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Mel Martinez I come from Puerto Rico and Puerto Rico is Salsero

Totally agree with the premise that Mel Martínez establishes in this song of his authorship. Yes, Puerto Rico is the same as saying: “Yo soy salsero”.

Long live the music! Know that this implies shouting:

“Long live the musicians, so they can keep making it”.

The song starts off timidly and it seems that the arrangement asks the listener for his opinion on what he thinks of what is the first single of what will be his next musical production in a segment that presents a transcript of that “what do you think of Cholito”.

From there it pivots into a melodic design that reminds me of a segment of “I like Christmas that tastes like Puerto Rico” The shyness of the theme lasts approximately ten seconds.

Then the arrangement takes a turn that suggests that in Puerto Rico it’s Christmas all year round.

The lyrics of the song assures that all salsa-loving countries have their flavor and their flag; defined by other rhythms, highlighting the native rhythms of Colombia, Dominican Republic, Argentina and Peru. But Mel comes from Puerto Rico and asserts on behalf of all Puerto Rican salseros that: “In Puerto Rico the sun is boiling and that’s where Caliente salsa comes from”.

The song starts off timidly and it seems that the arrangement asks the listener for his opinion on what he thinks of what is the first single of what will be his next musical production in a segment that presents a transposition of that "what do you think of Cholito". — Mel Martinez The essence of family and Music

Evidently salsa is our pride. We are all Mel in terms of his love for salsa, the shout of pride, the flavor and the flag”.

And speaking of flavor and flag, it is clear that still “Aníbal Vázquez as a dancer, Giovanni Hidalgo hitting a leather, Tite Curet’s songs and Sammy Marrero’s feeling” are as valid as their first day in salsa performances.

New York’s emblematic nightclubs, all of them already disappeared, stand out in the lyric.

The mention of El Corso, Latin Quarter and the unforgettable Copacabana filled me with nostalgia and joy for having been lucky enough to have been part of that history. In Puerto Rico we have also been part of the history of salsa as it was spun in Lomas del Sol, El Coabey -which has been sustained against all odds- and El Tropicana.

The groups of Luis “Perico” Ortiz, El Gran Combo, Willie Rosario, Bobby Valentín, Tommy Olivencia, La Ponceña, Roena, Mulenze and Chaney star in the list of orchestras born in our soil and that Mel includes in the lyrics of the theme. Costa Brava, Puerto Rican Power, Canayón, Mario Ortiz, Don Perignon and La Solución complete the list of outstanding orchestras in sound and category.

The patron saint festivities and the dancers arrive at the theme at the climax of the mambo, through the pregones in the voice of our favorite for several decades.

From Fajardo to Mayaguez, passing through Bayamón and Carolina, Cataño and Dorado Mel assures that our 100 x 35 and its inhabitants are salseros by birth.

The lyrics of Mel’s song are so great that it secured mention of the dancers who every year try out for National Salsa Day, which until 2020 was exclusive to Puerto Rico.

If you haven’t heard this song, I dare you to listen to it without getting stuck to it:

I don’t know where you’re from

But I love my land

I come from Puerto Rico

and Puerto Rico is salsa.

I can tell you that the choruses are deluxe. The coros feature Luisito Carrión, Lalo Rodríguez and Carlos García; the same Carlos García who composes, arranges, sings and dances, all while masterfully dominating behind his piano.

As Mel states in this beautiful composition, which is also patriotically historical: we were born salseros.

I add by way of an intimately personal opinion that no human being is prepared to face the battle of life without the encouragement that music gives us.

I conclude by recommending you not to miss the correspondence between Pedro Perez’s bass and Emanuel Navarro’s timbal at the end of the song.

For those who doubt that musicians give us music even when it seems that the musical theme has already closed.

What is left for me to say? Long live the music! Know that this implies shouting: “Long live the musicians, so that they keep on making it”. Ah! And that we are still salseros.

Facebook: Mel Martinez

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

Website: Bella Martinez Escribe

International Area – June 2021

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Legendary and Unavoidable Cheo Navarro Bravo Rumbero and his Orchestra de Moda

The first name of the great “Cheo” is José Natalio Navarro Barreto

José “Cheo” Navarro was born in San Agustín parish, Caracas, Venezuela on April 19, 1952. While still a child, his family moved to La Cañada de Jesús and later the 23 de Enero parish, the family Navarro Barreto settled in block 6 of the Monte Piedad sector where he spent his adolescence. The first name of the great “Cheo” is José Natalio Navarro Barreto.

The name and the musical activity of “Cheo Navarro” is substantial and unavoidable for salsa made in Caracas. This percussionist and bandleader has always been at the heart of Caribbean music in such a manner that we will always find a reference to him in various salsa phenomena of the country.

The name and musical activity of "Cheo Navarro" substantial and inevitable for salsa made in Caracas. — Cheo Navarro Legendary and Inevitable Bravo Rumbero and his Fashionable Orchestra

It was from the year 1971 when he got involved with the orchestra of Tito Rodriguez in such a way that he never wanted to do anything else but play like those folks (since he did it by beating every book, container and pot lid he could find at home with pencils and sticks), eventually joining other fans of music to found the group Mango (he was 21 years old at the time). He won the respect of those in the know by performing with that group, where he contended with the best in Caribbean music at that time.

