the finest groups to have produced original salsa music! At this point, you are probably thinking that this is such a strong statement that it must be somewhat of an exaggeration, but I assure you that I do not make such statements lightly. I have witnessed Naborí's evolution since the release of their first production "Historias Del Barrio" in 2008. I have seen and heard their live performances; such as their performances at the Chicago International Salsa Congress and the St. Louis International Salsa Congress, and I can attest that this band, under the direction and leadership of percussionist, Wichy Ayala and vocalist, Roberto Figueroa, has found the at times elusive "swing" that all bands seek to achieve.
Upon forming the band, Wichy and Roberto established its mission as that of creating and performing original salsa music in the tradition of the salsa explosion of the seventies. To this end, they have been very successful. Indeed, the band has produced an impressive string of original music that adheres to the very traditions that they spoke of; such as the basic son montuno model of theh verse section, followed by a call-and-response chorus section known as the montuno, the fundamental rhythmic pattern, the concept in salsa music known as la clave, and story-telling delivered by a seasoned sonero; who has the ability to improvise between repeating montunos. In all of these traditional aspects of salsa music, Naborí has excelled!
Naborí's latest production, "De Nuevo En El Solar," includes eight original recordings and illustrates, as stated in their website, "a higher level of musical sophistication;" which I will simply refer to as "swing." Perhaps the song that best demonstrates this swing is the tune "Mi Chele Cumbae." Whether you are a dancer, or casual listener of salsa music, you will literally swing along with the instrumentation and vocalizations of these talented musicians during this song! I assure you that this swing is found in all eight of these recordings, of various tempos. With the utmost sincerity, I can tell you that Naborí's cd, "De Nuevo En El Solar," is one that must be added to your collection.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
CLICK HERE TO PURCHASE CD
Sincerely and respectfully submitted,
El Caobo
September 2014
CLICK TO RETURN TO TABLE OF CONTENT
MEÑIQUE: Sonero Añejo - Salsa y Bembé
MEÑIQUE
Sonero Añejo - Salsa y Bembé
Whenever we mention musicians like Miguel Angel "Kako" Bastar, Arsenio Rodríguez, Tito Puente, Charlie Palmieri or Willie Rosario, inveterate salseros know fully well that we are referring to the great luminaries of salsa / mambo. We all are equally familiar with the contributions of the artistic works of these outstanding personalities and should also recognize that many other artists and singers of the maximum expression of el barrio latino also have made equally valuable contributions. Such is the case of our great singer and composer and small giante of salsa, Miguel Barcasnegras, more commonly known as "Meñique;" who was the lead singer for all the great luminaries mentioned above.
However, Meñique's diverse story does not end there. The great Meñique has sung in the chorus for far many orther artists: El Sexteto de Joe Cuba, Tito Rodríguez, Celia Cruz, La Lupe, Soraida, La Protesta de Tony Pabón, Tito Allen and Ray Barretto! During these choral performances, Meñique sang along side other singers of great stature; such as Héctor Lavoe, Vitín Avilés, Adalberto Santiago, Justo Betancourt, Santos Colón and Yayo "El Indio!"
Now, for all lovers of the classic salsa sound, El Gran "Meñique" has provided us with the album "Meñique" Sonero Añejo - Salsa y Bembé." This super production is already on the market and and boasts of seven previously unreleased songs, plus the title song of his 2004 swinging album titled, "Sonero Añejo." All songs were composed by Meñique! With this production, Meñique continues to delight us with his marvelous voice!
On "Salsa y Bembé," Meñique shows us his sentimental side with what has turned out to be my favorite song of the album "Mi muñequita de carne y hueso," a smooth, mid-tempo tune that he wrote for and dedicates to his wife, Eppie. Other tunes that the dancers will sure to love, based on their smooth and dance-friendly tempos, are "¿Por qué llorar?," "Tortura de amor" and "Homenaje a un Quijote." For those who love uptempo songs, "Salsa y bembé" and "Sonero añejo" are sure to boil your blood!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
INQUIRE ABOUT THE CD HERE
Respectfully submitted,
El Caobo
April 2009
CLICK TO RETURN TO TABLE OF CONTENT
Sonero Añejo - Salsa y Bembé
Whenever we mention musicians like Miguel Angel "Kako" Bastar, Arsenio Rodríguez, Tito Puente, Charlie Palmieri or Willie Rosario, inveterate salseros know fully well that we are referring to the great luminaries of salsa / mambo. We all are equally familiar with the contributions of the artistic works of these outstanding personalities and should also recognize that many other artists and singers of the maximum expression of el barrio latino also have made equally valuable contributions. Such is the case of our great singer and composer and small giante of salsa, Miguel Barcasnegras, more commonly known as "Meñique;" who was the lead singer for all the great luminaries mentioned above.
However, Meñique's diverse story does not end there. The great Meñique has sung in the chorus for far many orther artists: El Sexteto de Joe Cuba, Tito Rodríguez, Celia Cruz, La Lupe, Soraida, La Protesta de Tony Pabón, Tito Allen and Ray Barretto! During these choral performances, Meñique sang along side other singers of great stature; such as Héctor Lavoe, Vitín Avilés, Adalberto Santiago, Justo Betancourt, Santos Colón and Yayo "El Indio!"
Now, for all lovers of the classic salsa sound, El Gran "Meñique" has provided us with the album "Meñique" Sonero Añejo - Salsa y Bembé." This super production is already on the market and and boasts of seven previously unreleased songs, plus the title song of his 2004 swinging album titled, "Sonero Añejo." All songs were composed by Meñique! With this production, Meñique continues to delight us with his marvelous voice!
On "Salsa y Bembé," Meñique shows us his sentimental side with what has turned out to be my favorite song of the album "Mi muñequita de carne y hueso," a smooth, mid-tempo tune that he wrote for and dedicates to his wife, Eppie. Other tunes that the dancers will sure to love, based on their smooth and dance-friendly tempos, are "¿Por qué llorar?," "Tortura de amor" and "Homenaje a un Quijote." For those who love uptempo songs, "Salsa y bembé" and "Sonero añejo" are sure to boil your blood!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
INQUIRE ABOUT THE CD HERE
Respectfully submitted,
El Caobo
April 2009
CLICK TO RETURN TO TABLE OF CONTENT
DISC JOCKEYS
Pleasing Most of the People, Most of the Time
Just recently, I read the following post at a very popular forum for salsa lovers:
"My personal belief is that the issue of music selection isn't driven by the dancers, but actually starts with the DJs, some (or perhaps many) of whom don't really care about catering to the masses. Some DJs just like showing off their ability to find obscure music without enough regard for the majority of dancers."
Upon reading this, my response was that it is hard for me to grasp "why" a dj would not "cater to the masses." However, I also mentioned that a dj simply cannot possibly make everyone happy. Even when a dance floor is full and has been full and swinging all night, inevitably someone will come to the booth and make a request that is vastly different than the particular flow that a dj has going at any given time. The request most likely is for a song that the person has been listening to at home or in their car and the person therefore knows the lyrics! When this occurs, and it occurs a lot, it is not the dj who is playing for his or herself, it is the dancer who wants the dj to play for him or her and not necessarily for the majority.
If the dj doesn't spin a request immediately, some customers immediately think less of the dj. Yes, I firmly believe that a dj should try to accommodate requests, but only when he or she feels the time is right. Changing a flow that is working to fulfill a request is not recommendable. In other words, "letting the tail wag the dog," is not what a dj should be doing! This is actually a mistake that beginning djs make.
It is the dj's job to decide when/if to play certain songs or types of songs. So, if a dj doesn't play your song when you want to hear it, dancers should not be quick to criticize; especially if the floor is full and most people are clearly enjoying the music; which ironically is usually the case when someone is making a request.
Personally, in the clubs, I will play some of everything at some point, but at the same time I maintain my hallmark as a classic salsa/mambo dj. If most of the crowd is "feeling me" and dancing, then I spin other types less frequently. If I see that most of the crowd is not feeling the classic salsa, then I spin more of the other types.
More importantly, djs should vary the tempo: they should not spin several very slow tempo songs in a row, nor very fast tempo songs in a row. Most of what a dj should play should be mid-tempo, speeding it up and slowing it down periodically.
Just as everyone else, djs are influenced by their own taste, but the better ones will try very hard to offer some variety to those whose taste differs. It is not easy! Imagine that everyone reading this message were a dj. How would everyone spin? No doubt, there would be differences, some small and some big. Finding the "happy medium" and playing most of it, yet intentionally diverting from it from time to time for those on the fringes, is the dj's challenge.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
April 2009
CLICK TO RETURN TO TABLE OF CONTENT
Pleasing Most of the People, Most of the Time
Just recently, I read the following post at a very popular forum for salsa lovers:
"My personal belief is that the issue of music selection isn't driven by the dancers, but actually starts with the DJs, some (or perhaps many) of whom don't really care about catering to the masses. Some DJs just like showing off their ability to find obscure music without enough regard for the majority of dancers."
Upon reading this, my response was that it is hard for me to grasp "why" a dj would not "cater to the masses." However, I also mentioned that a dj simply cannot possibly make everyone happy. Even when a dance floor is full and has been full and swinging all night, inevitably someone will come to the booth and make a request that is vastly different than the particular flow that a dj has going at any given time. The request most likely is for a song that the person has been listening to at home or in their car and the person therefore knows the lyrics! When this occurs, and it occurs a lot, it is not the dj who is playing for his or herself, it is the dancer who wants the dj to play for him or her and not necessarily for the majority.
If the dj doesn't spin a request immediately, some customers immediately think less of the dj. Yes, I firmly believe that a dj should try to accommodate requests, but only when he or she feels the time is right. Changing a flow that is working to fulfill a request is not recommendable. In other words, "letting the tail wag the dog," is not what a dj should be doing! This is actually a mistake that beginning djs make.
It is the dj's job to decide when/if to play certain songs or types of songs. So, if a dj doesn't play your song when you want to hear it, dancers should not be quick to criticize; especially if the floor is full and most people are clearly enjoying the music; which ironically is usually the case when someone is making a request.
Personally, in the clubs, I will play some of everything at some point, but at the same time I maintain my hallmark as a classic salsa/mambo dj. If most of the crowd is "feeling me" and dancing, then I spin other types less frequently. If I see that most of the crowd is not feeling the classic salsa, then I spin more of the other types.
More importantly, djs should vary the tempo: they should not spin several very slow tempo songs in a row, nor very fast tempo songs in a row. Most of what a dj should play should be mid-tempo, speeding it up and slowing it down periodically.
Just as everyone else, djs are influenced by their own taste, but the better ones will try very hard to offer some variety to those whose taste differs. It is not easy! Imagine that everyone reading this message were a dj. How would everyone spin? No doubt, there would be differences, some small and some big. Finding the "happy medium" and playing most of it, yet intentionally diverting from it from time to time for those on the fringes, is the dj's challenge.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
April 2009
CLICK TO RETURN TO TABLE OF CONTENT
AM I A SALSERO?
What does this word imply?
Recently, I read the following question at a very popular forum for salsa lovers:
"Would you personally call yourself a 'Salsero' (or 'Salsera')? What does it take to be "entitled" to call yourself a salsero? Myself, I wouldn't dream of it and I have mixed emotions towards the term, to me it sounds a bit creepy, like a guy who's dancing as some routine to pick up women. Like some dancing gigolo. But sure, if you're at least a semi professional I guess the term might be okay. Or would you say it's enough to be a fairly good dancer with a few years experience? Any thoughts?"
Well, it seemed to me that there was a misunderstanding as to what the word actually means. So, I ventured to give an explanation; as follows:
The words salsero or salsera (and of course mambero or mambera) do not imply any special knowledge or ability.... whatsoever!
From the standpoint of language, the words salsero and salsera simply are the adjective form of the noun salsa; and as such, are used to describe nouns. For example, la industria salsera would be the "salsa industry." Another example would be that the term comunidad salsera would translate into the "salsa community."
As it relates to persons, it simply indicates that the person enjoys salsa, either as a casual listener, a dancer, a musician, or in any other way.
For example, if someone asked you, in Spanish, what type of music you like to dance to (¿A qué tipo de música te gusta bailar?), you could simply answer: ¡Soy salsero! or ¡Soy salsera!
If someone were to ask a musician what type of music he or she plays (¿Qué tipo de música tocas?), the answer also could be: ¡Soy salsero! or ¡Soy salsera!
Finally, if someone were to ask a you what type of music you prefer (¿Qué tipo de música prefieres?), yes, the answer also could be: ¡Soy salsero! or ¡Soy salsera!
Of course, we can all assign subjective meanings to the word. For example, some On2 dancers prefer to call themselves mamberos and call On1 dancers salseros. However, this is really just a matter of semantics.
So to be completely clear, I'll assert once more that there is simply nothing wrong or pompous with calling oneself a salsero or salsera. It only means that you somehow enjoy salsa and this does not imply that you are better at some aspect of it, or know more about some aspect of it, than anyone else.
So, to all the salseros reading this message, I close by saying ¡que viva la salsa!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
April 2009
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What does this word imply?
Recently, I read the following question at a very popular forum for salsa lovers:
"Would you personally call yourself a 'Salsero' (or 'Salsera')? What does it take to be "entitled" to call yourself a salsero? Myself, I wouldn't dream of it and I have mixed emotions towards the term, to me it sounds a bit creepy, like a guy who's dancing as some routine to pick up women. Like some dancing gigolo. But sure, if you're at least a semi professional I guess the term might be okay. Or would you say it's enough to be a fairly good dancer with a few years experience? Any thoughts?"
Well, it seemed to me that there was a misunderstanding as to what the word actually means. So, I ventured to give an explanation; as follows:
The words salsero or salsera (and of course mambero or mambera) do not imply any special knowledge or ability.... whatsoever!
From the standpoint of language, the words salsero and salsera simply are the adjective form of the noun salsa; and as such, are used to describe nouns. For example, la industria salsera would be the "salsa industry." Another example would be that the term comunidad salsera would translate into the "salsa community."
As it relates to persons, it simply indicates that the person enjoys salsa, either as a casual listener, a dancer, a musician, or in any other way.
For example, if someone asked you, in Spanish, what type of music you like to dance to (¿A qué tipo de música te gusta bailar?), you could simply answer: ¡Soy salsero! or ¡Soy salsera!
If someone were to ask a musician what type of music he or she plays (¿Qué tipo de música tocas?), the answer also could be: ¡Soy salsero! or ¡Soy salsera!
Finally, if someone were to ask a you what type of music you prefer (¿Qué tipo de música prefieres?), yes, the answer also could be: ¡Soy salsero! or ¡Soy salsera!
Of course, we can all assign subjective meanings to the word. For example, some On2 dancers prefer to call themselves mamberos and call On1 dancers salseros. However, this is really just a matter of semantics.
So to be completely clear, I'll assert once more that there is simply nothing wrong or pompous with calling oneself a salsero or salsera. It only means that you somehow enjoy salsa and this does not imply that you are better at some aspect of it, or know more about some aspect of it, than anyone else.
So, to all the salseros reading this message, I close by saying ¡que viva la salsa!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
April 2009
CLICK TO RETURN TO TABLE OF CONTENT
EDDIE PALMIERI: Superimposition
Eddie Palmieri
Superimposition
This is Eddie Palmieri in the 70's stretching the envelope as only he can do it. There are only 6 tracks on this cd and it marks a change from the regular 8 to 12 track albums and also the length of the songs are extended. Included in this cd are the hits La Malanga, a fast tempo dance tune; Pa' Huele, an Arsenio Rodriguez composition that for me is one of the best cha cha chas ever recorded; Bilongo, a Cuban hit already but at the hands of Palmieri it became the measuring stick of all salsa bands then and now; Que Lindo Eso Eh, which is one of Eddie's musical journeys which gives us a hint of the future hit Adoracion; Chocolate Ice Cream which is a collaboration between Palmieri and Cuban trumpeter Alfredo "Chocolate" Armenteros; and the explosive 17.1 a serious descarga that showcases the entire band with jazz rhythms, afro Cuban drumming and the entire Caribbean flavor all in one song. The title refers to the average age of his rhythm section.
Musicians
Eddie Palmieri - piano
Jose Rodriguez - trombone
Lewis C. Kahn - trombone
Alfredo "Chocolate" Armenteros - trumpet
Nicky Marrero - timbales
Eladio Perez - congas
Tommy "Choki" Lopez - bongo
Israel "Izzy" Feliu - bass
Andy Gonzalez - bass
Roberto Ranquiz - bell
Rudy Calzado - minor percussion
Ismael Quintana - lead singer
Arturo Campa, Justo Betancourt, Elliot Romero - chorus
Track Listing
1 - La Malanga
2 - Pa' Huele
3 - Bilongo
4 - Que Lindo Eso, Eh!
5 - Chocolate Ice Cream
6 - 17.1
CLICK HERE TO PURCHASE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Bruno 'El Único'
August 2008
CLICK TO RETURN TO TABLE OF CONTENT
Superimposition
This is Eddie Palmieri in the 70's stretching the envelope as only he can do it. There are only 6 tracks on this cd and it marks a change from the regular 8 to 12 track albums and also the length of the songs are extended. Included in this cd are the hits La Malanga, a fast tempo dance tune; Pa' Huele, an Arsenio Rodriguez composition that for me is one of the best cha cha chas ever recorded; Bilongo, a Cuban hit already but at the hands of Palmieri it became the measuring stick of all salsa bands then and now; Que Lindo Eso Eh, which is one of Eddie's musical journeys which gives us a hint of the future hit Adoracion; Chocolate Ice Cream which is a collaboration between Palmieri and Cuban trumpeter Alfredo "Chocolate" Armenteros; and the explosive 17.1 a serious descarga that showcases the entire band with jazz rhythms, afro Cuban drumming and the entire Caribbean flavor all in one song. The title refers to the average age of his rhythm section.
Musicians
Eddie Palmieri - piano
Jose Rodriguez - trombone
Lewis C. Kahn - trombone
Alfredo "Chocolate" Armenteros - trumpet
Nicky Marrero - timbales
Eladio Perez - congas
Tommy "Choki" Lopez - bongo
Israel "Izzy" Feliu - bass
Andy Gonzalez - bass
Roberto Ranquiz - bell
Rudy Calzado - minor percussion
Ismael Quintana - lead singer
Arturo Campa, Justo Betancourt, Elliot Romero - chorus
Track Listing
1 - La Malanga
2 - Pa' Huele
3 - Bilongo
4 - Que Lindo Eso, Eh!
5 - Chocolate Ice Cream
6 - 17.1
CLICK HERE TO PURCHASE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Bruno 'El Único'
August 2008
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NEW SWING SEXTET: Back on the Streets
NEW SWING SEXTET
Back on the Streets
"Back On The Streets," how appropriately these gentlemen named the project that would re-introduce "New Swing Sextet" to this generation of Salseros!
I feel privileged to present to our readers a bit of history about this amazing group of "seasoned" and extremely talented musicians, who previously had their fans and audiences "dancin' in the streets", approximately 28 years ago, before retiring from professional performances in 1979, for the first time!
George Rodriguez and New Swing Sextet were pretty much done with performing and were basically leading "normal" lives with families, raising children and running their own businesses, when George received the call from a good friend pleading with him to help him out by playing at an event. The reply was a polite, "thanks, but no thanks, we're not together anymore..."
Fortunately, for us, this persistent friend continued to "work" the remainder of the band members who collectively agreed and before long the band was indeed performing at this particular event, from which opportunities, offers and invitations followed for additional work. The rest as we say, is history. The group reunited, and began performing again.
If you've ever been influenced by or simply been attracted to the magic of "vibes" such as in renditions by Lionel Hampton or Cal Tjader (who truly made an impression in my own discovery of Latin Jazz), then I guarantee that you're going to love "Back On the Streets" and New Swing Sextet.
Listening to the tracks over and over I was reminded of the many times that we as parents tell our children to walk and not run, to stop, look and listen. Those lessons also contained inner lessons that taught me to slow down, to stop and "smell the roses", enjoy life, grasp the beauty as it passes you by, don't miss a minute of it, because once it's gone, that's it! Time, the one thing we can never, ever get back.
Having learned to appreciate those lessons, I want to share that this is one album that you will most definitely NOT want to rush through. This one is one bad ass mother of a recording that hits the very core of the heart and what most Salsa aficionados will call "home." Whether it's because it takes them back to the streets of NYC, or simply back to an era where although life was tough, it was simple too.
It was a time where music was an integral part of growing up and music appreciation was taught right down the street on 110th. Where everyone knew everyone else and where you went to school with Tito, Johnny or Alfredo. "Back On The Streets" isn't just a recording, this is a journey of cherished memories of happy yesterdays filled with friends, family, laughter and dancing. It's also a statement proclaiming "We're Back!"
This is the kind of music that goes directly to your heart and soul because it's played from that very place. Can you feel it? I can. I'm there, front stage, starry eyed and open-mouthed in awe of being in the presence of such talented artists. All I can do is swing my head to and fro, close my eyes and my body sways to the rhythm of clave. Each track has it's own heartbeat. What a wonderful way to express all that is good in life.
Those vibes lift me to yet another level of bliss, taking it slow, savoring each and every melodic stroke, noting added sensuality & quality that vibes brings to salsa, latin jazz or any other genre for that matter. That it is SALSA for me, is just an added plus. Personally, the vibes touches yet another part of that inner musician that yearns in my own soul to come forth.
It is not only the beauty of music that fills me emotionally, but the beauty and the love that went into the creation of the music, that same love and passion resonate in every note played. You'll hear it and you'll feel it. "Back On The Streets" is truly an exceptional piece of work of which New Swing Sextet should feel immensely proud of.
Yes, I'm biased. But the above comments come from the heart of this musician, who turned out to be a Lady Dj! If it is true that "the Artist creates the music and the Dj delivers the message" then it is with an immense sense of pride and I so willingly accept the responsibility of getting this message to the masses!
I love this CD and I know without a shadow of a doubt that it's going to be very successful!
Track titles include:
- Buenas Noches Che Che
- Bobo Eres Tu
- El Ratón (one of my favorite tracks)
- Sarandonga
- El Balcón Aquel
- The Monster
- Amor Jibaro
- Ay Cariño
- El Bongo
- Flight
- El Tiroteo
- Monta Mi Caballito
Be sure to listen closely to track 3 "El Ratón" which truly is one of my favorites, and which features George Rodriguez's own son "Alejandro" who contributes to this number with a bit of "rap" adding a unique quality to this already popular and renown piece of music. I think you'll be pleasantly surprised.
The album in it's entirety is superb and I highly recommend that everyone add it to their personal and/or professional music collection!
Bravo New Swing Sextet!! Here's hoping that your second retirement is a long way off!
Congratulations and welcome again to being.... "Back On The Streets".
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Latin Lady DJ Margarita
August 2008
CLICK TO RETURN TO TABLE OF CONTENT
Back on the Streets
"Back On The Streets," how appropriately these gentlemen named the project that would re-introduce "New Swing Sextet" to this generation of Salseros!
I feel privileged to present to our readers a bit of history about this amazing group of "seasoned" and extremely talented musicians, who previously had their fans and audiences "dancin' in the streets", approximately 28 years ago, before retiring from professional performances in 1979, for the first time!
George Rodriguez and New Swing Sextet were pretty much done with performing and were basically leading "normal" lives with families, raising children and running their own businesses, when George received the call from a good friend pleading with him to help him out by playing at an event. The reply was a polite, "thanks, but no thanks, we're not together anymore..."
Fortunately, for us, this persistent friend continued to "work" the remainder of the band members who collectively agreed and before long the band was indeed performing at this particular event, from which opportunities, offers and invitations followed for additional work. The rest as we say, is history. The group reunited, and began performing again.
If you've ever been influenced by or simply been attracted to the magic of "vibes" such as in renditions by Lionel Hampton or Cal Tjader (who truly made an impression in my own discovery of Latin Jazz), then I guarantee that you're going to love "Back On the Streets" and New Swing Sextet.
Listening to the tracks over and over I was reminded of the many times that we as parents tell our children to walk and not run, to stop, look and listen. Those lessons also contained inner lessons that taught me to slow down, to stop and "smell the roses", enjoy life, grasp the beauty as it passes you by, don't miss a minute of it, because once it's gone, that's it! Time, the one thing we can never, ever get back.
Having learned to appreciate those lessons, I want to share that this is one album that you will most definitely NOT want to rush through. This one is one bad ass mother of a recording that hits the very core of the heart and what most Salsa aficionados will call "home." Whether it's because it takes them back to the streets of NYC, or simply back to an era where although life was tough, it was simple too.
It was a time where music was an integral part of growing up and music appreciation was taught right down the street on 110th. Where everyone knew everyone else and where you went to school with Tito, Johnny or Alfredo. "Back On The Streets" isn't just a recording, this is a journey of cherished memories of happy yesterdays filled with friends, family, laughter and dancing. It's also a statement proclaiming "We're Back!"
This is the kind of music that goes directly to your heart and soul because it's played from that very place. Can you feel it? I can. I'm there, front stage, starry eyed and open-mouthed in awe of being in the presence of such talented artists. All I can do is swing my head to and fro, close my eyes and my body sways to the rhythm of clave. Each track has it's own heartbeat. What a wonderful way to express all that is good in life.
Those vibes lift me to yet another level of bliss, taking it slow, savoring each and every melodic stroke, noting added sensuality & quality that vibes brings to salsa, latin jazz or any other genre for that matter. That it is SALSA for me, is just an added plus. Personally, the vibes touches yet another part of that inner musician that yearns in my own soul to come forth.
It is not only the beauty of music that fills me emotionally, but the beauty and the love that went into the creation of the music, that same love and passion resonate in every note played. You'll hear it and you'll feel it. "Back On The Streets" is truly an exceptional piece of work of which New Swing Sextet should feel immensely proud of.
Yes, I'm biased. But the above comments come from the heart of this musician, who turned out to be a Lady Dj! If it is true that "the Artist creates the music and the Dj delivers the message" then it is with an immense sense of pride and I so willingly accept the responsibility of getting this message to the masses!
I love this CD and I know without a shadow of a doubt that it's going to be very successful!
