Search Results for: Puerto Rico

Background

It is no secret that music has always been a vast source of social expressions that tell an infinite number of stories dating back to the time and focused on the awakening of the personal and collective conscience of the people at the time. This is exactly what has happened with salsa and Latin music in general from its origins. 

As is the case for almost all known musical genres, salsa was the result of a set of migration waves caused by the political, social and economic issues that were gestating in a large part of the Latin countries. These people saw in various cities across the U.S. the place they were looking for to start a new life far from the suffering of the past. This is how large Latino communities were growing in the country, New York being one of the cities with the highest number of these new residents.   

Although people from all over the continent immigrated to the United States, there is no denying that Puerto Ricans and Cubans started making an impact on their new home, at least in cultural terms. Cities that received these new citizens were already becoming too small for the large number of immigrants who would not stop arriving, which presented a challenge for the old and new inhabitants. 

A number of new arrivals were forced to live in inhumane conditions to find themselves in places which did not have minimum conditions of dignity to house human beings. This led many of them to live a life of squalor equal to the one from which they were fleeing, or even worse.   

This is how neighborhoods were starting to be born in New York City, which was gradually configured in small communities inhabited only by people of one or certain nationality. It was this mix of old and new culture that gave birth to new rhythms that were born on the streets and began to spread robustly. At that time, we were starting to enjoy the talent of Cheo Feliciano and historic boleros of Pedro Flores were becoming increasingly present in the rickety windows of Latin low-income neighborhoods. 

This social situation coincided with the creation of the record label Fania Records from the hand of the legendary Johnny Pacheco and Jerry Masucci. The early work of the label attracted a great deal of attention due to its freshness and novelty in comparison with what was being done at the time. Fania All Stars, Bobby Valentín’s orchestra and a few other groups, not noticing it, began to start a trend to the sound of timbales and claves whose rhythm was increasingly fast and furious. 

The young people of the time were clamoring for music far from art academies and social circles which became more and more unattainable for them. Something that many would call music closer to the street and much more like them. The black population had ceased to be represented by much acclaimed jazz artists at the time and could feel its purest essence in boogaloo.   

For those who do not know, boogaloo can be defined as a genre of Latin origin resulting from the mixing of Afro-Cuban rhythms and American soul, which was already beginning to be sung in both English and Spanish. This last shows the widespread influence of the arrival of so many Latinos to the United States in such a short amount of time. 

This is what made the figures that would later emerge so famous. In addition to Pacheco and Valentin, names like Pete Rodriguez, Monguito, Ismael Miranda, and Ismael Rivera were also popularized. And of course, nor can we fail to mention the explosive duo formed by Héctor Lavoe and Willie Colón.   

What the term salsa means 

After the emergence of the already mentioned artists, there came about a great confusion concerning the meaning of the term salsa, as that was the word chosen to refer to the music done by a growing group of singers in New York. This, of course, did not make Tito Puente and Machito content, who saw the pioneers of this new trend as intruders who came to take the place they had already earned by pluck and application. 

Some scholars of the subject have stated that the term salsa comes from a kind of like campaigning in which this rising genre was likened to the seasoning used in food to make it more appetizing. Others said that it was just a phrase that says échale salsa (salsa in Spanish can also refer to sauce used in the kitchen) used by various musicians for sudden changes in rhythm. Fania Records used this to make its artists famous and it worked as well as expected. 

During the 1970s, the genre hung over the youth of the time and the old school that took quite a lot to impress. 

What part Cuba and the Cuban Revolution played in all this.

It is undeniable that Cuban music had a before and an after due to the Cuban Revolution. When Castro came to power, high tensions began to arise between the island and the United States, which caused the Caribbean country to be perceived as a threat by the media of the time. This made its cultural and artistic expressions to be no longer seen with good eyes. This led artists who were afraid of being censored to rename it as salsa and pass it off as Latin music. 

This salsa ended up by uniting an entire continent in a single voice, for it spoke of a shared culture and a common origin that not only stood for Cuba, but also for Latin America in full. This was what turned the genre into an identity movement for countries such as Puerto Rico, Colombia, Venezuela, and many more. There was a time all these nations were competing to be considered the official home of salsa. 