In addition to founding orchestras that are already part of our musical and sentimental history (Mango, Sensación, Bailatino and now Cheo Navarro and his Orquesta Tributo), he played and composed for other leading orchestras such as the Sexteto Juventud, Federico y su Combo Latino, El Trabuco Venezolano, La Crítica de Oscar de León, the Orquesta Renovación, Coco y su Sabor Matancero, and Naty y su Orquesta; He has also collaborated with the orchestras of Orlando Castillo “Orlando Watussi””, Alfredo Naranjo Carvajal and his Guafeo, and “Pavo” Frank. As for the international soneo, he has played with Jhonny Pacheco, Ismael Miranda Carrero, Andy Montañez, Cheo Feliciano, Héctor Lavoe, Daniel Santos, Pete “Conde” Rodríguez and a plethora that is no longer necessary and, maybe, impossible to list in full.

“Bravo Rumbero“

Is probably his most important composition and the song the salseros of lineage and also those who were not necessarily salseros remember the most, but they had their sense of hearing working just fine, during the 70s and 80s.

The music industry has not been as generous as it should have been with this gentleman. Precisely with him, who has made an effort to pay homage to the gods of his musical devotion. — Cheo Navarro in Block 6 of January 23 appreciates it with reverent generosity.

He is much loved in Block 6 of the 23 de Enero parish they appreciate him with the same reverent generosity

with which the poor towns pay tribute to their genuine icons: He is the illustrious neighbor who has made and makes them dance and, in time, he is the simple man of the people whose stature is found in the work and not in vanity.

The music industry has not been as generous as it should have been with this gentleman. With him, who has been making great efforts to pay homage to the gods of his musical devotion. The sonorities of his orchestral works are a lasting tribute to the giants of flavor.

He is the illustrious neighbor who has put them and puts them to dance and in passing, is the simple man of the people whose stature is in the work and not in vanity — Cheo Navarro Bravo Rumbero and his Orquesta de Moda

The fame that, using payola and other resources, has managed to raise up other names in this business and in history. But being face to face, musician to musician, with anyone, Cheo Navarro qualifies to be one of those fundamental icons who are worthy of being pleasantly remembered, rooted in his people and in urban culture.

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Sonora Ponceña and her 1982 álbum “Determination”

A production that placed “Yambeque” on its first song

Enrique Arsenio Lucca Quiñones (Ponce, Puerto Rico, April 10, 1946), known as Papo Lucca, is a pianist and multi-instrumentalist of salsa and Latin jazz.

An arranger and virtuoso of his instrument, he was co-founder with his father, Enrique “Quique” Lucca Caraballo, of La Sonora Ponceña. He has also performed and recorded with the Fania All-Stars, Willie Colón, Celia Cruz, Johnny Pacheco, Bobby Valentin, Ismael Quintana, Gloria Estefan, Adalberto Santiago, Andy Montañez, Pablo Milanés and Rubén Blades.

La Sonora Ponceña is a Puerto Rican orchestra of Afro-Caribbean music founded by “Quique” Lucca in 1954.

Directed by the son of “Quique”, Papo Lucca, it is one of the most important groups of the musical genre

This time we highlight the album “Determination” from 1982, a production that placed “Yambeque” on its first song

Sonora de Ponce, Papo Lucca, Los Gigantes del Sur, Determination — Sonora Ponceña and their 1982 album “Determination”.

A melody from Regla de Ocha to the orishas that brings a rumba within its particular style of salsa and excelling in a solo he “little” Johnny Rivero and the interpretation “Toñito” Ledee.

On the song “Soledad,” it was Yolanda Rivera‘s turn, along with Miguelito Ortiz and Toñito Ledee, where they sing about loneliness and its peculiarities and dangers.

In “Creo en ti,” the arrangement of the ninths and suspended chords on the trumpet harmonies stood out, very well complemented by Yolanda Rivera’s interpretation of this bolero.

The song “Herida cerrada en falso”, lyrics and interpretation provided by Toñito Ledee, where we enjoy the vocal style of this great singer.

The melody that followed on this album was “Date cuenta“: a call to young people who go around playing with hearts.

In “Si la ven”, where the piano solo turned the main line of the melody into a Classical Music Minuet and where we enjoyed the harmonies that were used in the trumpets and flute horn by Juancito Torres.

In “Joldo” Maestro Papo Lucca makes Jazz taking this melody to a more accentuated Latin plane.

In “Aunque te quiero” Songo with Salsa was employed for a sense of harmony and dance-driving, where this melody reflects the heart of the true and full romantic lover, who regrets the love that does not return to him.

In this production we have wanted specially to detail that we counted on Enrique Quique Lucca like Musical Director; to Enrique Papo Lucca like Producer, Arranger, choir and piano; vocalists to Yolanda Rivera, Miguelito Ortiz and Toñito Ledee; in the choir to Edwin Rosas and like guest also in choirs Mr. Adalberto Santiago.