Track titles include:
- Buenas Noches Che Che
- Bobo Eres Tu
- El Ratón (one of my favorite tracks)
- Sarandonga
- El Balcón Aquel
- The Monster
- Amor Jibaro
- Ay Cariño
- El Bongo
- Flight
- El Tiroteo
- Monta Mi Caballito
Be sure to listen closely to track 3 "El Ratón" which truly is one of my favorites, and which features George Rodriguez's own son "Alejandro" who contributes to this number with a bit of "rap" adding a unique quality to this already popular and renown piece of music. I think you'll be pleasantly surprised.
The album in it's entirety is superb and I highly recommend that everyone add it to their personal and/or professional music collection!
Bravo New Swing Sextet!! Here's hoping that your second retirement is a long way off!
Congratulations and welcome again to being.... "Back On The Streets".
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Latin Lady DJ Margarita
August 2008
CLICK TO RETURN TO TABLE OF CONTENT
GENEROSO JIMÉNEZ AND HIS ORCHESTRA: El Trombón Majadero
GENEROSO JIMÉNEZ AND HIS ORCHESTRA
El Trombón Majadero
Generoso "Tojo" Jimenez's brilliant musical talent as a trombonist, producer, arranger, director, composer and promoter is very well respected by colleagues who were always eager to perform and record with Generoso. Generoso, born in Cruces, near the city of Cienfuegos, June 17, 1917, has played with the likes of Frank Sinatra, Josephine Baker, Cab Calloway, Miguelito Valdes and Nat King Cole, to name a few.
TROMBON MAJADERO's spotlight is on the improvisational exchanges heard throughout this very generous compilation of 23 tracks between the sax, trumpet, percussion, bass and Generoso's very expressive, melodic trombone riffs. Tracks 1-12 are recording sessions from The Generoso Jimenez Orchestra [of course!], 1965 and Tracks 13-23 include 1960 recordings, both orchestrated and directed by Generoso Jimenez. My favorite piece on this CD is the short but sabrosito "Garabato", which starts off as a Danzon, continues into a Mozambique and finishes off with Generoso's improvising within a Comparsa...me dejo con las ganas de oir mas!
Generoso's frail figure is no match for the seemingly large, long-used Trombone that by now has become one with him; he effortlessly belts out very suave-sounding and articulated notes out of it's large bore and mouthpiece that, by the photo in this well packaged and informative CD, seems to cover the whole lower half of Generoso's face. This CD is a MUST because it educates the music lover by providing a miscellanea of rich, melodic, Afro-mambo arrangements along with other musical genres, expertly performed, directed and arranged by el maestro: Generoso "Tojo" Jimenez. "...Generoso que bueno toca usted!...
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ana Flores
May 2008
CLICK TO RETURN TO TABLE OF CONTENT
El Trombón Majadero
Generoso "Tojo" Jimenez's brilliant musical talent as a trombonist, producer, arranger, director, composer and promoter is very well respected by colleagues who were always eager to perform and record with Generoso. Generoso, born in Cruces, near the city of Cienfuegos, June 17, 1917, has played with the likes of Frank Sinatra, Josephine Baker, Cab Calloway, Miguelito Valdes and Nat King Cole, to name a few.
TROMBON MAJADERO's spotlight is on the improvisational exchanges heard throughout this very generous compilation of 23 tracks between the sax, trumpet, percussion, bass and Generoso's very expressive, melodic trombone riffs. Tracks 1-12 are recording sessions from The Generoso Jimenez Orchestra [of course!], 1965 and Tracks 13-23 include 1960 recordings, both orchestrated and directed by Generoso Jimenez. My favorite piece on this CD is the short but sabrosito "Garabato", which starts off as a Danzon, continues into a Mozambique and finishes off with Generoso's improvising within a Comparsa...me dejo con las ganas de oir mas!
Generoso's frail figure is no match for the seemingly large, long-used Trombone that by now has become one with him; he effortlessly belts out very suave-sounding and articulated notes out of it's large bore and mouthpiece that, by the photo in this well packaged and informative CD, seems to cover the whole lower half of Generoso's face. This CD is a MUST because it educates the music lover by providing a miscellanea of rich, melodic, Afro-mambo arrangements along with other musical genres, expertly performed, directed and arranged by el maestro: Generoso "Tojo" Jimenez. "...Generoso que bueno toca usted!...
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ana Flores
May 2008
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JESÚS PAGÁN: Salsa De La Mata
JESÚS PAGÁN Y SU ORQUESTA
Salsa de La Mata
Stroming out of Hartford Connecticut is this years salsa dura shocker Jesus Pagan y su Orquesta. Salsa de la Mata is one of the bests debut disc I have heard from an artist in many years. Pagan shows a maturity well above his 37 years of age. He made the smart decision of surrounding himself with an all stars cast of muiscans and arrangers. The artwork of Salsa de la Mata is one of the best of all time and includes Pagan sitting on his living room floor listening to classic salsa while reading liner notes from gatefold LP's. Brings me back to the day when LP art was just that.
This disc starts off with a real smoker and the pace is set on high with "Ritmo Sabroso". "Ritmo Sabroso has a heavy old school feel. with a great horn section and mature original vocals Pagan carries this CD of salsa originals to heights unseen by his contemparies. Pagan has assembled an all-star cast to preform on this disc witch includes Ray Castro, Luisito Quintero, Richie Viruet, Lucho Cueto and many more. The sound on this disc in classic Nuyorican salsa. Pagan has a warm and enchanting voice which lends well to the stong coros and horns of his band. Although some of the songs tend to a romantic side this is an aggresive disc with lots of dura sound. The highlight of this recording is Pagan's tribute to the salsa of yesterday "Tributo de la Salsa de Ayer" is what this disc is about. Jesus sings about his love of listening to the greats of our music giving shouts of to our heros of the past. This track is sure to get dancers young and old out of the seats and on to the dance floor. One of my other favourites on this one is "Salsa de la Mata", the title track. This is a pure dance floor smoker from the opening beat to the closing piano and horms. Pagan's voice is clear in strong in his delivery and has brought many an audience to tears.
For me the weakest track on this disc is the Maximo Rodriguez's arranged "Te Amo Tanto" it one of the most romantic of the tracks. This track is remenisent of the early era of the salsa romantica movement. Lots of romantic lyrics but it still retains a certain amount of swing. The strength of the track is in it strong hook in the coros. Ray Castro and Hector Rodriguez really help this song along.
Overall "Salsa de la Mata" is easly the strongest CD of 2008 in a very stong early part of the year. I look forward to many more recordings from Jesus Pagan and his various outfits. I strongly reommend this disc not only for the music and great arrangements but also for the original cover art.
Que Viva la Salsa Dura Nueva
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gury Gury
May 2008
CLICK TO RETURN TO TABLE OF CONTENT
Salsa de La Mata
Stroming out of Hartford Connecticut is this years salsa dura shocker Jesus Pagan y su Orquesta. Salsa de la Mata is one of the bests debut disc I have heard from an artist in many years. Pagan shows a maturity well above his 37 years of age. He made the smart decision of surrounding himself with an all stars cast of muiscans and arrangers. The artwork of Salsa de la Mata is one of the best of all time and includes Pagan sitting on his living room floor listening to classic salsa while reading liner notes from gatefold LP's. Brings me back to the day when LP art was just that.
This disc starts off with a real smoker and the pace is set on high with "Ritmo Sabroso". "Ritmo Sabroso has a heavy old school feel. with a great horn section and mature original vocals Pagan carries this CD of salsa originals to heights unseen by his contemparies. Pagan has assembled an all-star cast to preform on this disc witch includes Ray Castro, Luisito Quintero, Richie Viruet, Lucho Cueto and many more. The sound on this disc in classic Nuyorican salsa. Pagan has a warm and enchanting voice which lends well to the stong coros and horns of his band. Although some of the songs tend to a romantic side this is an aggresive disc with lots of dura sound. The highlight of this recording is Pagan's tribute to the salsa of yesterday "Tributo de la Salsa de Ayer" is what this disc is about. Jesus sings about his love of listening to the greats of our music giving shouts of to our heros of the past. This track is sure to get dancers young and old out of the seats and on to the dance floor. One of my other favourites on this one is "Salsa de la Mata", the title track. This is a pure dance floor smoker from the opening beat to the closing piano and horms. Pagan's voice is clear in strong in his delivery and has brought many an audience to tears.
For me the weakest track on this disc is the Maximo Rodriguez's arranged "Te Amo Tanto" it one of the most romantic of the tracks. This track is remenisent of the early era of the salsa romantica movement. Lots of romantic lyrics but it still retains a certain amount of swing. The strength of the track is in it strong hook in the coros. Ray Castro and Hector Rodriguez really help this song along.
Overall "Salsa de la Mata" is easly the strongest CD of 2008 in a very stong early part of the year. I look forward to many more recordings from Jesus Pagan and his various outfits. I strongly reommend this disc not only for the music and great arrangements but also for the original cover art.
Que Viva la Salsa Dura Nueva
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gury Gury
May 2008
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SAMMY GARCÍA Y EL SABOR DE PUERTO RICO: Por Buen Camino
SAMMY GARCÍA Y EL SABOR DE PUERTO RICO
Por Buen Camino
A fantastic 2008 release from Puerto Rico courtesy of percussionist Sammy Garcia, full of dancefloor friendly salsa tracks certain to get the dancers on their feet.
Sammy Garcia's name pops up on cd credits regularly as a session percussionist and the list of artists he has worked with is long and impressive - Willie Colón, Cano Estremera, Cheo Feliciano, Ismael Miranda, Joe Bat! aan,&nbs p;Sonora Ponceña, Gilberto Santa Rosa, Grupo Niche, Yuri Buenaventura, Michael Stuart, Puerto Rican Power, Luis "Perico" Ortíz, Marc Anthony..... ......the list goes on and on. On 'Por Buen Camino' you can see why he is in such demand as a conguero, the congas are so crisp and sharp.
This release is full of energy, the songs are all excellent and I would highly recommend it to both DJs and dancers alike.
The whole cd is swinging!! There are 12 songs and no 'fillers', every track is hot!!
CD Tracks
1. Salsa Ritmo Y Movimiento
2. Me Muero
3. Cunado Yo La Conoci
4. Amor Despiadado
5. Ven Dame Un Carinito
6. Ay Elena
7. Tiempo Lejanos&nb! sp;
8. Capullito De Azucena
9. El Rincocito
10. La Ultima Palabra
11. Nena Asi No Se Vale
12. Donde Yo Naci
Credits
Sammy Garcia Conga, percusion menor
Luisier Rivera Bongó, campana
Javier Pérez Piano
Javier Diaz Timbales
Alexis Figueroa Bajo
Raymond Velazquez Trombon y coro
Benjamin Serrano Trombon
Jaime Rivera Trompeta
Abdel Rivera Trompeta
Wilfredo Colón Canto y coro
Joselito Hernandez Canto y coro
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
April 2008
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Por Buen Camino
A fantastic 2008 release from Puerto Rico courtesy of percussionist Sammy Garcia, full of dancefloor friendly salsa tracks certain to get the dancers on their feet.
Sammy Garcia's name pops up on cd credits regularly as a session percussionist and the list of artists he has worked with is long and impressive - Willie Colón, Cano Estremera, Cheo Feliciano, Ismael Miranda, Joe Bat! aan,&nbs p;Sonora Ponceña, Gilberto Santa Rosa, Grupo Niche, Yuri Buenaventura, Michael Stuart, Puerto Rican Power, Luis "Perico" Ortíz, Marc Anthony..... ......the list goes on and on. On 'Por Buen Camino' you can see why he is in such demand as a conguero, the congas are so crisp and sharp.
This release is full of energy, the songs are all excellent and I would highly recommend it to both DJs and dancers alike.
The whole cd is swinging!! There are 12 songs and no 'fillers', every track is hot!!
CD Tracks
1. Salsa Ritmo Y Movimiento
2. Me Muero
3. Cunado Yo La Conoci
4. Amor Despiadado
5. Ven Dame Un Carinito
6. Ay Elena
7. Tiempo Lejanos&nb! sp;
8. Capullito De Azucena
9. El Rincocito
10. La Ultima Palabra
11. Nena Asi No Se Vale
12. Donde Yo Naci
Credits
Sammy Garcia Conga, percusion menor
Luisier Rivera Bongó, campana
Javier Pérez Piano
Javier Diaz Timbales
Alexis Figueroa Bajo
Raymond Velazquez Trombon y coro
Benjamin Serrano Trombon
Jaime Rivera Trompeta
Abdel Rivera Trompeta
Wilfredo Colón Canto y coro
Joselito Hernandez Canto y coro
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
April 2008
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CHINO NÚÑEZ: Doctor Salsa, Chino Núñez, Volume 2
CHINO NÚÑEZ
Doctor Salsa, Chino Núñez, Volume 2
In 2005, after more than 35 years in the music industry, veteran percussionist, pianist, arranger bandleader, composer, producer, recording engineer, educator and motivational speaker, Chino Núñez, released his first solo album titled, It's SHO Time: Strictly Hardcore On 1 or 2 - Tribute To The Dancers, on Cookita Records. This album would feature hard driving, New York style, salsa dura, that as the title suggests, was fashioned for the dancers. The success of this album was tremendous from its inception. Among the great tracks on this album, we find an excellent tribute to El Rey de Las Manos Duras, Ray Barretto with the cover of Ray's monster hit, Indestructible; in which the fresh arrangements and Chino's miraculous work on the timbales give the track new life. Arguably, the hottest track on the album, Soneros de bailadores; is a fitting tribute to renown soneros Cheo Feliciano, Pete 'El Conde' Rodríguez and Ralphy Mercado; sung by a cast of great contemporary soneros: Frankie Vázquez, Ray Sepulveda, Ray Viera, Willie Torres, José 'Papo' Rivera, and Frankie Morales. There are many other 'hits' on this album; such as Aquí cada uno viene con lo suyo, Ponme a gozar, Homenaje al bailador and Un desconocido.
Among the many awards that Chino has received throughout his career, he considers the Grammy that he received as a member of the Spanish Harlem Orchestra's albumñ Across 110th Street, on which he arranged the song Te cantaré, as the most memorable. Nevertheless, Chino has a wealth of wonderful experiences under his belt through collaborations with some of the very best of the industry: Tito Puente, Celia Cruz, Ray Barretto, Héctor Lavoe, El Gran Combo de Puerto Rico, Tito Nieves, Oscar D' León, Tito Rojas, Gilberto Santa Rosa, Víctor Manuelle, Jerry Rivera, Ruben Blades, Johnny Pacheco, Louis Ramírez, Adalberto Santiago, Ismael Miranda, Cheo Feliciano, Larry Harlow, Yomo Toro, Luis Perico Ortiz, Domingo Quiñones, La India, Marc Anthony, Brenda K. Starr, Michael Stewart, Jimmy Bosch, Frankie Vázquez y Los Soneros del Barrio, Ernie Acevedo y su Conjunto Imagen, Rafael DeJesús y su Orquesta, Conjunto Clásico, Danny Rivera, Cindy Lauper and a host of artists from other musical genres.
Two years after his first solo album, Chino has delivered, yet again, a cd tailored to the agrado (liking) of the salsa/mambo dancer; Doctor Salsa - Chino Nuñez, Vol. 2, in 2007, on the Infamous Music label. Just like with his debut solo album, Chino collaborates with first-class musicians and voces (voices) to ensure the success of his latest production. Almost immediately, the first four tracks from this album have become favorites of many salsa music enthusiasts and djs alike: Te invito, Doctor Salsa, Mi tambo y yo, and Hoy les contamos. Especially enjoying this album have been the fans of hardcore, driving, New York style, salsa dura. You can rest assured that there are no salsa monga tracks on this album! There are no non-salsa or 'filler' tracks on the album and it swings from front to rear!
My personal favorite, at the moment, is Mi tambor y yo, arranged by Chino Núñez, composed and sung by Ray Viera.
This selection of this cd to review was made specifically with the enthusiasts of salsa dura in mind. to whom I very highly recommend it!
Musicians:
- Chino Núnez: timbales, güiro, synthesizer, coro
- Yoko Mimata 'La Japonesa Salsera': vocals, chorus
- Ray Sepúlveda: lead vocals
- Ray Viera: lead vocals
- Carlos Rosario: lead vocals
- José Papo Rivera: lead vocals
- Héctor 'Papote' Jiménez: lead vocals
- Tony Pérez: lead vocals
- Willie Romero: congas
- Jorge González: bongó and cowbell
- Edwin Sánchez: piano
- José Tabares: bass
- Luis Bonilla: trombone
- Richie Viruet: trumpet (Aveces)
- Eddie Rosado: chorus
- Frankie Vázquez: chorus
- Chuito De Jesús: chorus
- Willie Ruiz: chorus
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
April 2008
CLICK TO RETURN TO TABLE OF CONTENT
Doctor Salsa, Chino Núñez, Volume 2
In 2005, after more than 35 years in the music industry, veteran percussionist, pianist, arranger bandleader, composer, producer, recording engineer, educator and motivational speaker, Chino Núñez, released his first solo album titled, It's SHO Time: Strictly Hardcore On 1 or 2 - Tribute To The Dancers, on Cookita Records. This album would feature hard driving, New York style, salsa dura, that as the title suggests, was fashioned for the dancers. The success of this album was tremendous from its inception. Among the great tracks on this album, we find an excellent tribute to El Rey de Las Manos Duras, Ray Barretto with the cover of Ray's monster hit, Indestructible; in which the fresh arrangements and Chino's miraculous work on the timbales give the track new life. Arguably, the hottest track on the album, Soneros de bailadores; is a fitting tribute to renown soneros Cheo Feliciano, Pete 'El Conde' Rodríguez and Ralphy Mercado; sung by a cast of great contemporary soneros: Frankie Vázquez, Ray Sepulveda, Ray Viera, Willie Torres, José 'Papo' Rivera, and Frankie Morales. There are many other 'hits' on this album; such as Aquí cada uno viene con lo suyo, Ponme a gozar, Homenaje al bailador and Un desconocido.
Among the many awards that Chino has received throughout his career, he considers the Grammy that he received as a member of the Spanish Harlem Orchestra's albumñ Across 110th Street, on which he arranged the song Te cantaré, as the most memorable. Nevertheless, Chino has a wealth of wonderful experiences under his belt through collaborations with some of the very best of the industry: Tito Puente, Celia Cruz, Ray Barretto, Héctor Lavoe, El Gran Combo de Puerto Rico, Tito Nieves, Oscar D' León, Tito Rojas, Gilberto Santa Rosa, Víctor Manuelle, Jerry Rivera, Ruben Blades, Johnny Pacheco, Louis Ramírez, Adalberto Santiago, Ismael Miranda, Cheo Feliciano, Larry Harlow, Yomo Toro, Luis Perico Ortiz, Domingo Quiñones, La India, Marc Anthony, Brenda K. Starr, Michael Stewart, Jimmy Bosch, Frankie Vázquez y Los Soneros del Barrio, Ernie Acevedo y su Conjunto Imagen, Rafael DeJesús y su Orquesta, Conjunto Clásico, Danny Rivera, Cindy Lauper and a host of artists from other musical genres.
Two years after his first solo album, Chino has delivered, yet again, a cd tailored to the agrado (liking) of the salsa/mambo dancer; Doctor Salsa - Chino Nuñez, Vol. 2, in 2007, on the Infamous Music label. Just like with his debut solo album, Chino collaborates with first-class musicians and voces (voices) to ensure the success of his latest production. Almost immediately, the first four tracks from this album have become favorites of many salsa music enthusiasts and djs alike: Te invito, Doctor Salsa, Mi tambo y yo, and Hoy les contamos. Especially enjoying this album have been the fans of hardcore, driving, New York style, salsa dura. You can rest assured that there are no salsa monga tracks on this album! There are no non-salsa or 'filler' tracks on the album and it swings from front to rear!
My personal favorite, at the moment, is Mi tambor y yo, arranged by Chino Núñez, composed and sung by Ray Viera.
This selection of this cd to review was made specifically with the enthusiasts of salsa dura in mind. to whom I very highly recommend it!
Musicians:
- Chino Núnez: timbales, güiro, synthesizer, coro
- Yoko Mimata 'La Japonesa Salsera': vocals, chorus
- Ray Sepúlveda: lead vocals
- Ray Viera: lead vocals
- Carlos Rosario: lead vocals
- José Papo Rivera: lead vocals
- Héctor 'Papote' Jiménez: lead vocals
- Tony Pérez: lead vocals
- Willie Romero: congas
- Jorge González: bongó and cowbell
- Edwin Sánchez: piano
- José Tabares: bass
- Luis Bonilla: trombone
- Richie Viruet: trumpet (Aveces)
- Eddie Rosado: chorus
- Frankie Vázquez: chorus
- Chuito De Jesús: chorus
- Willie Ruiz: chorus
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
April 2008
CLICK TO RETURN TO TABLE OF CONTENT
CELIA CRUZ & WILLIE COLÓN: The Winners
CELIA CRUZ & WILLIE COLÓN
The Winners
This album, The Winners, originally released in 1987 on Vaya Records, was the last of three collaborations between the late, great sonera, Celia Cruz and world renown trombonist, producer and singer, Willie Colón. Celia's readily apparent improvisational vocal prowess leaves no doubt as to why she was the most sought after female sonera of the era. ¡Por algo le decían "La Reina"! Willie does not play any musical instruments, but his phenomenal skills as a producer and innovator are tantamount. As evidence of the high esteem and affection that Willie held for the trombone, he recruited not one, not two, not three, but FIVE excellent trombonists for this album: Steve Turré, Barry Rogers, Angel Vázquez, Leopoldo Pineda and Lewis Kahn. Also, in addition to producing the album, Willie sings the chorus lines along with some of the most melifluous voces of the era: Milton Cardona, Tito Allen, Domingo Quiñones and Adalberto Santiago. With a cast of seasoned musicians, this album had all the important elements in place for a blockbuster recording.
I picked up this CD on a Tuesday and wanted to find a song to play on my Wednesday radio show. Since I have a DJ gig on Tuesday nights, I did not have much time to listen to it. So, as is customary, I put it in my stereo and had my finger on the fast-forward/skip button and planned to listen to the first 30 seconds, or so, of each song until I found one that I would play during my show the next day. However, the introductory horns of the second track, Son Matamoros, gave me pause and I had to continue listening to it. Considering the format of my radio show; which is salsa for the dancer, I had found what I thought would be the perfect song for the show. Son Matamoros is a tribute to Miguel Matamoros, one of the most significant Cuban composers of all time; who in the 1930s wrote several songs that would evolve into popular standards: Lágrimas negras, Son de la Loma, Mujer de Antonio, and El que siembra su maíz. Covers of Matamoros' compositions by Celia Cruz and Beny Moré, among other greats, established many of his compositions as popular musical staples throughout Latin America. Son Matamoros, a very nice salsa dance track, is a fitting tribute to the legendary composer.
Well, I thought that I had found a very nice tune for the next day's show. Yet, out of curiosity and with my finger once again on the fast-forward/skip button, I thought that I would listen to the beginning of the other songs. I didn't get very far! The very next rack, Vendedores, also gave me pause and I had to listen to the entire song. "That's nice, too" I thought.
So, I started listening to tracks 2 and 3 repeatedly, trying to decide which I would play. While doing this, I had inadvertently gone to track 4, El Paraíso. "Another one!" I said to myself, out loud. "Wow, this is a bad ass CD!" I thought. Well, in the end, this track, El Paraíso eventually became my favorite track on this CD; partly due to its theme of innocence lost and the resultant eternal damnation of humanity caused by a single bite of the forbidden fruit in the Garden of Eden.
Well, the tally so far has reached three hot tracks for the salsa dancer. Yet, I was surprised to discover that this CD has four more excellent tracks for the dancer! Celia and Willie have proven to me that they were the real "dynamic duo!" Also, sure to move the dancers are the tunes Dice Antonio, Yo sí soy veneno, Se tambalea and Aché para todos.
For that Wednesday's show for which I had been preparing, I ended up playing two of these great tracks: El Paraíso and Yo sí soy veneno, and I have been playing other tracks from this CD during every show since I received it! An impressive 7 out of 8 tracks are sure winners for the dancer! Celia and Willie got the title right!
If you have read any of my reviews before and subsequently listened to the music that I have recommended, you certainly realize that I do not take this task lightly. As the cow told the bull, "I don't want a bum steer!" So, you can rest assured that I would not steer you wrong!
Jokes aside, I very highly recommend this CD!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
February 2008
CLICK TO RETURN TO TABLE OF CONTENT
The Winners
This album, The Winners, originally released in 1987 on Vaya Records, was the last of three collaborations between the late, great sonera, Celia Cruz and world renown trombonist, producer and singer, Willie Colón. Celia's readily apparent improvisational vocal prowess leaves no doubt as to why she was the most sought after female sonera of the era. ¡Por algo le decían "La Reina"! Willie does not play any musical instruments, but his phenomenal skills as a producer and innovator are tantamount. As evidence of the high esteem and affection that Willie held for the trombone, he recruited not one, not two, not three, but FIVE excellent trombonists for this album: Steve Turré, Barry Rogers, Angel Vázquez, Leopoldo Pineda and Lewis Kahn. Also, in addition to producing the album, Willie sings the chorus lines along with some of the most melifluous voces of the era: Milton Cardona, Tito Allen, Domingo Quiñones and Adalberto Santiago. With a cast of seasoned musicians, this album had all the important elements in place for a blockbuster recording.
I picked up this CD on a Tuesday and wanted to find a song to play on my Wednesday radio show. Since I have a DJ gig on Tuesday nights, I did not have much time to listen to it. So, as is customary, I put it in my stereo and had my finger on the fast-forward/skip button and planned to listen to the first 30 seconds, or so, of each song until I found one that I would play during my show the next day. However, the introductory horns of the second track, Son Matamoros, gave me pause and I had to continue listening to it. Considering the format of my radio show; which is salsa for the dancer, I had found what I thought would be the perfect song for the show. Son Matamoros is a tribute to Miguel Matamoros, one of the most significant Cuban composers of all time; who in the 1930s wrote several songs that would evolve into popular standards: Lágrimas negras, Son de la Loma, Mujer de Antonio, and El que siembra su maíz. Covers of Matamoros' compositions by Celia Cruz and Beny Moré, among other greats, established many of his compositions as popular musical staples throughout Latin America. Son Matamoros, a very nice salsa dance track, is a fitting tribute to the legendary composer.