This brought about a countless number of historic concerts in which the Fania All Stars, other groups, and artists proved that the Fania got huge potential as a product. This was the exact same Cuban music with certain variations that never left the art world despite pressures to do so.

If you want more information, you can read Génesis of Salsa, its essence, characteristics, rhythm, history and expansión 

Home

Erika Muñoz official administrator of the portal “Se Armó la Rumba en México”

Through Erika Muñoz official administrator of the portal “Se Armó la Rumba en México”, www.SalsaGoogle.com International Salsa Magazine and Por La Maceta Internacional 101.1 FM present the Puerto Rican Chevy “El Pitirre De La Salsa” based in Columbus, Georgia, USA.

The singer-songwriter Jose David Flores Perez better known as Chevy El Pitirre De La Salsa, son of Puerto Rican parents (both Cidreños), so at the age of 8 years settles in Cidra, a municipality in the mountainous Central Region of the Island of Enchantment.

He had the privilege of being lulled with musical notes; his father was an amateur singer as well as his maternal grandfather and uncles, and the string instruments (guitars, Cuban tres, and Puerto Rican cuatro) were his letters of introduction and distinction.

Once he settled in Puerto Rico, and as a teenager, he participated in choral activities at his school and in troubadour competitions in his town and surrounding areas.

In 1999 he arrived in Columbus, Georgia in fulfillment of his military service and remained there until 2005. During this period of time he joined musical groups in the area of Son Tropical (Columbus), Orquesta Tamboricua and Taboga, both from Atlanta.

Back to Puerto Rico in 2006, he stayed away from the stage, except for his participation in the second edition of the contest “Buscando el Sonero de Picante” for the year 2012 held at the Marriott Hotel in Isla Verde, where Chevy managed to sneak into the finalists.

Those evenings were hosted by radio man and event promoter Nestor “El Búho Loco” of Z93, Puerto Rico’s Salsa radio station, and accompanied by the musical framework of La Sonora Sanjuanera.

He returns to Columbus in 2016 and the meeting with the musician and arranger Felix Rodriguez takes place, integrating the vocal line of the Caribbean Sound group “group that by then was in the process of formation” and that somehow would be the necessary incentive for his return to the musical stage.

In the month of February 2019 prior to the celebration of Valentine’s Day, the single titled Instrumento de Amor was released through the different social networks and could be obtained through the various platforms in music sales in digital format.

The date was selected intentionally because from the titles of the singles, the name of the production and the theme of this one, it is evident the concordance of the encounters and misunderstandings of love that happen in everyday life.

The first production “Entre el Amor y el Vacilón” contains 8 songs inspired by Chevy’s own pen that he has drawn from the depths of his heart.

Under an intense work in this 2021 El Pitirre De La Salsa presents his second production for the album titled “Enjaulado” contains 12 songs of which some are authored by Chevy.

On May 30 was the official launch of the second production of the Puerto Rican singer-songwriter and is available on all digital platforms.

You can already listen to the promotional track titled “En Modo de Avión” and “Siempre en mi Mente” to mention a few that are already available on his YouTube channel.

Facebook: Chevy “El Pitirre De La Salsa

By: Erika Muñoz from “Se Armó la Rumba en México”

 

Home

Percussionist Celso Clemente Torres, was born on January 31, 1965 in San Juan, Puerto Rico his childhood and under the guidance of his father, Celso Clemente Sr., the young man was introduced to the world of music in 1973.

At the age of nine, he made his first big band performance at the Roberto Clemente Coliseum in Puerto Rico alongside Giovanni Hidalgo with the Roberto Roena Orchestra.

When he was twelve years old, he participated in his first recording called “Borinquen All-Stars” with the great Puerto Rican trumpet player and band leader Mr. Elias Lopez (R.I.P) with the great Gentleman of Salsa Gilberto Santa Rosa, he was the lead singer of that important project.

He has been a percussionist for 40 years.  Clemente has mastered the following instruments; bongo, conga, timbal and minor percussion.

With all these instruments he has had the opportunity to be part of countless recordings in the tropical genre which have served as inspiration for new exponents of the genre.