We were fortunate and honored to have lyrics by Adalberto Alvarez, Jose A. Mendez, Toñito Ledee, Francisco Alvarado, Roberto Anglero, Joseito Gonzalez and one with DRA.

This album continued to mark the musical line that we brought and continued to have the privilege of the favor and acceptance of each of our fans, who to this day continue to fully enjoy each of the melodies present in this production.

We say goodbye to you and thank you for your attention, and we will return soon with another release for all of you.

Facebook: Sonora Ponceña

Yambeque

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El Nene de Ponce and El Malo del Bronx

Héctor Lavoe y Willie Colón

A finales de los sesenta, el mundo fue testigo de un interés por la música latina, y esta vez, el sonido se llevó a cabo en Nueva York con condimentos puertorriqueños y dominicanos y un condimento basado en los sabores culturales que se mueven en la Gran Manzana.

Fue una mezcla de sonoridades latinas aromatizadas por las calles de Nueva York, que resultó en una especie de guarnición musical que se llamó Salsa.

Concretamente en el año de 1967, que es cuando este sonido cobra vida de la mano de la combinación más letal concebida por nuestra música latina, Héctor Lavoe y Willie Colón.

El primero es oriundo de Ponce con un registro vocal envidiable que se fue a probar suerte a Estados Unidos con tan solo 17 años. El siguiente era un neoyorquino de ascendencia puertorriqueña con el oído más privilegiado de su generación, unido por Johnny Pacheco para iniciar el imperio de los primeros chicos malos de la música latina con el disco “El Malo”.

Concretamente, fue en el 67 cuando este sonido cobró vida de la mano de la combinación más letal que jamás haya concebido nuestra música latina, Héctor Lavoe y Willie Colón. — El Nene de Ponce y El Malo del Bronx

Esta es la primera producción de Willie Colón que realmente se empieza a grabar en el 66 desde Alegre Records. Sin embargo, el sello cerró y el proyecto se detuvo hasta que recibió la propuesta de Fania Records con la condición de buscar un nuevo vocalista, y es entonces cuando apareció Héctor para terminar el disco.

Cuando se estrenó en el 67, fue un bombazo en todos los sentidos, desde la estética hasta los sonidos sofisticados que Willie capturó como líder de orquesta al traer elementos de mambo-jazz, son montuno, timbales diabólicos por parte de Nicky Marrero, Guaguancó, blues. pianos y Boogaloo.

Todo el mundo hablaba de la trágica vida de Héctor Lavoe, pero Willie Colón vio más allá de eso, e hizo once álbumes de estudio, lo vio como un dulce chico de campo con buen sentido del humor. Lo vio como el mito antes de convertirse en tal.

Willie Colón & Héctor Lavoe, este dúo es considerado uno de los más importantes de la música salsa.

Willie Colón & Héctor Lavoe fue un dúo de salsa formado en Nueva York, Estados Unidos, con orígenes puertorriqueños en 1967 por Willie Colón (trombón, coros) y Héctor Lavoe (voz, maracas). — Héctor Lavoe y Willie Colón “El bueno y el malo”

Criado entre los “chicos malos” del Bronx, Nueva York, Willie Colón se ha hecho a sí mismo a pulso y ritmo, innovando y esforzándose siempre por ofrecer algo diferente. Y no fue fácil. Así que tuvo que inventar otro Willie con el que nadie se enredara.

Así nació “El Malo” con una niñez poco común, también es “El Malo” de Salsa, el que cambia las reglas en cada disco. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años.

Su abuela fue la que le regaló su primera trompeta, le enseñó a hablar español, también tocó música tradicional a cambio de que él le leyera el periódico.

Willie tocaba la trompeta y ese parecía ser su instrumento. Luego escuchó el solo de trombón de Barry Rogers quien tocó la pieza “Dolores la Pachanguera” con Joe Cotto y también descubrió lo que hacía Mon Rivera con el bombo y el trombón y nunca quiso volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No cualquiera celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística.

Así nació “El Malo”, con una niñez poco común, lo que también lo llevó a adoptar el nombre a su pasión por la música, pasando a ser conocido como El Malo de la salsa. Cambia las reglas introduciendo algo diferente con cada álbum. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años en ese momento. Su abuela le regaló su primera trompeta, le enseñó a hablar español y también le tocó música tradicional a cambio de que leyera el periódico.

Willie tocó la trompeta como su instrumento hasta que escuchó el solo de trombón de Barry Rogers a dúo con Joe Cotto en la pieza “Dolores la Pachanguera” desviando su interés por ese instrumento pero descubriendo lo que hacía Mon Rivera con el bombo y el trombón. lo llevó a no volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No todo el mundo celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística lo que lo convierte en un ícono de la salsa.

Héctor Juan Pérez Martínez, conocido como Héctor Lavoe y William Anthony Colón Román, más conocido como Willie Colón. — El Nene de Ponce y El Malo del Bronx “Héctor Lavoe y Willie Colón”

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