Well, I thought that I had found a very nice tune for the next day's show. Yet, out of curiosity and with my finger once again on the fast-forward/skip button, I thought that I would listen to the beginning of the other songs. I didn't get very far! The very next rack, Vendedores, also gave me pause and I had to listen to the entire song. "That's nice, too" I thought.
So, I started listening to tracks 2 and 3 repeatedly, trying to decide which I would play. While doing this, I had inadvertently gone to track 4, El Paraíso. "Another one!" I said to myself, out loud. "Wow, this is a bad ass CD!" I thought. Well, in the end, this track, El Paraíso eventually became my favorite track on this CD; partly due to its theme of innocence lost and the resultant eternal damnation of humanity caused by a single bite of the forbidden fruit in the Garden of Eden.
Well, the tally so far has reached three hot tracks for the salsa dancer. Yet, I was surprised to discover that this CD has four more excellent tracks for the dancer! Celia and Willie have proven to me that they were the real "dynamic duo!" Also, sure to move the dancers are the tunes Dice Antonio, Yo sí soy veneno, Se tambalea and Aché para todos.
For that Wednesday's show for which I had been preparing, I ended up playing two of these great tracks: El Paraíso and Yo sí soy veneno, and I have been playing other tracks from this CD during every show since I received it! An impressive 7 out of 8 tracks are sure winners for the dancer! Celia and Willie got the title right!
If you have read any of my reviews before and subsequently listened to the music that I have recommended, you certainly realize that I do not take this task lightly. As the cow told the bull, "I don't want a bum steer!" So, you can rest assured that I would not steer you wrong!
Jokes aside, I very highly recommend this CD!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
February 2008
CLICK TO RETURN TO TABLE OF CONTENT
SONSUBLIME: ¡Bailando con SonSublime!
SONSUBLIME
¡Bailando con SonSublime!
"Que es extraodinariamente bello y produce una gran emoción. Que es excepcional por su altura moral o estética." This is how a Spanish dictionary defines the adjective sublime and the orchestra, SonSublime, and its son, certainly live up to the high standards of its chosen name!
This author has had the good fortune to personally meet the Cuban born, singer, composer and orchestra leader of the New York based orchestra, SonSublime, Jesse Herrero, during a recent business trip to Chicago. We had dinner together and discussed mostly music related issues. In addition to being a highly intelligent businessman, Jesse is charming, witty, gracious and a gentleman by all measures of the word. After dinner, we went to one of the hottest local salsa venues and my turn-table brother, resident DJ Luis "Rollin'" Rivera, played 2 tracks from SonSublime's latest CD, ¡Bailando con SonSublime!, and each time the dance floor rapidly became full!
Jesse has been quoted as saying that his "...objective is to keep the Cuban charanga tradition alive for dancers all over the world." So, perhaps it will be constructive to give a brief description of just what Cuban charanga is. "Charanga" is a genre of Cuban dance music that was extremely popular in the 1940's and consists of heavily son influenced material performed on European instruments; such as the violin and the flute. Indeed, SonSublime's line up contains two violinists (Eddie Venegas and Mike Pérez) and a flutist (Connie Grossman).
On ¡Bailando con SonSublime!, as is customary, SonSublime performs classic danzón, cha-cha-chá and son, with a flair that makes their sound appeal to both blossoming and inveterate Latin music aficionados alike. From the opening notes of the first track, Casita de Margot, a searing track for the dancer, you realize the significance, the power and the sweetness of the flute and violins, accompanied by masterfully delivered percussion work of Joe González and Manuel Rivera. This song boasts of a mellifluous flute solo by Connie Grossman and a tres solo by invited guest musician, Luis Rodríguez, that encourages dancers to break from their partners and to commence their more spontaneous 'shines.' It is here that the dancers are really experiencing... feeling the music. The vocals on this track are mostly delivered, in unison, by Jesse Herrero, Gilberto Velásquez and invited guest, Ronnie Baró. The perfect harmony crafted by these gentlemen is that which can only be accomplished by way of many, many, rehearsal sessions. Also in this song, Gilberto delivers a few verses alone; with a vocal range and timber that are in perfect harmony with the sweetness of the music that envelops his voice. Towards the end of the song and giving it song a 'hip' and modern feel, SonSublime takes a page out of the classic hip-hop play book as we hear someone yell, "Somebody scream!!!"
Other tracks on this 12-track CD that particularly appeal to me are: Mi charanga, Mueve la cintura and Mi chinita quiere más. In short, this is a CD that I whole-heartedly recommend, especially to those interested in traditional Cuban music.
¡Bailando con SonSublime! is the third CD by SonSublime, although Jesse Herrero had previously released other CDs under the slightly different group name, Sublime. SonSublime's first r
ecording was Irresistible, followed by their second recording, the classic Gran Reserva. By preserving the essence of this Cuban musical style, SonSublime is committed to educating music aficionados of all ages and cultures. They invite you to join them in this noble effort.
Tracks:
- Casita de Margot
- Macusá
- Mi charanga
- Mi pueblo
- Agua dulce, agua salá
- Mueve la cintura
- Ella quiere que la vean bailando
- Qué linda eres
- Matilde
- Yolanda
- Mi chinita quiere más
- Quien sabe, sabe
Musicians:
- Jesse Herrero: Leader, Director, Producer, Vocalist, Cuban Güiro and Clave
- Gilberto Velásquez: Vocalist
- Ronnie Baró: Invited Vocalist
- Alí Bello: Violinist and Viola
- David Rimelis: Violinist and Viola
- Sam Baardfeld: Violinist
- Jennifer Vincent: Cello
- Joe Gonz'alez: Congas, Quinto, Bata Drum and Shekere
- Manuel Rivera: Timbalero, Bongosero and Bata Drum
- Connie Grossman: Flautist
- Alfredito Valdés, Jr.: Invited Pianist
- Gilberto Suárez: Pianist
- Marino Solano: Ampeg Baby Bass
- Luis Rodríguez: Invited Tres Player
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Sumitted by;
El Caobo
December 2007
CLICK TO RETURN TO TABLE OF CONTENT
¡Bailando con SonSublime!
"Que es extraodinariamente bello y produce una gran emoción. Que es excepcional por su altura moral o estética." This is how a Spanish dictionary defines the adjective sublime and the orchestra, SonSublime, and its son, certainly live up to the high standards of its chosen name!
This author has had the good fortune to personally meet the Cuban born, singer, composer and orchestra leader of the New York based orchestra, SonSublime, Jesse Herrero, during a recent business trip to Chicago. We had dinner together and discussed mostly music related issues. In addition to being a highly intelligent businessman, Jesse is charming, witty, gracious and a gentleman by all measures of the word. After dinner, we went to one of the hottest local salsa venues and my turn-table brother, resident DJ Luis "Rollin'" Rivera, played 2 tracks from SonSublime's latest CD, ¡Bailando con SonSublime!, and each time the dance floor rapidly became full!
Jesse has been quoted as saying that his "...objective is to keep the Cuban charanga tradition alive for dancers all over the world." So, perhaps it will be constructive to give a brief description of just what Cuban charanga is. "Charanga" is a genre of Cuban dance music that was extremely popular in the 1940's and consists of heavily son influenced material performed on European instruments; such as the violin and the flute. Indeed, SonSublime's line up contains two violinists (Eddie Venegas and Mike Pérez) and a flutist (Connie Grossman).
On ¡Bailando con SonSublime!, as is customary, SonSublime performs classic danzón, cha-cha-chá and son, with a flair that makes their sound appeal to both blossoming and inveterate Latin music aficionados alike. From the opening notes of the first track, Casita de Margot, a searing track for the dancer, you realize the significance, the power and the sweetness of the flute and violins, accompanied by masterfully delivered percussion work of Joe González and Manuel Rivera. This song boasts of a mellifluous flute solo by Connie Grossman and a tres solo by invited guest musician, Luis Rodríguez, that encourages dancers to break from their partners and to commence their more spontaneous 'shines.' It is here that the dancers are really experiencing... feeling the music. The vocals on this track are mostly delivered, in unison, by Jesse Herrero, Gilberto Velásquez and invited guest, Ronnie Baró. The perfect harmony crafted by these gentlemen is that which can only be accomplished by way of many, many, rehearsal sessions. Also in this song, Gilberto delivers a few verses alone; with a vocal range and timber that are in perfect harmony with the sweetness of the music that envelops his voice. Towards the end of the song and giving it song a 'hip' and modern feel, SonSublime takes a page out of the classic hip-hop play book as we hear someone yell, "Somebody scream!!!"
Other tracks on this 12-track CD that particularly appeal to me are: Mi charanga, Mueve la cintura and Mi chinita quiere más. In short, this is a CD that I whole-heartedly recommend, especially to those interested in traditional Cuban music.
¡Bailando con SonSublime! is the third CD by SonSublime, although Jesse Herrero had previously released other CDs under the slightly different group name, Sublime. SonSublime's first r
ecording was Irresistible, followed by their second recording, the classic Gran Reserva. By preserving the essence of this Cuban musical style, SonSublime is committed to educating music aficionados of all ages and cultures. They invite you to join them in this noble effort.
Tracks:
- Casita de Margot
- Macusá
- Mi charanga
- Mi pueblo
- Agua dulce, agua salá
- Mueve la cintura
- Ella quiere que la vean bailando
- Qué linda eres
- Matilde
- Yolanda
- Mi chinita quiere más
- Quien sabe, sabe
Musicians:
- Jesse Herrero: Leader, Director, Producer, Vocalist, Cuban Güiro and Clave
- Gilberto Velásquez: Vocalist
- Ronnie Baró: Invited Vocalist
- Alí Bello: Violinist and Viola
- David Rimelis: Violinist and Viola
- Sam Baardfeld: Violinist
- Jennifer Vincent: Cello
- Joe Gonz'alez: Congas, Quinto, Bata Drum and Shekere
- Manuel Rivera: Timbalero, Bongosero and Bata Drum
- Connie Grossman: Flautist
- Alfredito Valdés, Jr.: Invited Pianist
- Gilberto Suárez: Pianist
- Marino Solano: Ampeg Baby Bass
- Luis Rodríguez: Invited Tres Player
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Sumitted by;
El Caobo
December 2007
CLICK TO RETURN TO TABLE OF CONTENT
DANNY SÁNCHEZ: Going Solo
DANNY SÁNCHEZ
Going Solo
An excellent and swinging collaboration of great musicians that can pen arrangements results in Danny Sanchez's first experiemental studio project: "GOING SOLO". No stranger to the cuchifrito circuit, in 1986, Danny was recommended to sing for Ray Barretto by Tito Allen, which helped Danny to develop and mature his singing career. In 1990, Danny Sanchez moved on to join Los Hermanos Moreno, working over six years with them. In 2002, Danny Sanchez decided to relocate to Orlando, Florida to form his own Salsa orchestra.
When Salsa lovers like me make a big deal about an arrangement it can only mean one thing: it swings. GOING SOLO opens with an original swinging and entertaining tune, Los '70's, written by Carlos Lopez (background vocalist for the band). Los '70's is embellished with "phat"-sounding trombones and trumpets producing a full Salsa Dura sound that is perfect for dancers who love dancing to Salsa with an old-school beat speed [y'all know what I talkin' about!]. A cleverly composed tune, it includes nostalgic snippets of music that my generation grew up with [ha, ha, I'll let you figure what generation once you listen to the tune]. This debut CD should mark an adventurous new ground for Danny Sanchez and his Orchesta, who may not yet be a household name but for those who really listen to this swinging CD, will be justly celebrated.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ana Flores
December 2007
CLICK TO RETURN TO TABLE OF CONTENT
Going Solo
An excellent and swinging collaboration of great musicians that can pen arrangements results in Danny Sanchez's first experiemental studio project: "GOING SOLO". No stranger to the cuchifrito circuit, in 1986, Danny was recommended to sing for Ray Barretto by Tito Allen, which helped Danny to develop and mature his singing career. In 1990, Danny Sanchez moved on to join Los Hermanos Moreno, working over six years with them. In 2002, Danny Sanchez decided to relocate to Orlando, Florida to form his own Salsa orchestra.
When Salsa lovers like me make a big deal about an arrangement it can only mean one thing: it swings. GOING SOLO opens with an original swinging and entertaining tune, Los '70's, written by Carlos Lopez (background vocalist for the band). Los '70's is embellished with "phat"-sounding trombones and trumpets producing a full Salsa Dura sound that is perfect for dancers who love dancing to Salsa with an old-school beat speed [y'all know what I talkin' about!]. A cleverly composed tune, it includes nostalgic snippets of music that my generation grew up with [ha, ha, I'll let you figure what generation once you listen to the tune]. This debut CD should mark an adventurous new ground for Danny Sanchez and his Orchesta, who may not yet be a household name but for those who really listen to this swinging CD, will be justly celebrated.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ana Flores
December 2007
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CHINO ESPINOZA Y LOS DUEÑOS DEL SON: María
CHINO ESPINOZA Y LOS DUEÑOS DEL SON
María
"Chino Espinoza and Los Dueños Del Son" the most sought-after Salsa Orchestra in the West Coast returns with an amazing new release of tailored picked tracks that will make the Salsa Nightclub rockin'-let alone all Salsa music aficionados and of course the diehard dancers, screaming for more.
Their new release is filled with revisited classic tracks to hard salsa, cha-cha-chas and a bit of Los Angelesque style breaks and arrangements, "Maria" is a fresh infectious new release.
The High-energy sounds of "Salsa Pa'l Congreso" is alone worth the price of this collection. Listen to the sounds of the timbales and congos by Cesar Espinoza and Angelo Rodriguez as they leave you mesmerized.
Oh! But wait! Because, when "Soneando Hasta Mañana" kicks in, you, and everyone around you, will be dancing all over the place, wherever you are.
I really enjoy listening to "Homenajes" or tributes from various artists well on this CD--Chino also offers up a pretty remarkable Frankie Ruiz medley as well as his fine interpretation of the Willie Colón and Héctor Lavoe classic "Juana Peña.
Héctor Manuel Rivera-Pianist and arranger of this entire project, has worked overtime. The music on this CD is perfect for the dance club. Every DJ should add this to their collection.
I especially liked "Busca Fortuna", Juana Peña and of course the "Frankie Ruiz" Medley.
Salsaholics! Put on those dancing shoes and you know the rest!
Aloha Con Salsa!
Song titles include:
Café Colao
Maria
Salsa Pa'l Congreso
Quién Sera (Sway)
Soneando Hasta Mañana
Frankie Ruiz Medley (La Ruda - El Cancionero - Y Como Lo Hacen - La Cura)
Xiomara Mayoral - Xiomara
El Triste
Busca Fortuna
Juana Peña
Musicians include:
Hector Manuel Rivera Piano, arranger, synthesizer, coro
René Camacho Bass
George López Bass
Jaime Covarrubias Bass
Cesar Espinoza Timbales, congas, bongos, coro, maraca, güiro, cajón
Angelo Rodriguez Congas, cajón
Ramses Araya Congas on "Juana Peña"
Victor Varela Bongos, Coro
James Savaleta Coro
Jake Espinoza Coro
Humberto Ruiz Trombones
Kerry Loeschen Trombones
Otto Granillo Trombones
Ben McIntosh Trombones
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Nancy Ortiz
October 2007
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María
"Chino Espinoza and Los Dueños Del Son" the most sought-after Salsa Orchestra in the West Coast returns with an amazing new release of tailored picked tracks that will make the Salsa Nightclub rockin'-let alone all Salsa music aficionados and of course the diehard dancers, screaming for more.
Their new release is filled with revisited classic tracks to hard salsa, cha-cha-chas and a bit of Los Angelesque style breaks and arrangements, "Maria" is a fresh infectious new release.
The High-energy sounds of "Salsa Pa'l Congreso" is alone worth the price of this collection. Listen to the sounds of the timbales and congos by Cesar Espinoza and Angelo Rodriguez as they leave you mesmerized.
Oh! But wait! Because, when "Soneando Hasta Mañana" kicks in, you, and everyone around you, will be dancing all over the place, wherever you are.
I really enjoy listening to "Homenajes" or tributes from various artists well on this CD--Chino also offers up a pretty remarkable Frankie Ruiz medley as well as his fine interpretation of the Willie Colón and Héctor Lavoe classic "Juana Peña.
Héctor Manuel Rivera-Pianist and arranger of this entire project, has worked overtime. The music on this CD is perfect for the dance club. Every DJ should add this to their collection.
I especially liked "Busca Fortuna", Juana Peña and of course the "Frankie Ruiz" Medley.
Salsaholics! Put on those dancing shoes and you know the rest!
Aloha Con Salsa!
Song titles include:
Café Colao
Maria
Salsa Pa'l Congreso
Quién Sera (Sway)
Soneando Hasta Mañana
Frankie Ruiz Medley (La Ruda - El Cancionero - Y Como Lo Hacen - La Cura)
Xiomara Mayoral - Xiomara
El Triste
Busca Fortuna
Juana Peña
Musicians include:
Hector Manuel Rivera Piano, arranger, synthesizer, coro
René Camacho Bass
George López Bass
Jaime Covarrubias Bass
Cesar Espinoza Timbales, congas, bongos, coro, maraca, güiro, cajón
Angelo Rodriguez Congas, cajón
Ramses Araya Congas on "Juana Peña"
Victor Varela Bongos, Coro
James Savaleta Coro
Jake Espinoza Coro
Humberto Ruiz Trombones
Kerry Loeschen Trombones
Otto Granillo Trombones
Ben McIntosh Trombones
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Nancy Ortiz
October 2007
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THE GOLDEN AGE OF DISCOS FUENTES: The Powerhouse of Colombian Music: 1960 - 76
THE GOLDEN AGE OF DISCOS FUENTES
The Powerhouse of Colombian Music: 1960 - 76
If, like me, you are not a huge fan of the Discos Fuentes compilations that get churned out on a regular basis and if the label conjures up images of semi-naked women on covers trying to sell us the same tracks over and over again, I would urge you to give this release a try. What makes this so different? Well, this isn't actually a 'Discos Fuentes' release, it's a fully licensed compilation of tracks recorded on the label in the 60's and early 70's but selected and released by Soundway Records and believe me there is a big difference. No semi-naked women on the cover (sorry guys) but what's inside is a real treat!! It's by far the best collection of music I've heard from Colombia and comes beautifully packaged with a detailed booklet covering the history of the label Discos Fuentes, including photos and notes on the tracks.
Soundway is a record company based in England , they specialize in uncovering and releasing hidden gems from Latin America, Africa and the Caribbean . They hand-picked the tracks on this cd and when you consider that in the 'Golden Age' of the 60s and 70s, Discos Fuentes were Colombia's equivalent to Fania in the New York music scene (but going back much further), that must have been a very tall order and something of a labour of love.
As the title suggests, this isn't a compilation of salsa music, Colombia has a wide range of sounds and they are represented here with Cumbia, Salsa, Gaita, Fandago and Champeta tracks. Some of the artist's names will be very familiar, like Fruko Y Sus Tesos and The Latin Brothers, but expect the unexpected even from these.
Fruko actually provides one of the highlights for me on this album (and I never thought I would say that in a sentence), a track titled 'Improvisando' which is a brilliant interpretation of The Yardbirds hit 'For Your Love'. The song gained a bit of notoriety with The Yarbirds, it's believed to be the reason Eric Clapton left because he feared the band was becoming too commercial, Fruko's version however is far from commercial, in my opinion it's far superior to the original.
Other highlights on the cd include a crazy organ solo on the hard and fast opening track 'Salsa Na Ma' by Fruko Y Sus Tesos, an amazing piano solo on the long, high energy track 'El Mondongo' by Los Corraleros De Majagual, the very catchy track 'Cumbia En Do Menor' by Lito Barrientos Y Su Orquesta, the ever so slightly bonkers (but I like it) 'Tifit Hayed' by Wganda Kenya and a solid version of 'Hong Kong' by Michi Sarmiento Y Su Combo.
For anyone interested in the history of Colombian music or even if you're just curious as to what was going on in the Colombian music scene when Fania was cutting it's teeth on the Big Apple, this is good way to find out. It's a great cd to listen to but it is definitely not 'background music', it seems like every musician on there wants your full attention and will do anything to get it, it's fast and furious at times and added to the different styles of music mentioned, many of the tracks are not suitable for the salsa dancer. It's not necessarily a salsa DJs 'must have' for playing, but it's a very enjoyable history lesson in Colombian music.
Track listing:
Fruko Y Sus Tesos - Salsa Na Ma (4:13)
Lito Barrientos Y Su Orquesta - Cumbia En Do Menor (2:46)
Michi Sarmiento Y Sus Bravos - Hong Kong (3:53)
Sonora Cieneguera - La Piojosa (2:53)
Fruko Y Sus Tesos - Improvisando (3:50)
The Latin Brothers - Patrona De Los Reclusos (6:13)
Wganda Kenya - Tifit Hayed (3:40)
Pedro Laza Y Sus Pelayeros - Fandago En Percusion (2:45)
Orquesta Nunez - La Samaria (2:57)
Los Corraleros de Majagual - El Mondongo (10:13)
Fruko Y Sus Tesos - A La Memoria Del Muerto (4:21)
Michi Sarmiento Y Sus Bravos - La Primavera (2:16)
Wganda Kenya - Elyoyo (4:07)
El Sexteto Miramar - Cumbiamba (2:33)
Michi Sarmiento Y Sus Bravos - Mirame San Miguel (2:42)
Pedro Laza Y Sus Pelayeros - La PIcua (2:50)
The Latin Brothers - Las Calenas Son Como Los Flores (3:55)
Afrosound - Pacifico (2:44)
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
October 2007
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The Powerhouse of Colombian Music: 1960 - 76
If, like me, you are not a huge fan of the Discos Fuentes compilations that get churned out on a regular basis and if the label conjures up images of semi-naked women on covers trying to sell us the same tracks over and over again, I would urge you to give this release a try. What makes this so different? Well, this isn't actually a 'Discos Fuentes' release, it's a fully licensed compilation of tracks recorded on the label in the 60's and early 70's but selected and released by Soundway Records and believe me there is a big difference. No semi-naked women on the cover (sorry guys) but what's inside is a real treat!! It's by far the best collection of music I've heard from Colombia and comes beautifully packaged with a detailed booklet covering the history of the label Discos Fuentes, including photos and notes on the tracks.
Soundway is a record company based in England , they specialize in uncovering and releasing hidden gems from Latin America, Africa and the Caribbean . They hand-picked the tracks on this cd and when you consider that in the 'Golden Age' of the 60s and 70s, Discos Fuentes were Colombia's equivalent to Fania in the New York music scene (but going back much further), that must have been a very tall order and something of a labour of love.
As the title suggests, this isn't a compilation of salsa music, Colombia has a wide range of sounds and they are represented here with Cumbia, Salsa, Gaita, Fandago and Champeta tracks. Some of the artist's names will be very familiar, like Fruko Y Sus Tesos and The Latin Brothers, but expect the unexpected even from these.
Fruko actually provides one of the highlights for me on this album (and I never thought I would say that in a sentence), a track titled 'Improvisando' which is a brilliant interpretation of The Yardbirds hit 'For Your Love'. The song gained a bit of notoriety with The Yarbirds, it's believed to be the reason Eric Clapton left because he feared the band was becoming too commercial, Fruko's version however is far from commercial, in my opinion it's far superior to the original.
Other highlights on the cd include a crazy organ solo on the hard and fast opening track 'Salsa Na Ma' by Fruko Y Sus Tesos, an amazing piano solo on the long, high energy track 'El Mondongo' by Los Corraleros De Majagual, the very catchy track 'Cumbia En Do Menor' by Lito Barrientos Y Su Orquesta, the ever so slightly bonkers (but I like it) 'Tifit Hayed' by Wganda Kenya and a solid version of 'Hong Kong' by Michi Sarmiento Y Su Combo.
For anyone interested in the history of Colombian music or even if you're just curious as to what was going on in the Colombian music scene when Fania was cutting it's teeth on the Big Apple, this is good way to find out. It's a great cd to listen to but it is definitely not 'background music', it seems like every musician on there wants your full attention and will do anything to get it, it's fast and furious at times and added to the different styles of music mentioned, many of the tracks are not suitable for the salsa dancer. It's not necessarily a salsa DJs 'must have' for playing, but it's a very enjoyable history lesson in Colombian music.
Track listing:
Fruko Y Sus Tesos - Salsa Na Ma (4:13)
Lito Barrientos Y Su Orquesta - Cumbia En Do Menor (2:46)
Michi Sarmiento Y Sus Bravos - Hong Kong (3:53)
Sonora Cieneguera - La Piojosa (2:53)
Fruko Y Sus Tesos - Improvisando (3:50)
The Latin Brothers - Patrona De Los Reclusos (6:13)
Wganda Kenya - Tifit Hayed (3:40)
Pedro Laza Y Sus Pelayeros - Fandago En Percusion (2:45)
Orquesta Nunez - La Samaria (2:57)
Los Corraleros de Majagual - El Mondongo (10:13)
Fruko Y Sus Tesos - A La Memoria Del Muerto (4:21)
Michi Sarmiento Y Sus Bravos - La Primavera (2:16)
Wganda Kenya - Elyoyo (4:07)
El Sexteto Miramar - Cumbiamba (2:33)
Michi Sarmiento Y Sus Bravos - Mirame San Miguel (2:42)
Pedro Laza Y Sus Pelayeros - La PIcua (2:50)
The Latin Brothers - Las Calenas Son Como Los Flores (3:55)
Afrosound - Pacifico (2:44)
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
October 2007
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CALAMBUCO (SALSA BRAVA): Como En El Barrio
CALAMBUCO (SALSA BRAVA)
Como En El Barrio
An excellent CD from a young group of talented Musicians based in Bogotà, Colómbia. In the last couple of years we've been treated to a different sound coming out of Colombia, the more urban sounds of LA 33, Kimbawe and Calambuco, a refreshing change from the familiar, consistent and sometimes predictable offerings we've come to expect from Colombia (the Diego Gale stable springs to mind).