Due to his vast experience in percussion he has been able to spread his knowledge, offering percussion workshops to different groups (children, youth and adults) with excellent results.  This has led him to create his own line of bongo bells and timpani sticks with his name.

He has had the opportunity to work in big stages such as; Madison Square Garden, House Of Blues, Coliseo de Puerto Rico “José Miguel Agrelot” Centro De Bellas Artes, among others.  He worked in these orchestras; Roberto Angleró, Moliendo Vidrio, Tommy Olivencia, Tony Vega, Tito Rojas with this work 27 years, of which he directed his orchestra in Puerto Rico and outside the Island for 20 years.

He has recorded with Roberto Angleró, Tommy Olivencia, Tony Vega, Tito Rojas, Gilberto Santa Rosa, Willie Rosario, Bobby Valentin, José Alberto “El Canario”, Rey Ruiz, Willie González, Frankie Ruiz, Puerto Rico All Star, Yan Collazo, Bomplenea, Plenarium among others.

He has also had the opportunity to be music producer, “Rompiendo Barreras” with Mario Feliciano, “Independiente” Tito Rojas, “Ritmo Caliente” with Bomplenea by Gary Vera, “Rompe La Rutina” by Del Gonzalez, “Te mando un beso” with Plenarium by Capitol Clemente.

He is an endouser of the Pearl Musical Instrument Company also in the line of cymbals “Soultone Cymbals”.

Celso Clemente is considered one of the best sounding bongos, which caught the attention of many record producers. Celso is probably the most recorded bongos player in the history of Puerto Rican salsa discography with more than 220 credited recordings.

The list of salsa legends Celso has recorded with is too long to list.

Celso is currently the timbalero and leader of the band of the famous salsero Tito Rojas (R.I.P) where he toured all over the world.

He offers Percussion Workshops to; children, youth and adults, both in person and online, based on his extensive musical experience, which is more than 42 years in the tropical genre (Salsa), bomba and plena.

Facebook: Celso Clemente Talleres De Percusión

Contact in Puerto Rico: +1 787-429-9971

Email: [email protected]

Source: Pearl Musical Instrument Company  https://pearldrum.com/eu/artist/celso-clemente

By: Diana Marie International Salsa Magazine Correspondent

 

Home

With a full tank, Transition by Tito Rodriguez, Jr.

Bella Martinez, International Salsa Magazine by the hand of www.SalsaGoogle.com presents and highly recommends this formidable and exquisite production of Tito Rodriguez Jr. The firstborn of the unforgettable Pablo “Tito” Rodriguez.

Long live music!  Repeat after me: “Long live the musicians so they can keep making it”.  And I add: “Long live SALSA”.

As soon as I got my hands on it I listened to it, many times.  Not that I needed an explanation, but I could not stop listening to it and go off to take care of my duties.

So much so that I had to send the radio station of the Puerto Rican salsa singer on vacation for a few days until I finished writing the note that had chosen to write itself.  The CD cover – showing the photo of Tito Rodriguez, Jr. settled on my desk for several weeks as if it belonged to the surface in front of which I sit every day.  Until one fine day I said to myself: Today I hope to be able to understand the instrumental pairing of everything that happens in this piece.

Here I go…

In the first cut (Bailando con la más fea) there were several bars after the first minute, that transported me to my days of partying in New York during the bravo launch of that orchestra that I haven’t heard for a long time.

Of course, while that orchestra sounded bigger than it was, this one I’m examining today – Tito Rodriguez, Jr.’s – sounds bigger than it is and on steroids; among other reasons because the baritone enhances the personality of this serious sounding arrangement, albeit hand in hand with a jocular lyric.

During the second theme (El vive bien) we experience a very Cuban theme of those that sandungueando the waists of those who follow the leather beats to’ fuete.

Shortly before entering the third minute, the interplay of saxophones and twists in which the baritone and bongo play suggest to me that this song shares the flavorfulness of the pregón that says “Salsa ahí na’ma’ como me gusta a mí…” from one of the tracks on Gilberto Santa Rosa’s production Colegas (2020).  In fact, Gilberto collaborates in this production, specifically in the song Volver.