Como En El Barrio by Calambuco is a quality album, original material, excellent musicians (including a fantastic female timbalist,
A couple of tracks on this CD are excellent choices for the salsa teacher, namely 'Te Falta Ritmo' and 'Maria Juliana' both of which have a gentle tempo with a clear and consistent beat, perfect for classes. Personally I love the salsa tracks 'Candelaria', 'Calambuco' and 'Africa Salsera', there is also a beautiful guajira 'Guajira De Un Abandonado'.
Now the really good news! This whole album is available legally and for free under the Creative Commons license by visiting the groups website at http://www.calambuco.net. These downloads are not for commercial use and the quality will not be good enough for the discerning DJ anyway (128Kbps) but if you like to try before you buy you can and if you are just going to listen to them on your iPod, the quality will be just fine (same as what you would pay for on iTunes). You can read the terms of the license here: Creative Commons Attribution-Noncommercial-Share Alike 2.5 License.
Track Listing:
Te Falta Ritmo
Candelaria
Metéle
Maria Juliana
Guajira De Un Abandonada
Como En El Barrio
Ritmo De Succar
Africa Salsera
Me Sorprendo
Calambuco
Credits:
Bajo - Juán José Flórez
Piano, musical director - Andrés Felipe Succar
Congas - Sebastián Valencia
Bongo, campana, clarinete - Julián Cháves
Timbal - Angela Tapiero
Voz, coro - Francisco "Pachito" Echavarria
Voz, coro - Victor Hugo Rodriguez
Voz, coro - Eignar Rentería
Bongo, coro - Mauricio Castillo
Trompeta - Carlos Parra
Trompeta - Invitados: José Aguirre
Solo de trompeta en "Calambuco" - Carlos Tabares
Piano - Jaime Henao
Tres - Santiago Jimenez
Coro - Darwin Perea
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
October 2007
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Como En El Barrio
An excellent CD from a young group of talented Musicians based in Bogotà, Colómbia. In the last couple of years we've been treated to a different sound coming out of Colombia, the more urban sounds of LA 33, Kimbawe and Calambuco, a refreshing change from the familiar, consistent and sometimes predictable offerings we've come to expect from Colombia (the Diego Gale stable springs to mind).
Como En El Barrio by Calambuco is a quality album, original material, excellent musicians (including a fantastic female timbalist,
A couple of tracks on this CD are excellent choices for the salsa teacher, namely 'Te Falta Ritmo' and 'Maria Juliana' both of which have a gentle tempo with a clear and consistent beat, perfect for classes. Personally I love the salsa tracks 'Candelaria', 'Calambuco' and 'Africa Salsera', there is also a beautiful guajira 'Guajira De Un Abandonado'.
Now the really good news! This whole album is available legally and for free under the Creative Commons license by visiting the groups website at http://www.calambuco.net. These downloads are not for commercial use and the quality will not be good enough for the discerning DJ anyway (128Kbps) but if you like to try before you buy you can and if you are just going to listen to them on your iPod, the quality will be just fine (same as what you would pay for on iTunes). You can read the terms of the license here: Creative Commons Attribution-Noncommercial-Share Alike 2.5 License.
Track Listing:
Te Falta Ritmo
Candelaria
Metéle
Maria Juliana
Guajira De Un Abandonada
Como En El Barrio
Ritmo De Succar
Africa Salsera
Me Sorprendo
Calambuco
Credits:
Bajo - Juán José Flórez
Piano, musical director - Andrés Felipe Succar
Congas - Sebastián Valencia
Bongo, campana, clarinete - Julián Cháves
Timbal - Angela Tapiero
Voz, coro - Francisco "Pachito" Echavarria
Voz, coro - Victor Hugo Rodriguez
Voz, coro - Eignar Rentería
Bongo, coro - Mauricio Castillo
Trompeta - Carlos Parra
Trompeta - Invitados: José Aguirre
Solo de trompeta en "Calambuco" - Carlos Tabares
Piano - Jaime Henao
Tres - Santiago Jimenez
Coro - Darwin Perea
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
October 2007
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DJ DUSTE & LATIN SOUL RECORDS: Que Viva La Salsa Dura
DJ DUSTE & LATIN SOUL RECORDS
Que Viva La Salsa Dura
Once again Latin Soul Records has done it again. Andrés Padua in collaboration with Norway's DJ Duste have put together a great collection of Salsa Dura that every aficionado of salsa needs to have. Latin Soul records has been bringing us the hardest in salsa dura re release over the past year. Overshadowed by the giants of Fania Sr. Padua has put out a series of great discs including classic by Orquesta Dee Jay, la Fantastica, Joe Acosta and Papo Felix y Rey Rodriguez. On this project he has teamed up with Norway superstar salsa DJ Duste for a collection of smokin' dura sounds. The special treat of this 2 CD package is disc 2's remix done by Duste.
The music, is sweet swinging salsa..... From the opening riff of Porfi Jimenez's Tu Sufriras to the closing soul sounds of Joe Acosta this CD "Que Viva la Salsa Dura" is a 100% smoker. Favourites tracks here are from los Astros, Mike Roasrio and Ray Terrace. This disc includes dance floor classics like Hong Kong Mambo and Trompeta y Flauta which I do enjoy, but have heard many times before. The plus on these 2 tracks is that on the remix disc DJ Duste brings new life to these classics. The other original 10 tracks are tracks from lesser known artists from the 70's. The sounds are hard New York sounds and will be a pleasant surprise for even the most knowledgeable of salseros.
Duste's treatment of these tracks are classy he doesn't stray too far from the original swing and beat of the songs. Duste has shown his love of his craft and of salsa dura with these soon to be classic remixes. I have ventures to play some of his remixes in the past at my club dates and people are always refreshed to hear a fresh version of an old song done well.
Kudos to Andy and Duste for this truly amazing labor of Love.
¡Que viva la salsa dura!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gury Gury
October 2007
CLICK TO RETURN TO TABLE OF CONTENT
Que Viva La Salsa Dura
Once again Latin Soul Records has done it again. Andrés Padua in collaboration with Norway's DJ Duste have put together a great collection of Salsa Dura that every aficionado of salsa needs to have. Latin Soul records has been bringing us the hardest in salsa dura re release over the past year. Overshadowed by the giants of Fania Sr. Padua has put out a series of great discs including classic by Orquesta Dee Jay, la Fantastica, Joe Acosta and Papo Felix y Rey Rodriguez. On this project he has teamed up with Norway superstar salsa DJ Duste for a collection of smokin' dura sounds. The special treat of this 2 CD package is disc 2's remix done by Duste.
The music, is sweet swinging salsa..... From the opening riff of Porfi Jimenez's Tu Sufriras to the closing soul sounds of Joe Acosta this CD "Que Viva la Salsa Dura" is a 100% smoker. Favourites tracks here are from los Astros, Mike Roasrio and Ray Terrace. This disc includes dance floor classics like Hong Kong Mambo and Trompeta y Flauta which I do enjoy, but have heard many times before. The plus on these 2 tracks is that on the remix disc DJ Duste brings new life to these classics. The other original 10 tracks are tracks from lesser known artists from the 70's. The sounds are hard New York sounds and will be a pleasant surprise for even the most knowledgeable of salseros.
Duste's treatment of these tracks are classy he doesn't stray too far from the original swing and beat of the songs. Duste has shown his love of his craft and of salsa dura with these soon to be classic remixes. I have ventures to play some of his remixes in the past at my club dates and people are always refreshed to hear a fresh version of an old song done well.
Kudos to Andy and Duste for this truly amazing labor of Love.
¡Que viva la salsa dura!
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gury Gury
October 2007
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ÁNGEL CANALES: Sabor
ÁNGEL CANALES
Sabor
I absolutely love this entire album! My favorite song on the album has changed from time to time, but began with the song Hace tiempo. I remember that the first time that I listened to that song, I played it several times; at least 10, but probably more! "Damn," I thought, "that song is one bad mother... shut yo' mouth!" The song made such an impression that even as I re-write this review for the third or fourth time, I can hear the chorus of the song echoing in the back of my mind: "Ay, ay, ay, no me hagas padecer así" (don't make me suffer like this). What a tremendous track for the salsa dancer! I could hardly wait to play it in a club to a salsa crowd and when I did so, the dance floor was steaming! The dancers absolutely loved it!
The fact is that the entire CD está que arde! The first track, yet another track for the salsa dancer, Sabor los rumberos nuevos, penned by Ángel Canales and opens with the rákata of Aldemaro Luis Rivera's bongós, is essentially a descarga; in which Ángel introduces the group. From the beginning of this first track, you realize that Ángel Canales is very much a sonero like no other! Although this seems a bit cliché, it is absolutely true. His, is a voice that many inveterate salsa lovers would fall in love with and yearn to hear again and again! With his nasal, yet captivating voice, Angel manages masterfully to extend certain notes of the brass. This is really a fantastic feat that you have to hear to appreciate. There are many, many great soneros, but only a select few warrant the moniker of being truly "unique" or simply "different." Ángel Canales, however, certainly deserves such a moniker!
Perhaps, the most memorable track on this album among los boricuas (Puerto Ricans), is Lejos de ti, also penned by Ángel Canales; in which he croons nostalgic verses and improvisations about his beloved Boriquen (term for the island of Puerto Rico; originally used by its indigenous Taíno Indians). In this guaguancó for the salsa dancer, Ángel conjures up the imagery of the towns Loíza Aldea, El Viejo San Juan and Villa Palmeras, golden-brown cuchifritos on the grill, and a rich bomba and plena heritage. There is no wonder that this is a favorite of many who have experienced the very rich and alluring Puerto Rican culture!
As most people know, at contemporary salsa dance venues, cha-cha-chá is the preferred music for changing the pace and adding variety to the venue. So, dancers and DJs alike will love the fact that track two, Sol de mi vida, also penned by Canales, is a great cha-cha-chá tune. It boasts of a swinging piano solo by José Madrid, a remarkable saxophone solo by Emérito Benítez and also a very nice flute solo by Emérito. I could hardly wait to play this track for a dance crowd. When I did, they absolutely loved it as well!
There are two more exceptional tracks on this CD for the salsa dancer: Perico Macoñá, penned by Ángel Canales and about an out of control reefer smoker, and El cantante y la orquesta. Both these songs never fail to fill the dance floor!
The album Sabor was Ángel's second recording. His first recording was as vocalist with acclaimed pianist, Mark "Markolino" Dimond, on the album Brujería, although Ángel did not share the credit on the album's cover.
Well, to sum it all up, Sabor contains seven tracks that are sure to move the dance floor: Sabor los rumberos nuevos, Lejos de ti, Sol de mi vida, Perico Macoñá, Hace tiempo, and El cantante y la orquesta. So, a remarkable 7 out of 8 tracks are for the dancer! Dancers and DJs alike simply cannot go wrong with this CD!
It is with the utmost sincerity that I very highly recommend this CD. Click here to buy it now: BUY SABOR.
Musicians:
- Ángel Canales - band leader, lead singer
- Juan Torres - trombone
- Ricardo Montañez - trombone
- Tom Malone - trompet
- Emérito Benítez - baritone saxophone, flute
- José Madrid - piano
- Eddie Testo - bass
- Gadier Quiñones - timbales
- Aldemaro Luis Rivera - bongos
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
September 2007
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Sabor
I absolutely love this entire album! My favorite song on the album has changed from time to time, but began with the song Hace tiempo. I remember that the first time that I listened to that song, I played it several times; at least 10, but probably more! "Damn," I thought, "that song is one bad mother... shut yo' mouth!" The song made such an impression that even as I re-write this review for the third or fourth time, I can hear the chorus of the song echoing in the back of my mind: "Ay, ay, ay, no me hagas padecer así" (don't make me suffer like this). What a tremendous track for the salsa dancer! I could hardly wait to play it in a club to a salsa crowd and when I did so, the dance floor was steaming! The dancers absolutely loved it!
The fact is that the entire CD está que arde! The first track, yet another track for the salsa dancer, Sabor los rumberos nuevos, penned by Ángel Canales and opens with the rákata of Aldemaro Luis Rivera's bongós, is essentially a descarga; in which Ángel introduces the group. From the beginning of this first track, you realize that Ángel Canales is very much a sonero like no other! Although this seems a bit cliché, it is absolutely true. His, is a voice that many inveterate salsa lovers would fall in love with and yearn to hear again and again! With his nasal, yet captivating voice, Angel manages masterfully to extend certain notes of the brass. This is really a fantastic feat that you have to hear to appreciate. There are many, many great soneros, but only a select few warrant the moniker of being truly "unique" or simply "different." Ángel Canales, however, certainly deserves such a moniker!
Perhaps, the most memorable track on this album among los boricuas (Puerto Ricans), is Lejos de ti, also penned by Ángel Canales; in which he croons nostalgic verses and improvisations about his beloved Boriquen (term for the island of Puerto Rico; originally used by its indigenous Taíno Indians). In this guaguancó for the salsa dancer, Ángel conjures up the imagery of the towns Loíza Aldea, El Viejo San Juan and Villa Palmeras, golden-brown cuchifritos on the grill, and a rich bomba and plena heritage. There is no wonder that this is a favorite of many who have experienced the very rich and alluring Puerto Rican culture!
As most people know, at contemporary salsa dance venues, cha-cha-chá is the preferred music for changing the pace and adding variety to the venue. So, dancers and DJs alike will love the fact that track two, Sol de mi vida, also penned by Canales, is a great cha-cha-chá tune. It boasts of a swinging piano solo by José Madrid, a remarkable saxophone solo by Emérito Benítez and also a very nice flute solo by Emérito. I could hardly wait to play this track for a dance crowd. When I did, they absolutely loved it as well!
There are two more exceptional tracks on this CD for the salsa dancer: Perico Macoñá, penned by Ángel Canales and about an out of control reefer smoker, and El cantante y la orquesta. Both these songs never fail to fill the dance floor!
The album Sabor was Ángel's second recording. His first recording was as vocalist with acclaimed pianist, Mark "Markolino" Dimond, on the album Brujería, although Ángel did not share the credit on the album's cover.
Well, to sum it all up, Sabor contains seven tracks that are sure to move the dance floor: Sabor los rumberos nuevos, Lejos de ti, Sol de mi vida, Perico Macoñá, Hace tiempo, and El cantante y la orquesta. So, a remarkable 7 out of 8 tracks are for the dancer! Dancers and DJs alike simply cannot go wrong with this CD!
It is with the utmost sincerity that I very highly recommend this CD. Click here to buy it now: BUY SABOR.
Musicians:
- Ángel Canales - band leader, lead singer
- Juan Torres - trombone
- Ricardo Montañez - trombone
- Tom Malone - trompet
- Emérito Benítez - baritone saxophone, flute
- José Madrid - piano
- Eddie Testo - bass
- Gadier Quiñones - timbales
- Aldemaro Luis Rivera - bongos
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
September 2007
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CUBANOSON: Recordando a Cuba
CUBANOSON
Recordando a Cuba
In the liner notes of this CD, Recordando a Cuba by Cubanoson, band leader, pianist, composer and singer, Leonel "Papo" Ortega, asserts that his orchestra is a "traditional Cuban dance orchestra." After listening to the CD, I find that I fully agree with Papo. Yes indeed, this is a CD literally full of music to be enjoyed by the dancer. Based on a masterful blending of traditional Cuban rhythms, the punto cubano and the son montuno, the tempo of all the songs are of just the right tempo for the dancer; not too fast, nor too slow.
This debut CD from Cubanoson, dedicated to the memory of Papo's brother, Raúl Ortega, sports ten dance floor driving tracks, of which, my favorites are two of their four original songs: Cubanoson and Recordando a Cuba.
The first track that I mentioned above, Cubanoson, is a son montuno, penned by Papo, that effectively introduces the group. The song opens with the introductory trumpet workmanship of Roberto Rodríguez and Oscar Oñoz. Their melody establishes the son montuno's soul, essence or groove of the song. Ubiquitously heard and enjoyed throughout the song is the rhythmic strumming of the tres guitar by Junior Rivera. Later, the tune also features an awesome tres solo by Rivera. However, the delight does not end there. There is still more to come! Papo's fingertips begin to massage our very souls with his mastery of the blancas y negras during a piano solo that will captivate any dance floor!
The second track that I mentioned above, Recordando a Cuba, is a tribute to the six original Cuban provinces: La Loma, Pinar del Río, Habana, Matanza, Las Villas, Camagüey and Oriente, and was composed by both Papo and his uncle Sergio Sori. This song is faster-paced and more driving than is Cubanoson, but is still of a tempo that is dance friendly. It is introduced by the swinging notes of Papo's piano. Here again, we are treated to a masterful piano solo by Papo. Also in this song, are some very distinct and mellifluous trumpet improvisations by Roberto Rodríguez.
Not forgetting to pay hommage to their predecesors, Cubanoson covers some of the classics with a new arrangment of Lágrimas negras by Miguel Matamoros, Qué mala suerte by Arsenio Rodríguez and Mujeres de Mayarí by Francisco Repilado, also known as Compay Segundo!
Well, salseros, if it is dance music that you seek, this is a CD that I sincerely recommend to you. It has what the dancer wants to hear. So, I especially recommend this CD to salsa DJs. Trust me, you will not go wrong by purchasing it!
Band Members:
Leonel "Papo" Ortega: Leader, pianist, lead vocals
Roberto Rodríguez: Lead trumpet and musical director
Luisito Quintero: Percussion
Junior Rivera: Tres guitar
Willie Cintrón: Bass
Ernest "Chico" Álvarez: Lead vocals 1 & 5; duet 3, 8, 9, 10 and chorus
Hiram Remón: Chorus
Ronnie Baro: French voice and chorus track 2
Oscar Oñoz: Second trumpet
Alexis Llerena: Trombone
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
September 2007
CLICK TO RETURN TO TABLE OF CONTENT
Recordando a Cuba
In the liner notes of this CD, Recordando a Cuba by Cubanoson, band leader, pianist, composer and singer, Leonel "Papo" Ortega, asserts that his orchestra is a "traditional Cuban dance orchestra." After listening to the CD, I find that I fully agree with Papo. Yes indeed, this is a CD literally full of music to be enjoyed by the dancer. Based on a masterful blending of traditional Cuban rhythms, the punto cubano and the son montuno, the tempo of all the songs are of just the right tempo for the dancer; not too fast, nor too slow.
This debut CD from Cubanoson, dedicated to the memory of Papo's brother, Raúl Ortega, sports ten dance floor driving tracks, of which, my favorites are two of their four original songs: Cubanoson and Recordando a Cuba.
The first track that I mentioned above, Cubanoson, is a son montuno, penned by Papo, that effectively introduces the group. The song opens with the introductory trumpet workmanship of Roberto Rodríguez and Oscar Oñoz. Their melody establishes the son montuno's soul, essence or groove of the song. Ubiquitously heard and enjoyed throughout the song is the rhythmic strumming of the tres guitar by Junior Rivera. Later, the tune also features an awesome tres solo by Rivera. However, the delight does not end there. There is still more to come! Papo's fingertips begin to massage our very souls with his mastery of the blancas y negras during a piano solo that will captivate any dance floor!
The second track that I mentioned above, Recordando a Cuba, is a tribute to the six original Cuban provinces: La Loma, Pinar del Río, Habana, Matanza, Las Villas, Camagüey and Oriente, and was composed by both Papo and his uncle Sergio Sori. This song is faster-paced and more driving than is Cubanoson, but is still of a tempo that is dance friendly. It is introduced by the swinging notes of Papo's piano. Here again, we are treated to a masterful piano solo by Papo. Also in this song, are some very distinct and mellifluous trumpet improvisations by Roberto Rodríguez.
Not forgetting to pay hommage to their predecesors, Cubanoson covers some of the classics with a new arrangment of Lágrimas negras by Miguel Matamoros, Qué mala suerte by Arsenio Rodríguez and Mujeres de Mayarí by Francisco Repilado, also known as Compay Segundo!
Well, salseros, if it is dance music that you seek, this is a CD that I sincerely recommend to you. It has what the dancer wants to hear. So, I especially recommend this CD to salsa DJs. Trust me, you will not go wrong by purchasing it!
Band Members:
Leonel "Papo" Ortega: Leader, pianist, lead vocals
Roberto Rodríguez: Lead trumpet and musical director
Luisito Quintero: Percussion
Junior Rivera: Tres guitar
Willie Cintrón: Bass
Ernest "Chico" Álvarez: Lead vocals 1 & 5; duet 3, 8, 9, 10 and chorus
Hiram Remón: Chorus
Ronnie Baro: French voice and chorus track 2
Oscar Oñoz: Second trumpet
Alexis Llerena: Trombone
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
September 2007
CLICK TO RETURN TO TABLE OF CONTENT
RAY RODRÍGUEZ Y SWING SABROSO: Baila Con Swing Sabroso
RAY RODRÍGUEZ Y SWING SABROSO
Baila Con Swing Sabroso
This CD, Baila con Swing Sabroso; which contains the sought-after and unique sound of salsa dura at its best, is the debut release of multi-talented saxophonist, composer and bandleader, Ray Rodríguez' own label, World Stage Recordings.
For this recording, Swing Sabroso recruited the assistance of world renown arrangers: Oscar Hernández, Paquito Pastor and Willie Ruiz. They also counted on the collaboration of accomplished invited guest musicians; such as Chino Núñez, Dave Valentín, Ray Vega, Pequeño Johnny and others.
From the opening notes of the first track, Lo que quiero es cantar, penned and sung by sonero Gilberto Vélez, Jr. and chimed in by an excellent brass section with Ray Rodríguez (saxophone), Eddie Múñoz (trumpet) and Khadaly Kahn (trombone), you fully appreciate that you are listening to music that is dedicated to the true salsero; there is nothing insipid or monga about this recording!
Since I am an advocate of moderate tempo salsa that is more tailored to the dancer, of all the tracks on this CD, Lo que quiero es cantar is my favorite. Yet, I must admit that I found it very difficult to select a favorite because the song, Barretto Medley certainly has that vacilón that I love and in fact was the first song that I opted to play on my radio program. It is interesting to note that Barretto Medley had not originally been planned for this CD. However, in the middle of recording this CD, the great conguero, Ray Barretto, who had undergone bypass surgery in January 2006, died on February 17th. Ray Rodríguez decided to honor his memory with this medley of three songs from various stages in Barretto's fabulous career.
Also, competing for the honor of the hottest track on the CD is the faster paced title track, Baila con swing sabroso. Worthy of an honorable mention is Swing Sabroso's rendition of You're My Everything; which packs much more energy than Johnny Ray's cover of the same song. It is truly refreshing to have a CD with so many great salsa tracks to choose from!
However, this CD contains more than just salsa. There's an excellent cha-cha-chá track titled Ay qué frío, that really swings and is for the dancer and a very nice bolero titled Amar y vivir.
So, my fellow salseros, it is with the utmost sincerity that I highly recommend this CD. It has everything that a salsero looks for in this music that we love: SALSA... ¡y no hay más que desear!
Band Members:
Ray Rodríguez: Leader, Baritone Saxophone, Flute
Gilberto Vélez, Jr.: Singer
Eddie Muñoz: Trumpet
Khadaly Kahn: Trombone
Miguel Pérez: Piano
Luis Moreno: Bass
Justino Vargas: Congas
Carmelo "Papote" Ríos: Timbales
Curtis Rodríguez: Bongós
Guests:
Chino Núñez: Timbales, Bongós (Song for TP and Barretto Medley)
Harry Adorno: Timbales
Pequeño Johnny: Congas
Jorge Gonzales: Bongós
Raúl Agraz: Trumpet
Joe Fieldler: Trombone
Edwin Sánchez: Piano
Héctor "Máximo" Rodríguez: Bass
Kevin Rodríguez: Piano
Ray Vega: Tumpet solo (Song for TP)
Carl Corwin: Baritone Saxophone
Manny Mieles: Chorus
Willie Ruiz: Chorus
Manny Pacheco: Acoutstic Guitar (Amar y vivr)
Dave Valentín: Flute (Ay qué frío)
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
September 2007
CLICK TO RETURN TO TABLE OF CONTENT
Baila Con Swing Sabroso
This CD, Baila con Swing Sabroso; which contains the sought-after and unique sound of salsa dura at its best, is the debut release of multi-talented saxophonist, composer and bandleader, Ray Rodríguez' own label, World Stage Recordings.
For this recording, Swing Sabroso recruited the assistance of world renown arrangers: Oscar Hernández, Paquito Pastor and Willie Ruiz. They also counted on the collaboration of accomplished invited guest musicians; such as Chino Núñez, Dave Valentín, Ray Vega, Pequeño Johnny and others.
From the opening notes of the first track, Lo que quiero es cantar, penned and sung by sonero Gilberto Vélez, Jr. and chimed in by an excellent brass section with Ray Rodríguez (saxophone), Eddie Múñoz (trumpet) and Khadaly Kahn (trombone), you fully appreciate that you are listening to music that is dedicated to the true salsero; there is nothing insipid or monga about this recording!
Since I am an advocate of moderate tempo salsa that is more tailored to the dancer, of all the tracks on this CD, Lo que quiero es cantar is my favorite. Yet, I must admit that I found it very difficult to select a favorite because the song, Barretto Medley certainly has that vacilón that I love and in fact was the first song that I opted to play on my radio program. It is interesting to note that Barretto Medley had not originally been planned for this CD. However, in the middle of recording this CD, the great conguero, Ray Barretto, who had undergone bypass surgery in January 2006, died on February 17th. Ray Rodríguez decided to honor his memory with this medley of three songs from various stages in Barretto's fabulous career.
Also, competing for the honor of the hottest track on the CD is the faster paced title track, Baila con swing sabroso. Worthy of an honorable mention is Swing Sabroso's rendition of You're My Everything; which packs much more energy than Johnny Ray's cover of the same song. It is truly refreshing to have a CD with so many great salsa tracks to choose from!
However, this CD contains more than just salsa. There's an excellent cha-cha-chá track titled Ay qué frío, that really swings and is for the dancer and a very nice bolero titled Amar y vivir.
So, my fellow salseros, it is with the utmost sincerity that I highly recommend this CD. It has everything that a salsero looks for in this music that we love: SALSA... ¡y no hay más que desear!
Band Members:
Ray Rodríguez: Leader, Baritone Saxophone, Flute
Gilberto Vélez, Jr.: Singer
Eddie Muñoz: Trumpet
Khadaly Kahn: Trombone
Miguel Pérez: Piano
Luis Moreno: Bass
Justino Vargas: Congas
Carmelo "Papote" Ríos: Timbales
Curtis Rodríguez: Bongós
Guests:
Chino Núñez: Timbales, Bongós (Song for TP and Barretto Medley)
Harry Adorno: Timbales
Pequeño Johnny: Congas
Jorge Gonzales: Bongós
Raúl Agraz: Trumpet
Joe Fieldler: Trombone
Edwin Sánchez: Piano
Héctor "Máximo" Rodríguez: Bass
Kevin Rodríguez: Piano
Ray Vega: Tumpet solo (Song for TP)
Carl Corwin: Baritone Saxophone
Manny Mieles: Chorus
Willie Ruiz: Chorus
Manny Pacheco: Acoutstic Guitar (Amar y vivr)
Dave Valentín: Flute (Ay qué frío)
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
El Caobo
September 2007
CLICK TO RETURN TO TABLE OF CONTENT
ANDY MONTAÑEZ: El Godfather de la Salsa
ANDY MONTAÑEZ
El Godfather de la Salsa
After his many successful years on the salsa scene, the title of the new production "The Godfather of Salsa" comes well-deserved for Andy Montañez. In my own opinion, Andy's strong voice has remained the same over the years. I have some favorite tracks on this CD, like "Montanez Pa' Rato," and "Fruto que da," which features the awesome voice of Hernán Olivera, and "Rubio Blanco y Prieto" with El Canito.
On his latest recording, the great Andy Montañez invited a new generation of salsa musicians, such as Aymee Nuviola, Hernán Olivera, Hector Giovanni Rivera and Miguel Rodriguez, "El Canito De Sabana Seca." What a great combination of voices!
In addition, Montañez's sons, Andy and Harold, accompany him on the track "Montañez Pa' Rato," which talks about the musical history and career of the Montañez family, as well as what they have in store for us in the future.
This recording was put together by one of the best arrangers, producers, and directors, El Señor Julito Alvarado, who is joined by some of Puerto Rico's finest musicians.
In short, if you are an Andy Montañez aficionado, go out and get this CD; you will not be disappointed. However, if you are not a big fan of duets, this CD may not be for you.
Song titles include:
Mi Prueba De Fuego
Me Sabe A Azucar
Fruto Que Da - Feat. Herman Olivera
En Las Nubes
Montañez Pa' Rato - Feat. Andres Montañez Y Harold Montañez
Te Amo Tanto
Nueva Generación - Feat. Hector Giovani Rivera
Ese Amigo Soy Yo - Feat. Carlos Manuel Taino
Celos - Feat. Juan Garcia
Rubio, Blanco Y Prieto
Musicians include:
Richard Trinidad Piano
Carlos Martinez Bajo
Pedro Pérez Bajo
Charlie Sierra Timbal & percusion menor
William Kachiro Thompson Conga
Angel Garcia Bongó
Julito Alvarado Trompetas
José Berrios Raymundi Trombón
Eliut Cinton Trombon
Roberto Calderón Baritono sax
Ruben Rios Flauta
Primi Cruz Coro
Wichie Camacho Coro
Darvel Garcia Coro
Guests: Aymee Nuviola
Herman Olivera
Andres Montañez
Harold Monañez
Héctor Giovani Rivera
Carlos Manuel, Juan Garcia, El Canito
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ivette 'La Coquí'
August 2007
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El Godfather de la Salsa
After his many successful years on the salsa scene, the title of the new production "The Godfather of Salsa" comes well-deserved for Andy Montañez. In my own opinion, Andy's strong voice has remained the same over the years. I have some favorite tracks on this CD, like "Montanez Pa' Rato," and "Fruto que da," which features the awesome voice of Hernán Olivera, and "Rubio Blanco y Prieto" with El Canito.
On his latest recording, the great Andy Montañez invited a new generation of salsa musicians, such as Aymee Nuviola, Hernán Olivera, Hector Giovanni Rivera and Miguel Rodriguez, "El Canito De Sabana Seca." What a great combination of voices!
In addition, Montañez's sons, Andy and Harold, accompany him on the track "Montañez Pa' Rato," which talks about the musical history and career of the Montañez family, as well as what they have in store for us in the future.
This recording was put together by one of the best arrangers, producers, and directors, El Señor Julito Alvarado, who is joined by some of Puerto Rico's finest musicians.
In short, if you are an Andy Montañez aficionado, go out and get this CD; you will not be disappointed. However, if you are not a big fan of duets, this CD may not be for you.
Song titles include:
Mi Prueba De Fuego
Me Sabe A Azucar
Fruto Que Da - Feat. Herman Olivera
En Las Nubes
Montañez Pa' Rato - Feat. Andres Montañez Y Harold Montañez
Te Amo Tanto
Nueva Generación - Feat. Hector Giovani Rivera
Ese Amigo Soy Yo - Feat. Carlos Manuel Taino
Celos - Feat. Juan Garcia
Rubio, Blanco Y Prieto
Musicians include:
Richard Trinidad Piano
Carlos Martinez Bajo
Pedro Pérez Bajo
Charlie Sierra Timbal & percusion menor
William Kachiro Thompson Conga
Angel Garcia Bongó
Julito Alvarado Trompetas
José Berrios Raymundi Trombón
Eliut Cinton Trombon
Roberto Calderón Baritono sax
Ruben Rios Flauta
Primi Cruz Coro
Wichie Camacho Coro
Darvel Garcia Coro
Guests: Aymee Nuviola
Herman Olivera
Andres Montañez
Harold Monañez
Héctor Giovani Rivera
Carlos Manuel, Juan Garcia, El Canito
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ivette 'La Coquí'
August 2007
CLICK TO RETURN TO TABLE OF CONTENT
GRUPO CARIBE: Somos Caribeños
GRUPO CARIBE
Somos Caribeños
In their June 2007 edition, internationally distributed Ebony magazine published a 7 page article (182 - 188) that discusses the growing popularity of Salsa within the African-American community. I was very excited about that article. It was great to see that more and more Afro-Americans are understanding and embracing this part of our Diaspora. The timing of that article and the release of Grupo Caribe's latest CD, Somos Caribeños, could not have come at a more opportune time.
So, why mention that article as an introduction to a review of Somos Caribeños, some will ask. Well, on this labor of love, Grupo Caribe deliberately harnesses and presents the often misunderstood... often forgotten... often taken for granted... often ignored... often disparaged... often misrepresented... and often denied, classic Afro-Caribbean influenced sounds of what has now become generically known as Salsa. This CD pays tribute to the great music from the '70s as it evolved in New York; a time when there was real creativity and sound production from passionate and accomplished musicians and not just assembly-line style, canned and synthesized music. What we have here is music that smoothly integrates Cuban Mambo and Son, Puerto Rican Bomba and Plena, and African-American Jazz, in order to deliver a powerful, poignant sound of salsa de verdad! As Chico Alvarez Peraza writes in the liner notes to the CD, "It was a period when composers and orchestrators were the key figures, when lyrical content was as important as the arrangement, and when the vocal prowess of the lead singer was paramount." This CD, my fellow salseros, is the real deal!
Although I am admittedly a fan of Salsa dura, and this CD has plenty of it, I mostly enjoy songs that are of a medium tempo. So, my favorite tunes on this CD are 4 tracks that are of the perfect tempo for the dancer: Somos caribeños, Tambó la rumba, Negro de sociedad and A la Buena de Dios.
My favorite track on the CD is Tambó la rumba; penned by Lino Iglesia, arranged by Oscar Hernández and crooned by sonero Luisito Ayala. From the beginning of the song, the brass section, with Al Acosta (tenor sax), Pete Miranda (baritone sax), Roberto Rodríguez (trumpet) and Raúl Navarrette (trombone), lays down a groovy and jazzy rhythm that carries the song. From the very first note, the song demands your undivided attention and drives you to the dance floor, shimmying and rolling your shoulders all the way there! "Tambó la rumba me llama" (tambó la rumba is calling me), croons Luisito Ayala and indeed that is just what you will experience when you hear this song. It will call you... beckon you to head to the dance floor... and you will obey! Towards the end of the song, there is a point that highlights the sounds of the percussions; masterfully executed by Louis Bauso (congas, bongó) and David Forestier (timbales); with Sergio Rivera's piano maintaining the mellifluous flow of the song. When that part of the song arrives, the dancer is caught up in a moment of dance bliss.
The international success and acclaim of the Buena Vista Social Club, the resurgence of great Fania classics and the hard work, dedication and determination of artists such as Grupo Caribe, have given the genre new life, at a time when commercialized Salsa has nearly driven the very roots of the music to near extinction! Now, the true sound is again being heard throughout the world.
My heartfelt gratitude goes out to Grupo Caribe for this important contribution. It is a job well done, indeed!
To the Salsa enthusiast, my final word to you is that you simply must add this CD to your collection. You will certainly be glad that you did so! As I've already said, it is the real deal!
The Band:
Sergio Rivera: Band Leader, Piano and Musical Director
Louis Bauso: Musical Director, Congas, bongó, Bombo and Cowbell
David Forestier: Timbales Ruben Rodríguez: Bass
Willie Cintrón: Bass
Al Acosta: Tenor Sax and Flute
Pete Miranda: Baritone Sax
Roberto Rodríguez, Jr.: Trumpet
Raúl Navarrette: Trombone
The Singers:
Luisito Ayala, Herman Olivera, Tito Allen
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted by,
El Caobo
June 2007
CLICK TO RETURN TO TABLE OF CONTENT
Somos Caribeños
In their June 2007 edition, internationally distributed Ebony magazine published a 7 page article (182 - 188) that discusses the growing popularity of Salsa within the African-American community. I was very excited about that article. It was great to see that more and more Afro-Americans are understanding and embracing this part of our Diaspora. The timing of that article and the release of Grupo Caribe's latest CD, Somos Caribeños, could not have come at a more opportune time.
So, why mention that article as an introduction to a review of Somos Caribeños, some will ask. Well, on this labor of love, Grupo Caribe deliberately harnesses and presents the often misunderstood... often forgotten... often taken for granted... often ignored... often disparaged... often misrepresented... and often denied, classic Afro-Caribbean influenced sounds of what has now become generically known as Salsa. This CD pays tribute to the great music from the '70s as it evolved in New York; a time when there was real creativity and sound production from passionate and accomplished musicians and not just assembly-line style, canned and synthesized music. What we have here is music that smoothly integrates Cuban Mambo and Son, Puerto Rican Bomba and Plena, and African-American Jazz, in order to deliver a powerful, poignant sound of salsa de verdad! As Chico Alvarez Peraza writes in the liner notes to the CD, "It was a period when composers and orchestrators were the key figures, when lyrical content was as important as the arrangement, and when the vocal prowess of the lead singer was paramount." This CD, my fellow salseros, is the real deal!
Although I am admittedly a fan of Salsa dura, and this CD has plenty of it, I mostly enjoy songs that are of a medium tempo. So, my favorite tunes on this CD are 4 tracks that are of the perfect tempo for the dancer: Somos caribeños, Tambó la rumba, Negro de sociedad and A la Buena de Dios.
My favorite track on the CD is Tambó la rumba; penned by Lino Iglesia, arranged by Oscar Hernández and crooned by sonero Luisito Ayala. From the beginning of the song, the brass section, with Al Acosta (tenor sax), Pete Miranda (baritone sax), Roberto Rodríguez (trumpet) and Raúl Navarrette (trombone), lays down a groovy and jazzy rhythm that carries the song. From the very first note, the song demands your undivided attention and drives you to the dance floor, shimmying and rolling your shoulders all the way there! "Tambó la rumba me llama" (tambó la rumba is calling me), croons Luisito Ayala and indeed that is just what you will experience when you hear this song. It will call you... beckon you to head to the dance floor... and you will obey! Towards the end of the song, there is a point that highlights the sounds of the percussions; masterfully executed by Louis Bauso (congas, bongó) and David Forestier (timbales); with Sergio Rivera's piano maintaining the mellifluous flow of the song. When that part of the song arrives, the dancer is caught up in a moment of dance bliss.
The international success and acclaim of the Buena Vista Social Club, the resurgence of great Fania classics and the hard work, dedication and determination of artists such as Grupo Caribe, have given the genre new life, at a time when commercialized Salsa has nearly driven the very roots of the music to near extinction! Now, the true sound is again being heard throughout the world.
My heartfelt gratitude goes out to Grupo Caribe for this important contribution. It is a job well done, indeed!
To the Salsa enthusiast, my final word to you is that you simply must add this CD to your collection. You will certainly be glad that you did so! As I've already said, it is the real deal!
The Band:
Sergio Rivera: Band Leader, Piano and Musical Director
Louis Bauso: Musical Director, Congas, bongó, Bombo and Cowbell
David Forestier: Timbales Ruben Rodríguez: Bass
Willie Cintrón: Bass
Al Acosta: Tenor Sax and Flute
Pete Miranda: Baritone Sax
Roberto Rodríguez, Jr.: Trumpet
Raúl Navarrette: Trombone
The Singers:
Luisito Ayala, Herman Olivera, Tito Allen
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted by,
El Caobo
June 2007
CLICK TO RETURN TO TABLE OF CONTENT
ORQUESTA UNIVERSAL: New York Salsa
ORQUESTA UNIVERSAL
New York Salsa
Salsa enthusiasts and Salseros, be forewarned, HOT STEAMY SALSA AHEAD!
Here we go Again!
New York's own Trumpeter Richie Vitale teams with Chileno and Tresero/ Dancer / Choreograher, Carlos Koing on this amazing debut CD "New York Salsa." From the very first track you realize that this cd is going to be very special. It promises to transport you "center stage," where you feel like you're watching and listening to this Orchestra "live" in an era where music appreciation was at an all time high. Join the journey, back to the "Palladium Days" of Mambo... to present day Salsa favorites.
This 12 piece New York City based Orchestra is comprised of musicians such as Cucho Martinez on bass, Jorge Jimenez on congas, Chacho Ramirez on bongós, Lester Luburd on timbales, with Edy Martinez heading the rhythm section on piano. Sonero Pichardo and Chuito de Jesus on background vocals, with lead vocals headed by David Oquendo.
The group performs with The Carlos Konig Dancers interpreting many of the classic dance numbers, in an effort to portray the history and transition of mambo, back in the day, to the hot salsa we listen to, dance to, and as Dj's share with our listeners and Salseros today!
I can't single out any particular track as my favorite because I loved the CD in its entirety. However, there were a couple of tracks did stand out for me personally. Among those were, Night in Tunisia and How Insensitive. I thoroughly enjoyed the original "Cubano Cha Cha" number by Vitale and Konig, as well as "Evidence" and "Ahora Si." If you love Latin Jazz you'll like those as well.
From the very first classic dance track "Fuego a La Jicotea" you realize that this one is a keeper. Additional classic favorites include El Manisero, La Sopa en Botella. And, get ready to hit the dance floors with Agua de Clavelito! Quality at it's best!
Superb "Big Band" styles and sound, a true dancer's delight and your favorite classics. Add that, together with the talents of Vitale and Konig and you have one simply amazing debut CD! Talk about "Gettin' it right" the first time!
Highly Recommended. If you don't have this one, you need to get it asap!
You can listen to 7 out of the 11 tracks and purchase this CD on CD Baby
http://cdbaby.com/cd/orquniversal
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Latin Lady DJ Margarita
May 2007
CLICK TO RETURN TO TABLE OF CONTENT
New York Salsa
Salsa enthusiasts and Salseros, be forewarned, HOT STEAMY SALSA AHEAD!
Here we go Again!
New York's own Trumpeter Richie Vitale teams with Chileno and Tresero/ Dancer / Choreograher, Carlos Koing on this amazing debut CD "New York Salsa." From the very first track you realize that this cd is going to be very special. It promises to transport you "center stage," where you feel like you're watching and listening to this Orchestra "live" in an era where music appreciation was at an all time high. Join the journey, back to the "Palladium Days" of Mambo... to present day Salsa favorites.
This 12 piece New York City based Orchestra is comprised of musicians such as Cucho Martinez on bass, Jorge Jimenez on congas, Chacho Ramirez on bongós, Lester Luburd on timbales, with Edy Martinez heading the rhythm section on piano. Sonero Pichardo and Chuito de Jesus on background vocals, with lead vocals headed by David Oquendo.
The group performs with The Carlos Konig Dancers interpreting many of the classic dance numbers, in an effort to portray the history and transition of mambo, back in the day, to the hot salsa we listen to, dance to, and as Dj's share with our listeners and Salseros today!
I can't single out any particular track as my favorite because I loved the CD in its entirety. However, there were a couple of tracks did stand out for me personally. Among those were, Night in Tunisia and How Insensitive. I thoroughly enjoyed the original "Cubano Cha Cha" number by Vitale and Konig, as well as "Evidence" and "Ahora Si." If you love Latin Jazz you'll like those as well.
From the very first classic dance track "Fuego a La Jicotea" you realize that this one is a keeper. Additional classic favorites include El Manisero, La Sopa en Botella. And, get ready to hit the dance floors with Agua de Clavelito! Quality at it's best!
Superb "Big Band" styles and sound, a true dancer's delight and your favorite classics. Add that, together with the talents of Vitale and Konig and you have one simply amazing debut CD! Talk about "Gettin' it right" the first time!
Highly Recommended. If you don't have this one, you need to get it asap!
You can listen to 7 out of the 11 tracks and purchase this CD on CD Baby
http://cdbaby.com/cd/orquniversal
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Latin Lady DJ Margarita
May 2007
CLICK TO RETURN TO TABLE OF CONTENT
FANIA ALL STARS: Live at the Cheetah, Vol. 1
FANIA ALL STARS
Live at the Cheetah, Vol. 1
Admittedly, I'm not usually thrilled by live music recordings. The reason for this is perhaps because of the often resultant inferior sound quality, attributable to the difficulty in capturing the appropriate levels for each individual instrument, vocalist and the miscellaneous crowd noises, with the recording equipment . All too often, the end result is just not quite right and pales in comparison to studio recordings. However, I must confess that this live recording, "Fania All Stars, Live at the Cheetah, Vol. 1," sounds great! Furthermore, this particular version, remastered by Emusica, is supreme!
The first track, titled "Introduction Theme (Cheetah)," is just that, an introduction of the fabulous cast of accomplished musicians; while they lay down a groovy guajira background beat; penned by musical director, Johnny Pacheco. Just before the music begins and after introducing MC Symphony Sid, MC Dizzy Izzy Sanabria shouts to an anxious and cheering crowd: "Qué viva la música! Latin music power! Yeah!" and the excitement heard from that very fortunate crowd in 1971 is still palpable even today, via this recording, some 36 years later!
As Symphony Sid begins to speak, critically acclaimed pianist, Larry Harlow, begins to massage your very soul, along with the keys of his piano, with his finger tips, followed closely by the combined 'rákata' of Ray Barretto's congas and Orestes Vilató's timbales. Not following far behind is the accompanying soulful thunder of Bobby Valetín's bass. From there, to use an urban colloquial expression, 'it's on!' As the Fania All Stars find their groove, Symphony Sid introduces musical director Johnny Pacheco, who in turn introduces each artist and other collaborators. Don't be fooled by the title of this track. Although it is an introduction, it is also a full, 5 minute, dance-worthy track. You simply cannot listen to it and not want to dance!
As alluded to by Juan A. Moreno Velázquez, who wrote the liner notes for this remastered version and was at the Cheetah when this track was originally recorded, the next track, "Descarga Fania All Stars," succeeds in showcasing the array of musical talents of the Fania All Stars. Each contributing "lo suyo."
Next up on this wonderful CD, is the Fania All Stars' rendition of Cheo Feliciano's then already critically acclaimed dance floor driver "Anacaona," sung by Cheo himself! This particular song, penned by famed composer, Catalino 'Tite" Curet Alonso, had marked Cheo's successful return after a long and triumphant recovery from drug addition. The live version on this CD, flawlessly executed by the Fania All Stars and appropriately titled "Anacaona (Cheetah)," is simply unforgettable.
The last track, "Quítate tú" is a track that the Fania All Stars would perform countless times over the years. This classic tune has been so memorable and influential, that a couple years ago, a group of 12 reggaetón artists, called the "12 Discípulos," made a salsatón version of it called "Quítate tú, pa' ponerme yo" and sang it at the Latin Grammy Awards ceremony to an appreciative crowd. Singing this song on the "Fania All Stars, Live at the Cheetah, Vol. 1" CD, we hear the fabulous voices of Cheo Feliciano, Héctor Lavoe, Pete 'El Conde' Rodríguez, Adalberto 'El Canario' Santiago, and Ismael Miranda. With voices like these, who can dare doubt that the resultant recording is supreme?
This is a CD that boasts some of the very best salsa artists of all times! As I systematically review all remastered Fania classics, I find myself repeating, time and time again, and feel compelled to repeat it again, that this is a remastered CD that any salsa enthusiast must have in their collection! Hey, I have mine, better go get yours!
Musicians:
- Johnny Pacheco: Flute
- Ray Barretto: Congas
- Roberto Roena: Bongó
- Orestes Vilató: Timbales
- Larry Harlow: Piano
- Héctor Zarzuela: Trumpet
- Roberto Rodríguez: Lead Trumpet
- Larry Spencer: Trumpet
- Larry Rogers: Lead Trombone
- Reinaldo Jorge: Trombone
- Willie Colón: Trombone
- Bobby Valentín: Bass
- Ismael Miranda: Maracas
- Yomo Toro: Tres
Vocalists:
- Santos Colón
- Héctor Lavoe
- Ismael Miranda
- Pete 'El Conde' Rodríguez
- Adalberto Santiago
Special Guests:
- Bobby Cruz
- José 'Cheo' Feliciano
- Ricardo Ray
Arrangers:
- Johnny Pacheco: "Intro Theme (Cheetah)" and "Quítate tú"
- Ray Barretto: "Descarga Fania"
- Luis Cruz: "Descarga Fania"
- Bobby Valentín: "Quítate tú"
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted by,
El Caobo
April 2007
CLICK TO RETURN TO TABLE OF CONTENT
Live at the Cheetah, Vol. 1
Admittedly, I'm not usually thrilled by live music recordings. The reason for this is perhaps because of the often resultant inferior sound quality, attributable to the difficulty in capturing the appropriate levels for each individual instrument, vocalist and the miscellaneous crowd noises, with the recording equipment . All too often, the end result is just not quite right and pales in comparison to studio recordings. However, I must confess that this live recording, "Fania All Stars, Live at the Cheetah, Vol. 1," sounds great! Furthermore, this particular version, remastered by Emusica, is supreme!
The first track, titled "Introduction Theme (Cheetah)," is just that, an introduction of the fabulous cast of accomplished musicians; while they lay down a groovy guajira background beat; penned by musical director, Johnny Pacheco. Just before the music begins and after introducing MC Symphony Sid, MC Dizzy Izzy Sanabria shouts to an anxious and cheering crowd: "Qué viva la música! Latin music power! Yeah!" and the excitement heard from that very fortunate crowd in 1971 is still palpable even today, via this recording, some 36 years later!
As Symphony Sid begins to speak, critically acclaimed pianist, Larry Harlow, begins to massage your very soul, along with the keys of his piano, with his finger tips, followed closely by the combined 'rákata' of Ray Barretto's congas and Orestes Vilató's timbales. Not following far behind is the accompanying soulful thunder of Bobby Valetín's bass. From there, to use an urban colloquial expression, 'it's on!' As the Fania All Stars find their groove, Symphony Sid introduces musical director Johnny Pacheco, who in turn introduces each artist and other collaborators. Don't be fooled by the title of this track. Although it is an introduction, it is also a full, 5 minute, dance-worthy track. You simply cannot listen to it and not want to dance!
As alluded to by Juan A. Moreno Velázquez, who wrote the liner notes for this remastered version and was at the Cheetah when this track was originally recorded, the next track, "Descarga Fania All Stars," succeeds in showcasing the array of musical talents of the Fania All Stars. Each contributing "lo suyo."
Next up on this wonderful CD, is the Fania All Stars' rendition of Cheo Feliciano's then already critically acclaimed dance floor driver "Anacaona," sung by Cheo himself! This particular song, penned by famed composer, Catalino 'Tite" Curet Alonso, had marked Cheo's successful return after a long and triumphant recovery from drug addition. The live version on this CD, flawlessly executed by the Fania All Stars and appropriately titled "Anacaona (Cheetah)," is simply unforgettable.
The last track, "Quítate tú" is a track that the Fania All Stars would perform countless times over the years. This classic tune has been so memorable and influential, that a couple years ago, a group of 12 reggaetón artists, called the "12 Discípulos," made a salsatón version of it called "Quítate tú, pa' ponerme yo" and sang it at the Latin Grammy Awards ceremony to an appreciative crowd. Singing this song on the "Fania All Stars, Live at the Cheetah, Vol. 1" CD, we hear the fabulous voices of Cheo Feliciano, Héctor Lavoe, Pete 'El Conde' Rodríguez, Adalberto 'El Canario' Santiago, and Ismael Miranda. With voices like these, who can dare doubt that the resultant recording is supreme?
This is a CD that boasts some of the very best salsa artists of all times! As I systematically review all remastered Fania classics, I find myself repeating, time and time again, and feel compelled to repeat it again, that this is a remastered CD that any salsa enthusiast must have in their collection! Hey, I have mine, better go get yours!
Musicians:
- Johnny Pacheco: Flute
- Ray Barretto: Congas
- Roberto Roena: Bongó
- Orestes Vilató: Timbales
- Larry Harlow: Piano
- Héctor Zarzuela: Trumpet
- Roberto Rodríguez: Lead Trumpet
- Larry Spencer: Trumpet
- Larry Rogers: Lead Trombone
- Reinaldo Jorge: Trombone
- Willie Colón: Trombone
- Bobby Valentín: Bass
- Ismael Miranda: Maracas
- Yomo Toro: Tres
Vocalists:
- Santos Colón
- Héctor Lavoe
- Ismael Miranda
- Pete 'El Conde' Rodríguez
- Adalberto Santiago
Special Guests:
- Bobby Cruz
- José 'Cheo' Feliciano
- Ricardo Ray
Arrangers:
- Johnny Pacheco: "Intro Theme (Cheetah)" and "Quítate tú"
- Ray Barretto: "Descarga Fania"
- Luis Cruz: "Descarga Fania"
- Bobby Valentín: "Quítate tú"
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted by,
El Caobo
April 2007
CLICK TO RETURN TO TABLE OF CONTENT
LOUIE ROMERO Y SU GRUPO MAZACOTE: Timbalero
LOUIE ROMERO Y SU GRUPO MAZACOTE
Timbalero
The "throw-back" is in! Old-school Salsa lives in Louie Romero y su Grupo Mazacote's new CD, "Timbalero". Romero creates yet another wonderful timbal solo for the TIMBALERO track remake, respectfully carrying out Willie Colon's original skeletal arrangement while successfully managing to (still) keep it "organic", calle, and, at the same time, his very own, and I'll venture to say even more organic than Willie Colon's! It's so refreshing, especially in this time of the Reggaetón and Salsa monga epidemic.