In the third cut (Ándate nena), the trumpet solo stands out within an arrangement for large orchestra and allows the performance to be sprinkled with conga, marking the nostalgia of the memory of those geniuses that the traditional big bands left us as a legacy.  The saxophones sound like those of the Palladium orchestras.

The 4th track (Volver) is an arrangement where the influence of Bobby Valentín’s inventions is evident.  The track starts like the romantic arrangements of the 1990’s, although with a heavy and dominant piano, prior to the alto saxophone playing that opens the way for the rest of the saxophones in perfect synchrony with the conga, timbal and bongo.  This cut features Gilberto Santa Rosa, although the song didn’t need Santa Rosa to shine.

Tito Rodriguez, Jr. gave way to the most prolific salsa singer in commercial salsa to perform a song that was already the polished diamond of this collection.

I found it to be a classic big band arrangement with an avant-garde touch where the saxophones give way to a touch of a musical arrangement that wants to be a sonorous orchestra.  However, the perfection of the thing doesn’t let the sonorous touch tuck in the modern big band concept.  Well, I understand myself.  “Afinca y echa pa’ lante…” said Santa Rosa.

In the fifth track (Con el tanque lleno) the orchestra starts off powerful in sound and playfulness.  The song is about a “convertible, colorado y con el tanque lleno”.  The pregón reads: “Soy soltero y con el tranque lleno” (I’m single and with a full tank).  I don’t think you will be surprised when I confess that this is my favorite song in this collection.  The lyrics are funny, but the arrangement is a smashing one.

The conga’s correspondence with the melodic trombone solo by Alex Zapata’s blows sets the stage for a masterful closing by the saxophone ensemble under the leadership of Ismael Vergara’s baritone.

The sixth track (No vale la pena) is evidence of the chameleonic capacity of Sammy Gonzalez, Jr.’s voice, which can be used to proclaim, to sound, to become the most romantic rogativo in the middle of a heavy song, all within a romantic lyric full of feeling.  Well, rarely does a man play the “victim” of a sentimental breakup.

This is one of those few times, a situation that makes the pregones both jocular and nostalgic at the same time.  The contradiction of suffering and laughing is also visited at the end of the mambo, which makes the theme one of general interest in addition to the musical interest it awakens.

The seventh track (Pa ti morena) is a very brave Cuban son.  I don’t know if this son is played in that unlikely combination of the style of Tito Puente, Machito and Tito Rodriguez knowingly or if it was pure chance.  I felt like I was reaching for heaven while listening to Sammy Gonzalez, Jr.’s vocal performance when the alto saxophone solo brought me back to reality.

The beginning of cut #8 (Para los bailadores) marks the change of tempo to an aggressive one where the bongo is the one telling where the baritone is going. When the vocalist suggests to Tito Rodriguez, Jr. to enter the mambo with an anticipatory “y nos fuimos”, no one doubts the greatness of the orchestra’s sound.

The timbal solo by Tito Rodríguez, Jr. declines when the performer requests “mambo otra vez”.  It is in this track that the distinctive sound of this orchestra is most noticeable, one inspired by the traditional big bands, although influenced by the advanced currents.  In short, this is real salsa and it is salsa to enjoy.  As promised in the lyrics, this song brings to the arena a very cool rhythm that is not to be confused with charanga.

After I finished writing this note, having already listened to the complete production, I was tempted to ask Tito for an audience and ask him “a couple of questions” according to me.  That brief call went on and on and I asked him everything I could, taking advantage of the nobility of the timbalero heir to the musicality and name of one of our greatest musical glories….

During the “cañona” that I wanted to call an organic interview, Tito confirmed that Transición is his fourth album and the first to be titled in Spanish.  Let’s go well, Tito.

This album was preceded by Curious? (1978), which featured José Alberto “El Canario” and Rubén Blades; Eclipse (1995) and The Big Three Palladium Orchestra live at the Blue Note (2004).

Why the title Transición?  I’ll tell you about it next time.  Obviously, Tito deserves another chapter in my salsa journey.  Talk to you soon and I’ll tell you about his 2009 adventure when he was in Puerto Rico fulfilling one of his musical dreams.

Tito Rodríguez, Jr. Transición

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

Home