"Si no tu, la otra" is another sabrosisimo track -- originally a cumbia from the 1960's, and also cleverly arranged and sung in Merengue by Johnny "El Caballo" Ventura in the 1970's. The song is about a man moving on from an unappreciative relationship. The flavor of this track, as well as the rest of the tracks on this smokin' CD, is again, its organic sound, which is in my opinion, the epitome of Salsa Dura. Within the clave's metronome, the intentional slight lagging of the horn section gives the musical structure of this CD a very hip, Barrio sound indeed, and certainly Manny Martinez's vocals adds to that; perfect for dancing to. DJ's: This track for sure is a club banger! The West coast has surely been lucky since 1994.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ana Flores
April 2007
CLICK TO RETURN TO TABLE OF CONTENT
Timbalero
The "throw-back" is in! Old-school Salsa lives in Louie Romero y su Grupo Mazacote's new CD, "Timbalero". Romero creates yet another wonderful timbal solo for the TIMBALERO track remake, respectfully carrying out Willie Colon's original skeletal arrangement while successfully managing to (still) keep it "organic", calle, and, at the same time, his very own, and I'll venture to say even more organic than Willie Colon's! It's so refreshing, especially in this time of the Reggaetón and Salsa monga epidemic.
"Si no tu, la otra" is another sabrosisimo track -- originally a cumbia from the 1960's, and also cleverly arranged and sung in Merengue by Johnny "El Caballo" Ventura in the 1970's. The song is about a man moving on from an unappreciative relationship. The flavor of this track, as well as the rest of the tracks on this smokin' CD, is again, its organic sound, which is in my opinion, the epitome of Salsa Dura. Within the clave's metronome, the intentional slight lagging of the horn section gives the musical structure of this CD a very hip, Barrio sound indeed, and certainly Manny Martinez's vocals adds to that; perfect for dancing to. DJ's: This track for sure is a club banger! The West coast has surely been lucky since 1994.
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Ana Flores
April 2007
CLICK TO RETURN TO TABLE OF CONTENT
ALEX WILSON: Inglaterra
ALEX WILSON
Inglaterra
It felt like I'd been waiting forever for this cd when I finally got it on it's release date in February. Ever since buying 'Show Me' over a year ago, which was released on single, I've been waiting to hear the album. It's been two years in the making but the big question is....was it worth the wait?
Inglaterra is Alex's 5th album and to quote him: 'I have set my jazziness aside for another album' so if you're buying this album don't expect to hear the Latin Jazz for which he's probably best known, instead expect an explosion of different musical influences and you won't be disappointed.
Although my initial reaction was one of disappointment at the length of the album (a mere 41.9 minutes and just 9 tracks) I was quickly reminded that it's quality not quantity that counts and this cd is quality. The content is diverse and ambitious to say the least, from Cuban style to R&B Salsa and from the more traditional salsa formula to salsa fused with Bhangra, it's certainly an eclectic collection.
'Show Me' is an original salsa/soul composition and has been a dance floor hit over here in the UK for quite some time, there are two versions on this album, the original version and a reggaeton remix, both featuring the fantastic vocals of co-writer Mary Pearce. The original version is still by far the best for the salsa dancer as the remix is a little too slow and the beat seems more suited to Lambada.
If there is one track on this album that has the same appeal as 'Show Me', it's Alex's interpretation of the Chaka Khan hit 'Ain't Nobody', a shining example of Alex's ability to fuse two different genres together without compromise. This is already proving to be a big hit in the UK.
If I had to pick a personal favorite, it would be the title track 'Inglaterra' which is a fierce, more traditional salsa track with fantastic vocals, horns and percussion all held together, as always, by Alex on piano. I first played this track a few months ago (it was available on the 'Beginners Guide To Salsa Vol 2') and there was, and continues to be, a great response from the dancers, 6.05 minutes of pure dancing bliss!!.
The bhangra/salsa crossover track 'Oh Kuri' is fresh, fun and exciting, everything tells me it shouldn't work......but it really does!! The bhangra vocals provided by Shahid Abbas Khan sung over a traditional salsa beat makes one sit up and take notice, I found it very strange at first (I think I even laughed!) but without doubt it's infectious.
More 'traditional' salsa tracks are 'La Vida Que Nos Merecemos' and the cuban flavoured 'Pega En Inglaterra' which are fine examples that a Brit can hold his own with the best of the latin composers, arrangers and band leaders. In fact, Alex co-wrote all but two tracks on this album ( 'Ain't Nobody' and 'Nature Boy') and they are all tracks he can be proud of.
To answer my original question, was it worth the wait.......YES!!! It's great fun, not one for the 'purists' but if you don't take it too seriously and want to cheer up a room....pop this on!!
Track listing:
1. La Vida Que Nos Merecemos (Crespo/Giovannini/Wilson/MCS)
2. Show Me (Giovannini/Pearce/Wilson/MCS)
3. Oh Kuri (Bhamra/WIlson/MCS)
4. Ain't Nobody (Wolinski/EMI Music Publishing)
5. Pega' En Inglaterra (Chacon/Wilson/MCS)
6. Sube Lo (Criolla/Ortiz/Wilson/MCS)
7. Inglaterra (Jimenez/Wilson/MCS)
8. Nature Boy (Ahbez/Crestview-Music Corp/Chappell Morris Ltd)
9. Show Me Remix (Giovannini/Pearce/Wilson/MCS)
Some of the tracks on Inglaterra are also featured on the 'The Alex Wilson Dance Timing CD' available from his website at: http://www.alexwilson.net/shop/timing_cd.htm
The Alex Wilson Dance Timing CD is very informative and educational, spit into two parts, firstly; an explanation of the salsa orquestra with a review of the basic fundamental roles that various instruments play in forming a salsa band. Alex also looks at the building blocks of timing that are integral from a musicians point of view. Please note there is a timing count over all the tracks on this cd.
CLICK HERE TO PURCHASE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
April 2007
CLICK TO RETURN TO TABLE OF CONTENT
Inglaterra
It felt like I'd been waiting forever for this cd when I finally got it on it's release date in February. Ever since buying 'Show Me' over a year ago, which was released on single, I've been waiting to hear the album. It's been two years in the making but the big question is....was it worth the wait?
Inglaterra is Alex's 5th album and to quote him: 'I have set my jazziness aside for another album' so if you're buying this album don't expect to hear the Latin Jazz for which he's probably best known, instead expect an explosion of different musical influences and you won't be disappointed.
Although my initial reaction was one of disappointment at the length of the album (a mere 41.9 minutes and just 9 tracks) I was quickly reminded that it's quality not quantity that counts and this cd is quality. The content is diverse and ambitious to say the least, from Cuban style to R&B Salsa and from the more traditional salsa formula to salsa fused with Bhangra, it's certainly an eclectic collection.
'Show Me' is an original salsa/soul composition and has been a dance floor hit over here in the UK for quite some time, there are two versions on this album, the original version and a reggaeton remix, both featuring the fantastic vocals of co-writer Mary Pearce. The original version is still by far the best for the salsa dancer as the remix is a little too slow and the beat seems more suited to Lambada.
If there is one track on this album that has the same appeal as 'Show Me', it's Alex's interpretation of the Chaka Khan hit 'Ain't Nobody', a shining example of Alex's ability to fuse two different genres together without compromise. This is already proving to be a big hit in the UK.
If I had to pick a personal favorite, it would be the title track 'Inglaterra' which is a fierce, more traditional salsa track with fantastic vocals, horns and percussion all held together, as always, by Alex on piano. I first played this track a few months ago (it was available on the 'Beginners Guide To Salsa Vol 2') and there was, and continues to be, a great response from the dancers, 6.05 minutes of pure dancing bliss!!.
The bhangra/salsa crossover track 'Oh Kuri' is fresh, fun and exciting, everything tells me it shouldn't work......but it really does!! The bhangra vocals provided by Shahid Abbas Khan sung over a traditional salsa beat makes one sit up and take notice, I found it very strange at first (I think I even laughed!) but without doubt it's infectious.
More 'traditional' salsa tracks are 'La Vida Que Nos Merecemos' and the cuban flavoured 'Pega En Inglaterra' which are fine examples that a Brit can hold his own with the best of the latin composers, arrangers and band leaders. In fact, Alex co-wrote all but two tracks on this album ( 'Ain't Nobody' and 'Nature Boy') and they are all tracks he can be proud of.
To answer my original question, was it worth the wait.......YES!!! It's great fun, not one for the 'purists' but if you don't take it too seriously and want to cheer up a room....pop this on!!
Track listing:
1. La Vida Que Nos Merecemos (Crespo/Giovannini/Wilson/MCS)
2. Show Me (Giovannini/Pearce/Wilson/MCS)
3. Oh Kuri (Bhamra/WIlson/MCS)
4. Ain't Nobody (Wolinski/EMI Music Publishing)
5. Pega' En Inglaterra (Chacon/Wilson/MCS)
6. Sube Lo (Criolla/Ortiz/Wilson/MCS)
7. Inglaterra (Jimenez/Wilson/MCS)
8. Nature Boy (Ahbez/Crestview-Music Corp/Chappell Morris Ltd)
9. Show Me Remix (Giovannini/Pearce/Wilson/MCS)
Some of the tracks on Inglaterra are also featured on the 'The Alex Wilson Dance Timing CD' available from his website at: http://www.alexwilson.net/shop/timing_cd.htm
The Alex Wilson Dance Timing CD is very informative and educational, spit into two parts, firstly; an explanation of the salsa orquestra with a review of the basic fundamental roles that various instruments play in forming a salsa band. Alex also looks at the building blocks of timing that are integral from a musicians point of view. Please note there is a timing count over all the tracks on this cd.
CLICK HERE TO PURCHASE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Gillian 'Salsa Fix' Heaton
April 2007
CLICK TO RETURN TO TABLE OF CONTENT
CACHAÉ: Toronto Sessions
CACHÉ
Toronto Sessions
Released October / 2006
Label: Indie / Caché Management
Tear off the wrapping, open the jewel box, insert disc into your cd player and you're immediately thrust into dance mode from the very the first and extremely energetic descarga "El Sonero Llego" off Caché's most recent release "Toronto Sessions." I love descargas (jam sessions) and I was all ears from here! Be sure to listen for the piano solo by Paul Le Roux! Vaya brother!
"Son del Coquito" is my next track of choice. A bouncy Son with a touch of "Coquito" (a rum based beverage), that describes the blending of the rhythm "Son," together with that "kick" of "Coquito" for that perfect combination!
Caché's members are comprised of eight of Toronto's most extremely talented musicians featuring the vocal styling's of Venezuelan, Juan Carlos Cárdenas, Wilson Acevedo, (percussion) , Daniel Stone (congas), Yannick Malboeuf (trombone), Patrick Brown (trombone), Paul Le Roux (piano), Richard Morales, (bass) and Randy Stirtzinger (vibraphone) .
You'll find a nice Son Montuno, with a bit of Caribbean flavor with "Demente Soy" in addition to a cumbia base on "Vuelvo a Mi Carnaval". "Richard's Fault" is my next favorite on this release. The chorus is in English and this particular number is mostly instrumental, and talks about their bass player Richard Morales, which of course features his prowess on the bass, bringing it all together at the closing with a nice little solo on congas by Daniel Stone.
As we continue, we find a nice Guajira with "Diablita" and yet another great piece with "Otra Oportunidad." "Abuelos" is a wonderful tribute to "Grandparents," the lessons learned, the patience and love shared, their influences, the pain of losing them and the yearning to always have them by our side to turn to in our time of need.
Caché is enjoying their title of "Best Independent Latin Group of the Year" which was awarded them at the Canadian Independent Music Awards Ceremony in March of 2006, while the group was still recording this, their second album. An auspicious occasion which no doubt re-affirmed to the band, that their focus on creating original music was and remains, of utmost importance, especially in Canada.
If new, original music, done well, and loaded with "tumbao" is what you're looking for, then this is one cd that you'll most definitely want to add to your own personal collection. It has everything, and I mean everything, intricately arranged in a neat little package that truly delivers!
On the liner notes you'll find this quote by the group: "We believe very much that Salsa is like Pop music, the culture of the city, and by creating our own stories we make the city live much longer by being a part of its own history. We will keep Salsa music alive..."
It is this Latin Lady Dj's opinion, that Caché, giving all that they have from the heart and soul, is doing exactly just that, Canadian style!
CLICK HERE TO PURCHASE CD
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Submitted by,
Latin Lady DJ Margarita
March 2007
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Toronto Sessions
Released October / 2006
Label: Indie / Caché Management
Tear off the wrapping, open the jewel box, insert disc into your cd player and you're immediately thrust into dance mode from the very the first and extremely energetic descarga "El Sonero Llego" off Caché's most recent release "Toronto Sessions." I love descargas (jam sessions) and I was all ears from here! Be sure to listen for the piano solo by Paul Le Roux! Vaya brother!
"Son del Coquito" is my next track of choice. A bouncy Son with a touch of "Coquito" (a rum based beverage), that describes the blending of the rhythm "Son," together with that "kick" of "Coquito" for that perfect combination!
Caché's members are comprised of eight of Toronto's most extremely talented musicians featuring the vocal styling's of Venezuelan, Juan Carlos Cárdenas, Wilson Acevedo, (percussion) , Daniel Stone (congas), Yannick Malboeuf (trombone), Patrick Brown (trombone), Paul Le Roux (piano), Richard Morales, (bass) and Randy Stirtzinger (vibraphone) .
You'll find a nice Son Montuno, with a bit of Caribbean flavor with "Demente Soy" in addition to a cumbia base on "Vuelvo a Mi Carnaval". "Richard's Fault" is my next favorite on this release. The chorus is in English and this particular number is mostly instrumental, and talks about their bass player Richard Morales, which of course features his prowess on the bass, bringing it all together at the closing with a nice little solo on congas by Daniel Stone.
As we continue, we find a nice Guajira with "Diablita" and yet another great piece with "Otra Oportunidad." "Abuelos" is a wonderful tribute to "Grandparents," the lessons learned, the patience and love shared, their influences, the pain of losing them and the yearning to always have them by our side to turn to in our time of need.
Caché is enjoying their title of "Best Independent Latin Group of the Year" which was awarded them at the Canadian Independent Music Awards Ceremony in March of 2006, while the group was still recording this, their second album. An auspicious occasion which no doubt re-affirmed to the band, that their focus on creating original music was and remains, of utmost importance, especially in Canada.
If new, original music, done well, and loaded with "tumbao" is what you're looking for, then this is one cd that you'll most definitely want to add to your own personal collection. It has everything, and I mean everything, intricately arranged in a neat little package that truly delivers!
On the liner notes you'll find this quote by the group: "We believe very much that Salsa is like Pop music, the culture of the city, and by creating our own stories we make the city live much longer by being a part of its own history. We will keep Salsa music alive..."
It is this Latin Lady Dj's opinion, that Caché, giving all that they have from the heart and soul, is doing exactly just that, Canadian style!
CLICK HERE TO PURCHASE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Latin Lady DJ Margarita
March 2007
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OPA OPA: Los Paisajes
OPA OPA
Los Paisajes
Opa Opa (Greek term that means hello, welcome, hola) is a Los Angeles based band formed in 1987 by Oswaldo Bernard
and his good friend and fellow musician, Anthony Apollo. During the late 80's and early 90's the band blossomed into one of the premier bands of Los Angeles, where they were discovered by producer, Erich Bulling who signed the band to a recording contract with Warner Music.
Opa Opa has had the privilege of sharing the stage with many major
recording artists from around the world; including Celia Cruz, Willie
Colón, El Gran Combo de Puerto Rico, La Sonora Ponceña, Oscar D'León, Daniel Santos, Willie Chirino, Johnny Ray, Grupo Niche, Guayacán Orquesta, Gilberto Santa Rosa, Ruben Blades, Charlie Palmieri, Poncho Sánchez, and many other great Latin music artists.
With the release of their latest CD, Los Paisajes, the band "hopes to share their unique style of music with the rest of the Tropical music loving world."
CLICK HERE TO PURCHSE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
March 2007
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Los Paisajes
Opa Opa (Greek term that means hello, welcome, hola) is a Los Angeles based band formed in 1987 by Oswaldo Bernard
and his good friend and fellow musician, Anthony Apollo. During the late 80's and early 90's the band blossomed into one of the premier bands of Los Angeles, where they were discovered by producer, Erich Bulling who signed the band to a recording contract with Warner Music.
Opa Opa has had the privilege of sharing the stage with many major
recording artists from around the world; including Celia Cruz, Willie
Colón, El Gran Combo de Puerto Rico, La Sonora Ponceña, Oscar D'León, Daniel Santos, Willie Chirino, Johnny Ray, Grupo Niche, Guayacán Orquesta, Gilberto Santa Rosa, Ruben Blades, Charlie Palmieri, Poncho Sánchez, and many other great Latin music artists.
With the release of their latest CD, Los Paisajes, the band "hopes to share their unique style of music with the rest of the Tropical music loving world."
CLICK HERE TO PURCHSE CD
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
March 2007
CLICK TO RETURN TO TABLE OF CONTENT
CELIA, JOHNNY, JUST & PAPO: Recordando El Ayer
CELIA, JOHNNY, JUSTO & PAPO
Recordando El Ayer
What a gem of a recording! After listening to the CD for the 4th time, I found that there is simply not a song on the entire album that I did not enjoy! So, "which shall I review," I asked myself as I sat to write the review, with Ritmo, tambor y flores playing on the CD player of my computer. When Papo Lucca's piano solo began, it was then that I decided to write about Ritmo, tambor y flores.
So, I restarted the track and the rhythmic introductory trumpets of Luis "Perico" Ortiz and Héctor "Bomberito" Zarzuela established the rhythm of the song from the outset and made it clear that this is a track for the dancer. Then, Celia's unmistakable voice announces that she's regando flores (watering flowers). Shortly thereafter, the melodious and harmonious voices of la reina, Celia Cruz and Justo Betancourt sing the first verse of the song and establish its message of making miracles of love and smiles for the soul. This is a song about happiness... about enjoying life... about grooving to a wonderful Salsa beat!
As asserted by Ernesto Lechner, who wrote the liner notes to the remastered CD, some of the tracks in Recordando El Ayer were hits with the original La Matancera and Ritmo, tambor y flores was one of them, having been recorded during Celia's happiest and most fulfilling moments with La Matancera.
One of the principal features that make this song such a wonderful dance floor driver is Papo Lucca's piano solo. It is during this part of the song that I envision the dancers' shoulder roll, the vaivén (swing) of their hips, the elegant improvisational styling of their footwork and a transfixed expression that communicates their place in dance heaven!
Also contributing to the popular success of this song ,was the futuristic and visionary drive of band leader, Johnny Pacheco. Although he added contemporary nuances to the all the songs of this musical masterpiece, he successfully maintained the prominent vaivén of the '50s.
As I said from the outset, there is simply not a song on the entire album that I did not enjoy. My other favorites on this CD, are: Besito de coco, Sé que tú, Vamos a guarachar, La equivocada, and Ahora sí.
Yes indeed Salseros, this is one you cannot do without!
Musicians:
Johnny Pacheco: Leader, Flute, Guiro, Percussion
Celia Cruz, Justo Betancourt: Lead Vocals
Papo Lucca: Piano
Luis Mangual: Bongos, Cowbell, Timbalitos (Paila), solo ("Reina Rumba")
Johnny "Dandy" Rodríguez: Congas
Luis "Perico" Ortiz: Trumpet
Héctor "Bomberito" Zarzuela: Trumpet
Charlie Rodríguez: Tres
Harry Viggiano: Tres
Víctor Venegas: Bass
Eddie "Guagua" Rivera: Bass
Ismael Quintana: Maracas
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
March 2007
CLICK TO RETURN TO TABLE OF CONTENT
Recordando El Ayer
What a gem of a recording! After listening to the CD for the 4th time, I found that there is simply not a song on the entire album that I did not enjoy! So, "which shall I review," I asked myself as I sat to write the review, with Ritmo, tambor y flores playing on the CD player of my computer. When Papo Lucca's piano solo began, it was then that I decided to write about Ritmo, tambor y flores.
So, I restarted the track and the rhythmic introductory trumpets of Luis "Perico" Ortiz and Héctor "Bomberito" Zarzuela established the rhythm of the song from the outset and made it clear that this is a track for the dancer. Then, Celia's unmistakable voice announces that she's regando flores (watering flowers). Shortly thereafter, the melodious and harmonious voices of la reina, Celia Cruz and Justo Betancourt sing the first verse of the song and establish its message of making miracles of love and smiles for the soul. This is a song about happiness... about enjoying life... about grooving to a wonderful Salsa beat!
As asserted by Ernesto Lechner, who wrote the liner notes to the remastered CD, some of the tracks in Recordando El Ayer were hits with the original La Matancera and Ritmo, tambor y flores was one of them, having been recorded during Celia's happiest and most fulfilling moments with La Matancera.
One of the principal features that make this song such a wonderful dance floor driver is Papo Lucca's piano solo. It is during this part of the song that I envision the dancers' shoulder roll, the vaivén (swing) of their hips, the elegant improvisational styling of their footwork and a transfixed expression that communicates their place in dance heaven!
Also contributing to the popular success of this song ,was the futuristic and visionary drive of band leader, Johnny Pacheco. Although he added contemporary nuances to the all the songs of this musical masterpiece, he successfully maintained the prominent vaivén of the '50s.
As I said from the outset, there is simply not a song on the entire album that I did not enjoy. My other favorites on this CD, are: Besito de coco, Sé que tú, Vamos a guarachar, La equivocada, and Ahora sí.
Yes indeed Salseros, this is one you cannot do without!
Musicians:
Johnny Pacheco: Leader, Flute, Guiro, Percussion
Celia Cruz, Justo Betancourt: Lead Vocals
Papo Lucca: Piano
Luis Mangual: Bongos, Cowbell, Timbalitos (Paila), solo ("Reina Rumba")
Johnny "Dandy" Rodríguez: Congas
Luis "Perico" Ortiz: Trumpet
Héctor "Bomberito" Zarzuela: Trumpet
Charlie Rodríguez: Tres
Harry Viggiano: Tres
Víctor Venegas: Bass
Eddie "Guagua" Rivera: Bass
Ismael Quintana: Maracas
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Respectfully submitted,
El Caobo
March 2007
CLICK TO RETURN TO TABLE OF CONTENT
VERNY VARELA: Gracias
VERNY VARELA
Gracias
In 2004, singer, flutist, arranger and composer Verny Varela produced the CD "Amar de Nuevo;" a hot Salsa release for the dance floor. Verny, who now lives in Washington D.C., was born in Cali, Colombia and was the director and singer for Gabino Pampini's band in 1997. He was also the lead vocalist on Orquesta Broadway's highly acclaimed 40th Anniversary CD. Among the great tracks of "Amar de Nuevo" are "Recoge y vamos" and "Matilde."
"Gracias" is the title of Verny Varela's second CD release as a bandleader and was recorded in Cali, Colombia . The first track, "Pa'l mundo," is sung is 5 different languages: Spanish, English, Italian, French and Japanese and truly lives up to the English translation of its title "For the World!" Also, Verny's poignant signature phrase "¡Mira a ver!" is heard throughout the CD.
Verny Varela, holds a bachelor's degree in music from the Universidad del Valle in Cali, Colombia. He was born in Cali and grew up in the "Barrio Obrero" where he started singing and playing with his father's band, El Nuevo Son.
In 1996, in Cali and Tulua, he sang with Ismael Miranda, Adalberto Santiago and Pete "El Conde" Rodríguez members of the Fania All Stars.
In 1997 Verny was the lead singer in the Gabino Pampini Band. Later, he went on tour in Europe and in the U.S. with Tito Gomez.
In 2001, Verny wrote and recorded for ESL Music on Thievery Corporation's album. In that same year he wrote and recorded on the Hip Hop CD "The 51st State."
In New York 2002 Verny sang on the 40th Anniversary CD of the outstanding charanga band, Orquesta Broadway.
Now, Verny Varela is a student in the Jazz Studies Program at the University of the District of Columbia (Washington D.C.).
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submited by,
El Caobo
February 2007
CLICK TO RETURN TO TABLE OF CONTENT
Gracias
In 2004, singer, flutist, arranger and composer Verny Varela produced the CD "Amar de Nuevo;" a hot Salsa release for the dance floor. Verny, who now lives in Washington D.C., was born in Cali, Colombia and was the director and singer for Gabino Pampini's band in 1997. He was also the lead vocalist on Orquesta Broadway's highly acclaimed 40th Anniversary CD. Among the great tracks of "Amar de Nuevo" are "Recoge y vamos" and "Matilde."
"Gracias" is the title of Verny Varela's second CD release as a bandleader and was recorded in Cali, Colombia . The first track, "Pa'l mundo," is sung is 5 different languages: Spanish, English, Italian, French and Japanese and truly lives up to the English translation of its title "For the World!" Also, Verny's poignant signature phrase "¡Mira a ver!" is heard throughout the CD.
Verny Varela, holds a bachelor's degree in music from the Universidad del Valle in Cali, Colombia. He was born in Cali and grew up in the "Barrio Obrero" where he started singing and playing with his father's band, El Nuevo Son.
In 1996, in Cali and Tulua, he sang with Ismael Miranda, Adalberto Santiago and Pete "El Conde" Rodríguez members of the Fania All Stars.
In 1997 Verny was the lead singer in the Gabino Pampini Band. Later, he went on tour in Europe and in the U.S. with Tito Gomez.
In 2001, Verny wrote and recorded for ESL Music on Thievery Corporation's album. In that same year he wrote and recorded on the Hip Hop CD "The 51st State."
In New York 2002 Verny sang on the 40th Anniversary CD of the outstanding charanga band, Orquesta Broadway.
Now, Verny Varela is a student in the Jazz Studies Program at the University of the District of Columbia (Washington D.C.).
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submited by,
El Caobo
February 2007
CLICK TO RETURN TO TABLE OF CONTENT
ISMAEL RIVERA:
Ismael Rivera
"El Sonero Mayor"
PART 1
Many salsa lovers have a favorite singer, a favorite song, and a favorite band. Puerto Rico had a favorite son. He was one among many yet his talent for improvising lyrics and rhythms on the spot would earn him the title "El Sonero Mayor", the premiere improviser.
Ismael Rivera, affectionately known as ‘Maelo’, lives in the hearts of Puerto Ricans and salsa fans. Some of you reading this article have no idea who I am writing about because you were too young to remember him, or you started listening to music when La India made her debut several years ago. Some of you have probably heard his music and didn’t know whom it was you were hearing but you knew you liked the sound and the swing. Others, like myself, have dear memories of cleaning the house or apartment Saturday morning with the phonograph blaring out bombas y plenas that inspired you to clean with a little more energy.
Ismael Rivera was born October 5, 1931 to Margarita Rivera in the town of Loiza Aldea in Puerto Rico. At an early age Maelo showed signs of his musical ability. On weekends he would go to the beach with a childhood friend, Rafael Cortijo, to hear the musicians ‘jam’. Ismael’s father would be upset at Rafael because his son would drop anything he was doing to go hear the musicians. At the age of 10 Ismael tells his mother that he wants to be a singer. His wish came true. Rafael and Ismael would later go on to form a conjunto that would be recognized internationally.
Although trained as a mason, Ismael was very adept at singing and improvising. Rafael Cortijo told him that he was a good singer as long as he stayed within his limits as a singer. Cortijo saw the raw talent and tried to coach his friend as best he could. Ismael started singing with a small local band called Conjunto Agueybana. They would play at an abandoned racetrack, El Hipodromo Las Casas, which was at Parada #27 in Hato Rey, Puerto Rico. The band was small but Maelo’s singing carried the group and made them swing. After a while he started singing with Lito Peña y la Panaméricana. Maelo had success with them. With them he recorded "Charlatan", one of his early hits. He left Lito Peña and started singing for Machito. While Ismael was gaining experience singing with the different groups, Cortijo was honing his own percussion skills. He started a group and Ismael became the lead singer. That is the birth of Cortijo y su Combo - canta Ismael Rivera.
With the other groups Ismael was singing guarachas, guajiras, son, mambo, guaguanco, and boleros. Cortijo decided to experiment with bomba y plena. It was the perfect musical vehicle for their combo. Bomba y plena are Puerto Rico’s folkloric music. Bomba is more of a ceremonious dancing music while plena was used mainly as a conveyor of news from town to town in the colonial era. Cortijo y Ismael became modern griots (storytellers) of the Puerto Rican folklore. The songs they played covered many topics: love, love of country, family, betrayal, religion, embarrassing situations, and local gossip; all suitable to be conveyed as a story through bomba y plena.
Cortijo y su Combo enjoyed fame wherever they went. They traveled to Europe, Central and South America. Everyone identified with the music they played. The musicians were excellent: Rafael Ithier –piano, Roberto Roena –bongo, Martin Quiñones –congas, Kito Velez – trumpet, etc.
During a trip to Panama, Maelo was trying to cut some sort of illegal deal with some people. Those people became suspicious of him holding up his end of the deal and called ahead to San Juan. They alerted the authorities who detained the group upon their arrival at Puerto Rico. Ismael was convicted and had to serve time. This led to the break-up of the band. Cortijo continued to play locally with folkloric groups, and the piano player Rafael Ithier convinced some of the other musicians to stay with him and form a band. That was the birth of El Gran Combo de Puerto Rico. As we have seen repeatedly, drugs find their way into the lives of very talented people and destroy them.
Seven years passed and Ismael was now free to pursue whatever he chose. He came out and started his own band, Ismael Rivera y sus Cachimbos. The word cachimbo has two meanings. Literally it is a pipe that you smoke, and the other which is a musician for processions – similar to the ones in New Orleans. This was a very young group of musicians that had a lot of swing. They were a cohesive unit anchored at the piano by Javier Vasquez, the present day pianist for La Sonora Matancera.
With los Cachimbos, Ismael continued to play bomba y plena but with very modern arrangements. After being with his group for about eight years Ismael sought out Rafael Cortijo and they record an album titled "Ellos se Juntan"– They get together. Here the original Cortijo y su Combo recorded some of their classic tunes like "Negro Bembon", "Severa"and "Quitate de la via Perico".
Ismael sang better than ever. The fans constantly asked for some of the classic tunes he sang with Cortijo. It is possible to hear four or five versions of the same song because of this. Ismael sang songs composed by Bobby Capo, Pedro Flores, Tite Curet Alonso, and his mother, Margarita Rivera. She was very in-fluential in his musical career. She nurtured his love of music.
His death on May 13,1987 was felt all over the world. In Puerto Rico everyone tried to touch the casket. So many did so that it smelled of tobacco, lipstick, perfume, beer and rum. His music still lives in the hearts of all those who remember him at the mike, snapping his fingers, delighting audiences, inventing words to spice up the not-too-long montuno that had you sweating on the floor every time his band was cooking.
Part 2
Ismael "Maelo" Rivera and Cortijo collaborated on many songs that would eventually become standards for Salsa bands. The key to this combination was pure chemistry. Rafael Cortijo was one of the best percussionist there was in Salsa. He was so good you didn’t hear his rim shots or flams because it went perfect with the music; it was all in sync. The best example would be to compare him to Thelonius Monk. Monk was a jazz pianist that was so good you forgot he was playing a tune because he made everyone else sound so good. So was the percussive sound of Cortijo. Maelo had the perfect voice to accompany the different moods that Cortijo created. These different musical moods--romantic bolero, a desperate plena, a calypso-bomba, a patient almost repentant cha cha, was the trademark Cortijo y Maelo sound.
Maelo was really a scat singer; daba-raba-wee-woo-waa-wee daba-raba-wee-wee-woo-waa. In Spanish however using words with double meanings, using assonance (similar sound patterns), aliteration, inventing words, uttering vowel sounds alone, created this ‘scat’ effect, and Maelo was the master. So you have a talented percussionist, a tight band, a singer with unbridled ability and a repertoire of songs that covered the gamut of themes, moods and emotions.
An important key to the soneo mystique of Maelo is the variety of lyrical slogans or ‘lemas’ he employed with his singing. Understand that the Salsa singer as well as the singer of any genre has a musical if not lyrical signature. For example: Marvin Santiago -"Inca por ahi"or "Ave María; Gilberto Santarosa – "Caminalo"; Celia Cruz – "Azucar"; Luigi Texidor – "A Cara'"; Rolando Laserie (RIP) – "De Pelicula!"; Monguito Quijan ‘El Unico’ – "Si señor, ahi na’ma", etc.
Maelo had several and they were rooted in the daily lives of the Puerto Rican identity. Here are some of Maelo’s ‘lemas’: Ecuajey – ecua mean righteous or just coupled with jey it is an expression of emphasis similar to the English version Word!; Componte – literally means Get yourself together; Quema – literally means burn but is used idiomatically as Go ahead;Dimelo – literally means tell me but is used idiomatically as Talk to me; Juega – literally means play but is used idiomatically as Get down; Sacude – literally means to shake off but is used idiomatically as Get out of here; Huyele – literally means to flee but is used idiomatically Get away from it. These are the usual ‘lemas’ you’ll hear throughout Cortijo’s and Maelo’s repertoire. The majority of the times they were used to emphasize a fact or condition; something that is intrinsically Caribbean, something that is seen and heard in Puerto Rico, Cuba, la Republica Dominicana and other Latin American countries. This point of identification is the factor that glued Cortijo and Maelo to the hearts of all Salsa lovers.
A characteristic that Ismael and Cortijo brought to Latin Music was humor. Their music was danceable yet so entertaining. The reason for that is that many of the tunes dealt with outrageous premiseses. The Puerto Rican is a humble person that often depends on humor to deal with the more serious or tragic aspects of life. It is this humor or perspective that allows the people to laugh at the silly things that simply color their daily lives.
"El Negro Gulembo" is a serious bomba that talks about poor Gulembo, an inocent humble person that went to the dentist to get a set of dentures. However the dentures he received were made of dog teeth. By laughing at the situation it goes from being a situation where someone was victimized to a funny incident that would become legendary among the people who knew Gulembo. Superficially one may think this stupid or childish but imagine your best friend smiling at you with a new set of dentures, pointy canines, not knowing they are dogs teeth; a little bit of comic relief:
"Que contento estaba Gulembo, pero tenía dientes de perro"
Plena y bomba is the folkloric music of Puerto Rico and Cortijo and Ismael popularized that music form through their recordings. El Charlatan was one of those tunes that made you shake and dance and sing. The song is about a girl, Lola, who went to a dance by herself. Some male offended her by hitting her; she happened to be alone. In the song, Maelo is challenging the guy to hit her now that he is with her:
"Anoche le diste charlatan
Le diste a mi Lola
Anoche le diste charlatan
Ven dale ahora"
The song clearly demonstrates the female submissive role that was and in some places still exists. Cortijo and Ismael recorded the same song many times because the audience asked for it. Some of those songs are "Maquino Landera", "Cucala" "Severa", " Negro Bembon", "Quitate de la Via Perico", "Piedras en mi Camino".
The song "Severa" talks about a woman whose name means ‘severe’. She has a big body yet she keeps all the men at bay, trying to hide her face from them. Maelo sings that he saw her face and if you paid him he’d tell you the details. Seeing her face is another way of saying that he saw what type of person she is. He beckons the men to try and be aggressive and they will succeed:
Yo le ví . . . a Severa
Le ví la cara a Severa (first chorus)
Tenía la cara como una pantera
Le ví la cara a Severa
Si me paga digo como era
Atacala que ella cae, ella cae(secondary chorus)
Tenía la cara como una pantera y el cuerpo como una nevera Severa
Atacala que ella cae, ella cae
"Cucala" was a hit with Maelo, and a super hit with Celia Cruz. When approached about recording "Cucala" on the album Tremendo Cache with Johnny Pacheco, she was hesitant. She thought that following Maelo was a hard thing to do. Coming from the Quenn of Salsa that is high praise. The song is about a lady who is shy but her shyness is her way of attracting men. The song is telling you to tease her ,coax her, which is what the title implies: cucar means to coax or tease, cucala is how you say that:
Cucala cucala cuca cucala que ella sale
Cucala cucala cuca cucala que ella baila
Cucala cucala cuca cucala que ella sale
Cucala cucala cuca cucala que se hace
Esta moderna
Oiga mira es un monumento
Esa negrita sabe de todo
Caballero no pierda tiempo
A classic plena tune that has a history is "Dejalo Que Sube". Cortijo y su combo were playing at a town nearby and there was a misunderstanding. Cortijo and the group had to fight their way out of the place and retreat to their ‘turf’. The song tells of how they are challenging this group to come their way because they are going to beat them so bad that even those that haven’t been born will be beaten:
Dejalo que suba nene
Dejalo que suba ya
Que van a llevar latigazos
Hasta los que están por nacer
"Arecotín Arecotán" a boogaloo classic that can be danced as a slow classic cha-cha but has that serious boogaloo groove. Maelo’s singing style lends itself to this tune. He riffs blending vowel sounds that have no meaning other than they were uttered on clave:
Arecotín Arecotán
A la vera cuantos van
"El Negro Bembon" literally means ‘Big-lipped Negro’. The song is about a man who killed Negro Bembon as he was affectionately called. The police officer who apprehended the killer asked him why he killed Negro Bembon. The killer responded because he had big lips. The police officer, being big-lipped himself hides his lips and says,"That’s no reason." The song clearly addresses a social issue but lightly enough so as not to get in the way of the music:
"Y sabe la pregunta que le hizó al matón
Por que diga Usted mató al negron
Y sabe la respuesta que le dió el matón
Yo lo maté por ser tan bembon
El guardia escondió la bemba y le dijo
Eso no es razón, Eso no es razón"
"El Negrito de Alabama" is another song that told the story of a Black guy who goes to Heaven and asks St. Peter to let him in. St. Peter asks him what merits this priviledge and he tells St. Peter that he married a blonde woman in Alabama at 12 noon and it is exactly 12:01 and he’s dead already:
"En Alabama a las doce ‘el día
Con una rubia yo me casé
Y no hace un minuto oye San Pedro
Y ya tu ve como me limpié"
"Quitate De La Via Perico" is a song that tells the story of a deaf parrot that was on the railroad tracks sucking on sugar cane. Nobody knew that he was deaf and they didn’t bother to stop the train. On the surface is a really hard-driving song. There have been some devoted fans of Cortijo and Maelo that will say this is a pivotal song in Ismael’s career. First because he starts singing about social issues that aren’t stifled anymore, and secondly because his voice and style are now defined. El perico symbolizes Puerto Rico while the train is the industrial revolution brought by the Americans to the island. The deafness symbolizes the Puerto Rican struggle for identity and autonomy. By ignoring the train Perico does what he wants, if only in the song. These last three songs start another chapter in the life and career of Ismael Rivera.
PART 3
Ismael Rivera is beyond a shadow of a doubt the most influential Salsa singer to grace the stage. That is my opinion and I will support it. Maelo, aside from being the best ‘sonero’ has sung all types of music within the Salsa and tropical music genre: son montuno, guaguanco, rumba, samba, bomba, plena, bolero, guaracha, bugaloo, mambo, etc. Ismael has influenced other singers to the point that the songs he made famous are the same songs that others have had tremendous success with: Marvin Santiago – "El Negrito de Alabama"; Hector Lavoe – "Lo Deje Llorando"; Celia Cruz – "Cucala". A local band from Virginia named Bio-Ritmo has several Cortijo y Ismael songs as part of their repertoire. As recently as last week the Puerto Rican artist Yolandita Monge sang a Cortijo & Maelo medley with DLG on the Cristina Show.
Ismael Rivera had a tight group in Los Cachimbos. The musical director and the man who arranged all their tunes as well as played the piano was Javier Vazquez. Alongside of him were many talented musicians who were part of the band or who recorded with him: Alfredo "Chocolate" Armenteros–trumpet; Hector "Bomberito" Zarzuela–trumpet; Victor Paz–trumpet; Manuel "Manolin" Gonzalez-Saxophone; Harry D’Agular–trombone; Vitin Gonzalez–bongo; "Kako"-bongo; Mario Hernandez – cuatro; Carlos Malcon – timbales; Juan Ross – conga; Sammy Ayala – percussion y coro; Vitin Aviles-coro; Adalberto Santiago–coro; Yayo ‘El Indio’-coro.
Aside from having tight arrangements, excellent musicians and recording artists- there is a difference, folks. Maelo, aside from writing some of his own songs, also had premiere songwriters. The songs that Ismael recorded were from heavyweights: Tite Curet Alonso; Bobby Capo; Pedro Flores; Rafael Hernandez; Johnny Ortiz; Sammy Ayala; Margarita Rivera; Rafael Cortijo.
Ismael grew as a singer the way poets grow in consciousness. The 50s gave way to the 60s and the country was coming of age. The Puerto Rican search for identity was taking shape in the form of militant action and the music had more conscience than rhythm. Maelo had the formula. He was able to make a silly situation a dance hit with Cortijo; with Los Cachimbos he was able to take a social condition, expose it and let YOU deal with it. Clearly Maelo’s voice as a singer had been established but now the added sense of purpose propelled him to the summit among singers. Granted Ismael had undergone a period when his vocal chords were strained and he had to take time off for treatment. Fortunately he recovered and together with his old friend Sammy Ayala, Maelo was able to recover his place among Salsa singers.
Los Cachimbos finds Maelo singing boleros, plena y bomba, guaracha, guaguanco, samba and rumba. It is interesting that aside from his personal artistic growth Maelo added a few more ‘lemas’ to his repertoire. His identification with the regular everyday common folk, or as is termed in Spanish ‘lo cotidiano’, gave birth to these ‘lemas’.
A common one was "Raspa piragüero", which idiomatically means – work it. A piragua is a snow cone. In Puerto Rico and in New York the snow cones were not fashioned by putting a chunk of ice into a machine and shaving ice into a cup, no. There was a wooden cart with wheels, usually from an old pair of skates, and a block of ice. There was an instrument used for scraping or shaving the ice by hand. Depending on your acumen as a piragüero – (snow cone maker), your block of ice yielded a certain amount of piraguas. A small piragua was 7 strokes of the ice, a large one was 15, and then you molded it with an empty counter cup that usually holds the white cone cups. After this process the syrup is added and you have a genuine piragua. I’m not lecturing on the cultural arts of the summer but that entire picture is what you get when you say piragua. Although it is soothing to you, it is work to the piragüero. Maelo would say this when the mambo of the song was breaking or at the start of a solo. Mario Hernandez playing cuatro on "Cachita" starts plucking away a solo and you hear ‘Maelo’ say, "Raspa Mario, de Canovanas". Here raspa means pluck away or stroke it.
Another ‘lema’ we hear is "No jueges con los chavos de la renta", which literally means don’t mess with the rent money, or "No jueges con los chavos de la compra" which meansdon’t mess with the food money. That situation arises when people mess with a sure thing in hopes of gaining more in an uncertain field. Another ‘lema’ that surfaces is "Echale caldo ahi que los garbanzos estan duros", which literally means It’s not done yet, something is missing. The reference is strictly to cooking and these images are the glue that tattoo the Puerto Rican folklore and culture to the mainstream tropical Salsa genre via Cortijo and Ismael Rivera. The ‘lema’ therefore functions by emphasizing a point in the story being sung, or a mood achieved by the music.
Some of the tunes Maelo recorded with Los Cachimbos were old tunes re-done such as "Piedras En Mi Camino", "Maquino Landera", "Severa", "Dime La Verdad" and versions of previous songs like "El Mesias", a direct spin off from "El Nazareno". Some of the themes Maelo records with Los Cachimbos assume a philosophical perspective not heard before. The following are songs that are familiar but have never been looked at critically or at a deeper level than the mere joyous dance music it purports to be.
"El Incomprendido" – The misunderstood one, talks about dying alone. He expounds about nothing going his way and how the only luck he’s had is bad luck. The sentiment is not totally erroneous however. Maelo although adored by the Puerto Rican people was also considered by others as an outlaw and seen in unfavorable light due to his drug use and his prior incarceration. The song actually is a reverse of what happens at his death:
Veo una estrella y se apagá
Toco una flor y se marchita
Negra suerte la que tengo yo
Y todo lo que tengo yo
In the song ¨La Comedia¨, Maelo talks about a public that asks him to shut up while applauding less worthy and less deserving artists that are not serving the public they are befriending. It is an existential view that is surrounded by surreal images. Again it is an agonizing Maelo, yet the song gives us a peek at the inner soul of an artist a little insecure about his place among artists. The song has a haunting last line that echoes his sentiment. As the song winds down he says, "Despues de tanta Salsa que les traje – After all the salsa I’ve given you":
En el gran escenario de la vida
De tu reparto final soy el villano
Tengo que actuar porque eso es mi fortuna
La farsa tiene que seguir actuando
"La Cubanita" is a song about having fun. It is standard Maelo where his 'soneos' are exceptional and often times simply vowel sounds without any meaning. It is a good dance song with Maelo driving the rhythm:
Yo tengo un ritmo que dice
A la cumbala cumbita
Pa’ que lo bailen los lobos
Y vacilen las nenitas
Mi ritmo no cree en la pena
Es una barbaridad
Oye bien lo que te digo
Yo sé que te va gustar
"Mi Jaragual" is a song that talks about the beauty of Puerto Rico and having peace and tranquility in his little piece of land planting corn barefooted, drinking homemade rum and playing with his dog. This sentiment is common especially among those Puerto Ricans who came to the United States and had a difficult time adjusting to the temperate climate of the states:
Que inmenso, que inmenso
Ser el dueño de la finca y mi mujer.
"El Cumbanchero" is a song where Maelo highlights the bands percussive sound alongside of his sonero skills. Tite Curet Alonso said that this song is one of the two pieces that consecrate Ismael Rivera as ‘El Sonero Mayor". It is one of the few songs if not the first where Maelo proclaims himself as "Sonero Mayor":
Cumbanchero mama, cumbanchero (Chorus/coro)
A mi me llaman el Sonero Mayor
Porque vacilo con la clave y tengo sabor
"Las Caras Lindas" is the other song that Tite Curet Alonso spoke about. Maelo records this song on the album Esto Si Es Lo Mio where the majority of the songs glorifies and praises the Puerto Rican experience, specifically on the island itself. The lyrics glorify the beauty of its ‘gente negra’ – black people, while the arrangement makes this one of the most recognizable songs in Maelo's entire repertoire. Mario Hernandez takes an amazing solo on cuatro that is simultaneously accompanied by Ismael Rivera on vocals (he literally sings every note that is being played):
Las Caras Lindas de mi gente negra
Son un desfile de melaza en flor
Que cuando pasa frente a mi se alegra
De su negrura todo el corazon
"Borinqueneando" which means PuertoRican-ing, is a simple song about the places and the people of Puerto Rico; the street vendors and their songs or pregones; the different sites; the culture; the food; the lifestyle; the entire island experience that is familiar and at the same time far away for many who live here in the states:
Desde mi campo florido
Viene el sonero cantando
Con pregon repetido
Traigo la yucca y el mango
"Parece que le Gusta" talks about the people of his neighborhood; la gente de la Calle Calma in the public housing projects of Lloren Torres. These people are slow to get the party going but once started there is no way of stopping them:
A esta gente le vacila mi ritmo
Parece que les gusta guarachar
Si vieran como mueven la cintura
Con cadencia que nadie puede igualar
"Colobo" talks about a calm serene spot in Loiza Aldea where life seems a little slow and very unlike the bustle of cities. It is a place to escape and rejuvenate oneself. Interestingly Maelo chooses a serious bomba for this song and makes reference to Cortijo. He says here you can enjoy the bomba along with some crabs from a lady who specializes in their preparation:
Tierra adentro en Colobo
El ambiente es noble y sano
Aqui vibren emocion
El tambor ritmo Africano
"La Tumba" talks about prison being a tomb where people just do monotonous routine acts in order to survive. However the deeper meaning is that of the mental prison the four walls represent. Creatively we hear Maelo shout different ‘lemas’ that are strictly prison oriented, such as "Te tenían bien mangao" which means "they owned you"; "Recoje mijo, mira que va pa’ la calle" which means "Get your things together you’re hitting the streets "; "Mandame algo pa’ la comisaria" which means "Send me something for the commissary." These types of glorification of the common things in life, both positive and negative are what made the people adore Maelo.
Allí en los tiempos de la esclavitud
El negro Carimbo marcado fue
De las tumbas quiero irme
No se cuando pasará
Las tumbas son pa´ los muertos
Y de muerto no tengo na´.
"Witinila" talks about a slave who escaped to free himself from his master's cruel abuses. Maelo talks out on a subject that others really didn’t deal with. Alongside of the Cuban poet Nicolas Guillen, the Puerto Rican poet Jose Pales Matos and the Dominican poet Blas Jimenez, Ismael Rivera and the author of this song have joined a select group of men who included the plight of black people, regardless or ethnic distinction, and glorified them in their art:
El negro Witinila al monte fue a parar
Porque no quiso ser esclavo quería su libertad
Y le pidió a los santos de su devoción
Que lo salvarán del latigo rudo del mayora mayora
Witinila huye huye (chorus-coro)
"Carimbo" talks about the colonial days when slavery existed. The word Carimbo means a branding iron and the song is about a slave that was branded. As he cried in pain he prayed for his gods to free him from the master's cruel hand. However in a way only a Hispanophone can understand, the slave is then called Carimbo:
El negro Carimbo marcado fue
Con un hierro candente si seño
"San Miguel Arcangel" talks about a religious experience. Maelo states that at one of the many parties he attended he had a vision of San Miguel (St. Michael the Archangel) talking to him. Th angele came to tell him what to do to get rid of the negative people that surrounded him. It’s a great dance song that has Puerto Rican as well as Hispanophone culture written all over it:
Yo tuve una revelación
Que a San Miguel que me hablaba
Ya no tienes que temer
Yo te vine a proteger
Y a quitarte esos fluidos
Pues te quieren envolver
"Satellite" is a social commentary on the status of Puerto Rico. Using technology as the background Ismael sings about a satellite calling but the control center does not respond. In this situation a satellite is similar to a colony, the actual status of Puerto Rico in regards to the United States. Clearly the song speaks about having energy and that energy being depleted by constantly being ignored. For a person who claimed not to be political in his music, Maelo laid it out right in front of their faces. How could you a control center (U.S.A.) ignore one of their satellites (Puerto Rico)? :
Satelite llamando a control
no responden (2x chorus-coro)
La energia la tenemos
Y se esta agotando ya
Que es lo que pasa
Que ignorandonos estan no responden
"La Perla" talks about the poorest area of Puerto Rico. La Perla is usually associated with violence, drugs, crime, and abject poverty. However Maelo without being judgmental addresses the situation merely as people living under their specific circumstances. On the contrary he states that anytime he’s away from Puerto Rico, he returns and is compelled to visit there:
A la perla
Este guaguanco es pa’ la Perla
As a staunch Ismael Rivera fan I felt it necessary for everyone to know about him the way I do. I do not claim to be an authority on him or his work, however I do know a little about his music and what attracted me in the beginning was the driving rhythm.
There are many other songs I’ve excluded because of time and because I wanted to keep the article clear and interesting to all. The next step is to listen to his music and to tell others and to understand that there are artists that give their entire lives to their art, as Ismael Rivera did. I have yet to hear a singer other than Oscar D’Leon that has the energy or the swing to totally change the evening or to transport you to a place with simple imagery. Maelo’s influence on singers of Salsa or tropical Afro-Caribbean music is evident. The pity is that many of the people that call themselves Salseros know nothing about this man.
The humanitarian side of Ismael Rivera was one of pure love and dedication to his people, especially to the children. I hope you have enjoyed a look into the life of one of the greatest singers Puerto Rico has given us. ¡ECUA JEY¡
This and all reviews that appear in our newsletters are published here with expressed written consent of our contributors; to be used in our newsletters only. Any other use is prohibited.
Submitted by,
Bruno 'El Único'
January 2015
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"El Sonero Mayor"
PART 1
Many salsa lovers have a favorite singer, a favorite song, and a favorite band. Puerto Rico had a favorite son. He was one among many yet his talent for improvising lyrics and rhythms on the spot would earn him the title "El Sonero Mayor", the premiere improviser.
Ismael Rivera, affectionately known as ‘Maelo’, lives in the hearts of Puerto Ricans and salsa fans. Some of you reading this article have no idea who I am writing about because you were too young to remember him, or you started listening to music when La India made her debut several years ago. Some of you have probably heard his music and didn’t know whom it was you were hearing but you knew you liked the sound and the swing. Others, like myself, have dear memories of cleaning the house or apartment Saturday morning with the phonograph blaring out bombas y plenas that inspired you to clean with a little more energy.
Ismael Rivera was born October 5, 1931 to Margarita Rivera in the town of Loiza Aldea in Puerto Rico. At an early age Maelo showed signs of his musical ability. On weekends he would go to the beach with a childhood friend, Rafael Cortijo, to hear the musicians ‘jam’. Ismael’s father would be upset at Rafael because his son would drop anything he was doing to go hear the musicians. At the age of 10 Ismael tells his mother that he wants to be a singer. His wish came true. Rafael and Ismael would later go on to form a conjunto that would be recognized internationally.
Although trained as a mason, Ismael was very adept at singing and improvising. Rafael Cortijo told him that he was a good singer as long as he stayed within his limits as a singer. Cortijo saw the raw talent and tried to coach his friend as best he could. Ismael started singing with a small local band called Conjunto Agueybana. They would play at an abandoned racetrack, El Hipodromo Las Casas, which was at Parada #27 in Hato Rey, Puerto Rico. The band was small but Maelo’s singing carried the group and made them swing. After a while he started singing with Lito Peña y la Panaméricana. Maelo had success with them. With them he recorded "Charlatan", one of his early hits. He left Lito Peña and started singing for Machito. While Ismael was gaining experience singing with the different groups, Cortijo was honing his own percussion skills. He started a group and Ismael became the lead singer. That is the birth of Cortijo y su Combo - canta Ismael Rivera.
With the other groups Ismael was singing guarachas, guajiras, son, mambo, guaguanco, and boleros. Cortijo decided to experiment with bomba y plena. It was the perfect musical vehicle for their combo. Bomba y plena are Puerto Rico’s folkloric music. Bomba is more of a ceremonious dancing music while plena was used mainly as a conveyor of news from town to town in the colonial era. Cortijo y Ismael became modern griots (storytellers) of the Puerto Rican folklore. The songs they played covered many topics: love, love of country, family, betrayal, religion, embarrassing situations, and local gossip; all suitable to be conveyed as a story through bomba y plena.
Cortijo y su Combo enjoyed fame wherever they went. They traveled to Europe, Central and South America. Everyone identified with the music they played. The musicians were excellent: Rafael Ithier –piano, Roberto Roena –bongo, Martin Quiñones –congas, Kito Velez – trumpet, etc.
During a trip to Panama, Maelo was trying to cut some sort of illegal deal with some people. Those people became suspicious of him holding up his end of the deal and called ahead to San Juan. They alerted the authorities who detained the group upon their arrival at Puerto Rico. Ismael was convicted and had to serve time. This led to the break-up of the band. Cortijo continued to play locally with folkloric groups, and the piano player Rafael Ithier convinced some of the other musicians to stay with him and form a band. That was the birth of El Gran Combo de Puerto Rico. As we have seen repeatedly, drugs find their way into the lives of very talented people and destroy them.
Seven years passed and Ismael was now free to pursue whatever he chose. He came out and started his own band, Ismael Rivera y sus Cachimbos. The word cachimbo has two meanings. Literally it is a pipe that you smoke, and the other which is a musician for processions – similar to the ones in New Orleans. This was a very young group of musicians that had a lot of swing. They were a cohesive unit anchored at the piano by Javier Vasquez, the present day pianist for La Sonora Matancera.
With los Cachimbos, Ismael continued to play bomba y plena but with very modern arrangements. After being with his group for about eight years Ismael sought out Rafael Cortijo and they record an album titled "Ellos se Juntan"– They get together. Here the original Cortijo y su Combo recorded some of their classic tunes like "Negro Bembon", "Severa"and "Quitate de la via Perico".
Ismael sang better than ever. The fans constantly asked for some of the classic tunes he sang with Cortijo. It is possible to hear four or five versions of the same song because of this. Ismael sang songs composed by Bobby Capo, Pedro Flores, Tite Curet Alonso, and his mother, Margarita Rivera. She was very in-fluential in his musical career. She nurtured his love of music.
His death on May 13,1987 was felt all over the world. In Puerto Rico everyone tried to touch the casket. So many did so that it smelled of tobacco, lipstick, perfume, beer and rum. His music still lives in the hearts of all those who remember him at the mike, snapping his fingers, delighting audiences, inventing words to spice up the not-too-long montuno that had you sweating on the floor every time his band was cooking.
Part 2
Ismael "Maelo" Rivera and Cortijo collaborated on many songs that would eventually become standards for Salsa bands. The key to this combination was pure chemistry. Rafael Cortijo was one of the best percussionist there was in Salsa. He was so good you didn’t hear his rim shots or flams because it went perfect with the music; it was all in sync. The best example would be to compare him to Thelonius Monk. Monk was a jazz pianist that was so good you forgot he was playing a tune because he made everyone else sound so good. So was the percussive sound of Cortijo. Maelo had the perfect voice to accompany the different moods that Cortijo created. These different musical moods--romantic bolero, a desperate plena, a calypso-bomba, a patient almost repentant cha cha, was the trademark Cortijo y Maelo sound.
Maelo was really a scat singer; daba-raba-wee-woo-waa-wee daba-raba-wee-wee-woo-waa. In Spanish however using words with double meanings, using assonance (similar sound patterns), aliteration, inventing words, uttering vowel sounds alone, created this ‘scat’ effect, and Maelo was the master. So you have a talented percussionist, a tight band, a singer with unbridled ability and a repertoire of songs that covered the gamut of themes, moods and emotions.
An important key to the soneo mystique of Maelo is the variety of lyrical slogans or ‘lemas’ he employed with his singing. Understand that the Salsa singer as well as the singer of any genre has a musical if not lyrical signature. For example: Marvin Santiago -"Inca por ahi"or "Ave María; Gilberto Santarosa – "Caminalo"; Celia Cruz – "Azucar"; Luigi Texidor – "A Cara'"; Rolando Laserie (RIP) – "De Pelicula!"; Monguito Quijan ‘El Unico’ – "Si señor, ahi na’ma", etc.
Maelo had several and they were rooted in the daily lives of the Puerto Rican identity. Here are some of Maelo’s ‘lemas’: Ecuajey – ecua mean righteous or just coupled with jey it is an expression of emphasis similar to the English version Word!; Componte – literally means Get yourself together; Quema – literally means burn but is used idiomatically as Go ahead;Dimelo – literally means tell me but is used idiomatically as Talk to me; Juega – literally means play but is used idiomatically as Get down; Sacude – literally means to shake off but is used idiomatically as Get out of here; Huyele – literally means to flee but is used idiomatically Get away from it. These are the usual ‘lemas’ you’ll hear throughout Cortijo’s and Maelo’s repertoire. The majority of the times they were used to emphasize a fact or condition; something that is intrinsically Caribbean, something that is seen and heard in Puerto Rico, Cuba, la Republica Dominicana and other Latin American countries. This point of identification is the factor that glued Cortijo and Maelo to the hearts of all Salsa lovers.
A characteristic that Ismael and Cortijo brought to Latin Music was humor. Their music was danceable yet so entertaining. The reason for that is that many of the tunes dealt with outrageous premiseses. The Puerto Rican is a humble person that often depends on humor to deal with the more serious or tragic aspects of life. It is this humor or perspective that allows the people to laugh at the silly things that simply color their daily lives.
"El Negro Gulembo" is a serious bomba that talks about poor Gulembo, an inocent humble person that went to the dentist to get a set of dentures. However the dentures he received were made of dog teeth. By laughing at the situation it goes from being a situation where someone was victimized to a funny incident that would become legendary among the people who knew Gulembo. Superficially one may think this stupid or childish but imagine your best friend smiling at you with a new set of dentures, pointy canines, not knowing they are dogs teeth; a little bit of comic relief:
"Que contento estaba Gulembo, pero tenía dientes de perro"
Plena y bomba is the folkloric music of Puerto Rico and Cortijo and Ismael popularized that music form through their recordings. El Charlatan was one of those tunes that made you shake and dance and sing. The song is about a girl, Lola, who went to a dance by herself. Some male offended her by hitting her; she happened to be alone. In the song, Maelo is challenging the guy to hit her now that he is with her:
"Anoche le diste charlatan
Le diste a mi Lola
Anoche le diste charlatan
Ven dale ahora"
The song clearly demonstrates the female submissive role that was and in some places still exists. Cortijo and Ismael recorded the same song many times because the audience asked for it. Some of those songs are "Maquino Landera", "Cucala" "Severa", " Negro Bembon", "Quitate de la Via Perico", "Piedras en mi Camino".
The song "Severa" talks about a woman whose name means ‘severe’. She has a big body yet she keeps all the men at bay, trying to hide her face from them. Maelo sings that he saw her face and if you paid him he’d tell you the details. Seeing her face is another way of saying that he saw what type of person she is. He beckons the men to try and be aggressive and they will succeed:
Yo le ví . . . a Severa
Le ví la cara a Severa (first chorus)
Tenía la cara como una pantera
Le ví la cara a Severa
Si me paga digo como era
Atacala que ella cae, ella cae(secondary chorus)
Tenía la cara como una pantera y el cuerpo como una nevera Severa
Atacala que ella cae, ella cae
"Cucala" was a hit with Maelo, and a super hit with Celia Cruz. When approached about recording "Cucala" on the album Tremendo Cache with Johnny Pacheco, she was hesitant. She thought that following Maelo was a hard thing to do. Coming from the Quenn of Salsa that is high praise. The song is about a lady who is shy but her shyness is her way of attracting men. The song is telling you to tease her ,coax her, which is what the title implies: cucar means to coax or tease, cucala is how you say that:
Cucala cucala cuca cucala que ella sale
Cucala cucala cuca cucala que ella baila
Cucala cucala cuca cucala que ella sale
Cucala cucala cuca cucala que se hace
Esta moderna
Oiga mira es un monumento
Esa negrita sabe de todo
Caballero no pierda tiempo
A classic plena tune that has a history is "Dejalo Que Sube". Cortijo y su combo were playing at a town nearby and there was a misunderstanding. Cortijo and the group had to fight their way out of the place and retreat to their ‘turf’. The song tells of how they are challenging this group to come their way because they are going to beat them so bad that even those that haven’t been born will be beaten:
Dejalo que suba nene
Dejalo que suba ya
Que van a llevar latigazos
Hasta los que están por nacer
"Arecotín Arecotán" a boogaloo classic that can be danced as a slow classic cha-cha but has that serious boogaloo groove. Maelo’s singing style lends itself to this tune. He riffs blending vowel sounds that have no meaning other than they were uttered on clave:
Arecotín Arecotán
A la vera cuantos van
"El Negro Bembon" literally means ‘Big-lipped Negro’. The song is about a man who killed Negro Bembon as he was affectionately called. The police officer who apprehended the killer asked him why he killed Negro Bembon. The killer responded because he had big lips. The police officer, being big-lipped himself hides his lips and says,"That’s no reason." The song clearly addresses a social issue but lightly enough so as not to get in the way of the music:
"Y sabe la pregunta que le hizó al matón
Por que diga Usted mató al negron
Y sabe la respuesta que le dió el matón
Yo lo maté por ser tan bembon
El guardia escondió la bemba y le dijo
Eso no es razón, Eso no es razón"
"El Negrito de Alabama" is another song that told the story of a Black guy who goes to Heaven and asks St. Peter to let him in. St. Peter asks him what merits this priviledge and he tells St. Peter that he married a blonde woman in Alabama at 12 noon and it is exactly 12:01 and he’s dead already:
"En Alabama a las doce ‘el día
Con una rubia yo me casé
Y no hace un minuto oye San Pedro
Y ya tu ve como me limpié"
"Quitate De La Via Perico" is a song that tells the story of a deaf parrot that was on the railroad tracks sucking on sugar cane. Nobody knew that he was deaf and they didn’t bother to stop the train. On the surface is a really hard-driving song. There have been some devoted fans of Cortijo and Maelo that will say this is a pivotal song in Ismael’s career. First because he starts singing about social issues that aren’t stifled anymore, and secondly because his voice and style are now defined. El perico symbolizes Puerto Rico while the train is the industrial revolution brought by the Americans to the island. The deafness symbolizes the Puerto Rican struggle for identity and autonomy. By ignoring the train Perico does what he wants, if only in the song. These last three songs start another chapter in the life and career of Ismael Rivera.
PART 3
Ismael Rivera is beyond a shadow of a doubt the most influential Salsa singer to grace the stage. That is my opinion and I will support it. Maelo, aside from being the best ‘sonero’ has sung all types of music within the Salsa and tropical music genre: son montuno, guaguanco, rumba, samba, bomba, plena, bolero, guaracha, bugaloo, mambo, etc. Ismael has influenced other singers to the point that the songs he made famous are the same songs that others have had tremendous success with: Marvin Santiago – "El Negrito de Alabama"; Hector Lavoe – "Lo Deje Llorando"; Celia Cruz – "Cucala". A local band from Virginia named Bio-Ritmo has several Cortijo y Ismael songs as part of their repertoire. As recently as last week the Puerto Rican artist Yolandita Monge sang a Cortijo & Maelo medley with DLG on the Cristina Show.
Ismael Rivera had a tight group in Los Cachimbos. The musical director and the man who arranged all their tunes as well as played the piano was Javier Vazquez. Alongside of him were many talented musicians who were part of the band or who recorded with him: Alfredo "Chocolate" Armenteros–trumpet; Hector "Bomberito" Zarzuela–trumpet; Victor Paz–trumpet; Manuel "Manolin" Gonzalez-Saxophone; Harry D’Agular–trombone; Vitin Gonzalez–bongo; "Kako"-bongo; Mario Hernandez – cuatro; Carlos Malcon – timbales; Juan Ross – conga; Sammy Ayala – percussion y coro; Vitin Aviles-coro; Adalberto Santiago–coro; Yayo ‘El Indio’-coro.
Aside from having tight arrangements, excellent musicians and recording artists- there is a difference, folks. Maelo, aside from writing some of his own songs, also had premiere songwriters. The songs that Ismael recorded were from heavyweights: Tite Curet Alonso; Bobby Capo; Pedro Flores; Rafael Hernandez; Johnny Ortiz; Sammy Ayala; Margarita Rivera; Rafael Cortijo.
Ismael grew as a singer the way poets grow in consciousness. The 50s gave way to the 60s and the country was coming of age. The Puerto Rican search for identity was taking shape in the form of militant action and the music had more conscience than rhythm. Maelo had the formula. He was able to make a silly situation a dance hit with Cortijo; with Los Cachimbos he was able to take a social condition, expose it and let YOU deal with it. Clearly Maelo’s voice as a singer had been established but now the added sense of purpose propelled him to the summit among singers. Granted Ismael had undergone a period when his vocal chords were strained and he had to take time off for treatment. Fortunately he recovered and together with his old friend Sammy Ayala, Maelo was able to recover his place among Salsa singers.
Los Cachimbos finds Maelo singing boleros, plena y bomba, guaracha, guaguanco, samba and rumba. It is interesting that aside from his personal artistic growth Maelo added a few more ‘lemas’ to his repertoire. His identification with the regular everyday common folk, or as is termed in Spanish ‘lo cotidiano’, gave birth to these ‘lemas’.
A common one was "Raspa piragüero", which idiomatically means – work it. A piragua is a snow cone. In Puerto Rico and in New York the snow cones were not fashioned by putting a chunk of ice into a machine and shaving ice into a cup, no. There was a wooden cart with wheels, usually from an old pair of skates, and a block of ice. There was an instrument used for scraping or shaving the ice by hand. Depending on your acumen as a piragüero – (snow cone maker), your block of ice yielded a certain amount of piraguas. A small piragua was 7 strokes of the ice, a large one was 15, and then you molded it with an empty counter cup that usually holds the white cone cups. After this process the syrup is added and you have a genuine piragua. I’m not lecturing on the cultural arts of the summer but that entire picture is what you get when you say piragua. Although it is soothing to you, it is work to the piragüero. Maelo would say this when the mambo of the song was breaking or at the start of a solo. Mario Hernandez playing cuatro on "Cachita" starts plucking away a solo and you hear ‘Maelo’ say, "Raspa Mario, de Canovanas". Here raspa means pluck away or stroke it.
Another ‘lema’ we hear is "No jueges con los chavos de la renta", which literally means don’t mess with the rent money, or "No jueges con los chavos de la compra" which meansdon’t mess with the food money. That situation arises when people mess with a sure thing in hopes of gaining more in an uncertain field. Another ‘lema’ that surfaces is "Echale caldo ahi que los garbanzos estan duros", which literally means It’s not done yet, something is missing. The reference is strictly to cooking and these images are the glue that tattoo the Puerto Rican folklore and culture to the mainstream tropical Salsa genre via Cortijo and Ismael Rivera. The ‘lema’ therefore functions by emphasizing a point in the story being sung, or a mood achieved by the music.
Some of the tunes Maelo recorded with Los Cachimbos were old tunes re-done such as "Piedras En Mi Camino", "Maquino Landera", "Severa", "Dime La Verdad" and versions of previous songs like "El Mesias", a direct spin off from "El Nazareno". Some of the themes Maelo records with Los Cachimbos assume a philosophical perspective not heard before. The following are songs that are familiar but have never been looked at critically or at a deeper level than the mere joyous dance music it purports to be.
"El Incomprendido" – The misunderstood one, talks about dying alone. He expounds about nothing going his way and how the only luck he’s had is bad luck. The sentiment is not totally erroneous however. Maelo although adored by the Puerto Rican people was also considered by others as an outlaw and seen in unfavorable light due to his drug use and his prior incarceration. The song actually is a reverse of what happens at his death:
Veo una estrella y se apagá
Toco una flor y se marchita
Negra suerte la que tengo yo
Y todo lo que tengo yo
In the song ¨La Comedia¨, Maelo talks about a public that asks him to shut up while applauding less worthy and less deserving artists that are not serving the public they are befriending. It is an existential view that is surrounded by surreal images. Again it is an agonizing Maelo, yet the song gives us a peek at the inner soul of an artist a little insecure about his place among artists. The song has a haunting last line that echoes his sentiment. As the song winds down he says, "Despues de tanta Salsa que les traje – After all the salsa I’ve given you":
En el gran escenario de la vida
De tu reparto final soy el villano
Tengo que actuar porque eso es mi fortuna
La farsa tiene que seguir actuando
"La Cubanita" is a song about having fun. It is standard Maelo where his 'soneos' are exceptional and often times simply vowel sounds without any meaning. It is a good dance song with Maelo driving the rhythm:
Yo tengo un ritmo que dice
A la cumbala cumbita
Pa’ que lo bailen los lobos
Y vacilen las nenitas
Mi ritmo no cree en la pena
Es una barbaridad
Oye bien lo que te digo
Yo sé que te va gustar
"Mi Jaragual" is a song that talks about the beauty of Puerto Rico and having peace and tranquility in his little piece of land planting corn barefooted, drinking homemade rum and playing with his dog. This sentiment is common especially among those Puerto Ricans who came to the United States and had a difficult time adjusting to the temperate climate of the states:
Que inmenso, que inmenso
Ser el dueño de la finca y mi mujer.
"El Cumbanchero" is a song where Maelo highlights the bands percussive sound alongside of his sonero skills. Tite Curet Alonso said that this song is one of the two pieces that consecrate Ismael Rivera as ‘El Sonero Mayor". It is one of the few songs if not the first where Maelo proclaims himself as "Sonero Mayor":
Cumbanchero mama, cumbanchero (Chorus/coro)
A mi me llaman el Sonero Mayor
Porque vacilo con la clave y tengo sabor
"Las Caras Lindas" is the other song that Tite Curet Alonso spoke about. Maelo records this song on the album Esto Si Es Lo Mio where the majority of the songs glorifies and praises the Puerto Rican experience, specifically on the island itself. The lyrics glorify the beauty of its ‘gente negra’ – black people, while the arrangement makes this one of the most recognizable songs in Maelo's entire repertoire. Mario Hernandez takes an amazing solo on cuatro that is simultaneously accompanied by Ismael Rivera on vocals (he literally sings every note that is being played):
Las Caras Lindas de mi gente negra
Son un desfile de melaza en flor
Que cuando pasa frente a mi se alegra
De su negrura todo el corazon
"Borinqueneando" which means PuertoRican-ing, is a simple song about the places and the people of Puerto Rico; the street vendors and their songs or pregones; the different sites; the culture; the food; the lifestyle; the entire island experience that is familiar and at the same time far away for many who live here in the states:
Desde mi campo florido
Viene el sonero cantando
Con pregon repetido
Traigo la yucca y el mango
"Parece que le Gusta" talks about the people of his neighborhood; la gente de la Calle Calma in the public housing projects of Lloren Torres. These people are slow to get the party going but once started there is no way of stopping them:
A esta gente le vacila mi ritmo
Parece que les gusta guarachar
Si vieran como mueven la cintura
Con cadencia que nadie puede igualar
"Colobo" talks about a calm serene spot in Loiza Aldea where life seems a little slow and very unlike the bustle of cities. It is a place to escape and rejuvenate oneself. Interestingly Maelo chooses a serious bomba for this song and makes reference to Cortijo. He says here you can enjoy the bomba along with some crabs from a lady who specializes in their preparation:
Tierra adentro en Colobo
El ambiente es noble y sano
Aqui vibren emocion
El tambor ritmo Africano
"La Tumba" talks about prison being a tomb where people just do monotonous routine acts in order to survive. However the deeper meaning is that of the mental prison the four walls represent. Creatively we hear Maelo shout different ‘lemas’ that are strictly prison oriented, such as "Te tenían bien mangao" which means "they owned you"; "Recoje mijo, mira que va pa’ la calle" which means "Get your things together you’re hitting the streets "; "Mandame algo pa’ la comisaria" which means "Send me something for the commissary." These types of glorification of the common things in life, both positive and negative are what made the people adore Maelo.
Allí en los tiempos de la esclavitud
El negro Carimbo marcado fue
De las tumbas quiero irme
No se cuando pasará
Las tumbas son pa´ los muertos
Y de muerto no tengo na´.
"Witinila" talks about a slave who escaped to free himself from his master's cruel abuses. Maelo talks out on a subject that others really didn’t deal with. Alongside of the Cuban poet Nicolas Guillen, the Puerto Rican poet Jose Pales Matos and the Dominican poet Blas Jimenez, Ismael Rivera and the author of this song have joined a select group of men who included the plight of black people, regardless or ethnic distinction, and glorified them in their art:
El negro Witinila al monte fue a parar
Porque no quiso ser esclavo quería su libertad
Y le pidió a los santos de su devoción
Que lo salvarán del latigo rudo del mayora mayora
Witinila huye huye (chorus-coro)
"Carimbo" talks about the colonial days when slavery existed. The word Carimbo means a branding iron and the song is about a slave that was branded. As he cried in pain he prayed for his gods to free him from the master's cruel hand. However in a way only a Hispanophone can understand, the slave is then called Carimbo:
El negro Carimbo marcado fue
Con un hierro candente si seño
"San Miguel Arcangel" talks about a religious experience. Maelo states that at one of the many parties he attended he had a vision of San Miguel (St. Michael the Archangel) talking to him. Th angele came to tell him what to do to get rid of the negative people that surrounded him. It’s a great dance song that has Puerto Rican as well as Hispanophone culture written all over it:
Yo tuve una revelación
Que a San Miguel que me hablaba
Ya no tienes que temer
Yo te vine a proteger
Y a quitarte esos fluidos
Pues te quieren envolver
"Satellite" is a social commentary on the status of Puerto Rico. Using technology as the background Ismael sings about a satellite calling but the control center does not respond. In this situation a satellite is similar to a colony, the actual status of Puerto Rico in regards to the United States. Clearly the song speaks about having energy and that energy being depleted by constantly being ignored. For a person who claimed not to be political in his music, Maelo laid it out right in front of their faces. How could you a control center (U.S.A.) ignore one of their satellites (Puerto Rico)? :
Satelite llamando a control
no responden (2x chorus-coro)
La energia la tenemos
Y se esta agotando ya
Que es lo que pasa
Que ignorandonos estan no responden
"La Perla" talks about the poorest area of Puerto Rico. La Perla is usually associated with violence, drugs, crime, and abject poverty. However Maelo without being judgmental addresses the situation merely as people living under their specific circumstances. On the contrary he states that anytime he’s away from Puerto Rico, he returns and is compelled to visit there:
A la perla
Este guaguanco es pa’ la Perla
As a staunch Ismael Rivera fan I felt it necessary for everyone to know about him the way I do. I do not claim to be an authority on him or his work, however I do know a little about his music and what attracted me in the beginning was the driving rhythm.
There are many other songs I’ve excluded because of time and because I wanted to keep the article clear and interesting to all. The next step is to listen to his music and to tell others and to understand that there are artists that give their entire lives to their art, as Ismael Rivera did. I have yet to hear a singer other than Oscar D’Leon that has the energy or the swing to totally change the evening or to transport you to a place with simple imagery. Maelo’s influence on singers of Salsa or tropical Afro-Caribbean music is evident. The pity is that many of the people that call themselves Salseros know nothing about this man.
The humanitarian side of Ismael Rivera was one of pure love and dedication to his people, especially to the children. I hope you have enjoyed a look into the life of one of the greatest singers Puerto Rico has given us. ¡ECUA JEY¡
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Submitted by,
Bruno 'El Único'
January 2015
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