Search Results for: Rubén Blades

The most progressive arranger and innovator of New York Salsa in the 70s and 80s.

Music often requires characters who are always backstage and support with their talent the work of singers and performers, who are eventually the ones who “come forward” and assume the popularity. Sometimes, though, these anonymous characters shot to fame in order to be able to perform their own work and even become more popular than any fashion singer.

In the case of Pop, this character is named Quincy Jones, who was said to be the arranger for Frank Sinatra and the producer for Michael Jackson. A “nonentity”. In the case of Salsa, these characters have been symbolized by the emulator of Jones, a guy named Louie Ramirez who has done everything with everyone.

An afternoon in 1994, Ramirez was driving his car on the highway that took him to Variety Studios in New York. It was going to be a quick session because he only lacked one track to complete his 20th album as a bandleader. Perhaps this is why he was nervous and full of anxiety. Minutes later, he could not resist the feeling and had to stop the car. He had not finished doing it when a heart attack ended his life.

Introducing Louie Ramirez

Louie Ramirez was a genius. The one to whom all run for advice and solutions to their problems. It did not matter if they were young or old musicians. The fact was that Louie had the answer and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from the first recording “Meet Louie Ramirez” in 1963.

He was 20 years old back then and had a good record with regard to composing some pachangas and arranging for the orchestras of Pete and Tito Rodriguez. Commentator Dick Sugar introduced him like this: Ramirez breaks through the image of a bandleader who uses the talents of other composers and becomes a follower of a rhythm. No, Louie Ramirez is a creator in his genre.

Louie Ramirez Ali Baba

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star of Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez was soon wrapped up in work and could only record two albums during the 1960s, “Good news” and “Alí Babá”.

The last album included the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The song was performed by Rudy Calzado, the third of the soneros Louie had used without finding the right one. It was a ballast that stayed with him as a director during the 1970s, when he used singers such as Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

Louie Ramirez y Sus Amigos

It was precisely Blades that he made an anthological album with, “Louie Ramirez y sus amigos”, which included the song Paula C, with an arrangement of those that deserve to be admired. By then, Ramirez was already considered as the most progressive arranger of Salsa in New York, thanks to the brilliant works done for the Fania All Stars. An excellent work had been the instrumental arrangement for Juan Pachanga, to be performed by Blades, from Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” performed by Tito Rodriguez with Louie’s orchestra.

Noche Caliente

The peak of Ramírez’s career was in 1980 when Joni Figueras, a representative of the K-Tel International label, hired him to maka arrangements for the ballads Todo se derrumbó and Estar enamorado by Manuel Alejandro. The album, which included these and other songs, was released two years later under the title “Noche caliente” and was recorded by Louie’s orchestra.

Ballad-salsa or romantic salsa was born as a result of a work Ramírez did until his death, making occasional attempts in Latin Jazz, which he loved. That is why he recorded a tribute album to Cal Tjader in which Louie was the director, producer, composer and arranger. Apart from that, he played the timbales and his favorite instrument: the vibraphone.

Louie Ramirez was a genius of arrangements, in a career that included Guantanamera and Isadora for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres.

The Cesta All-Stars Vol. 1

Further to that, there are his works for La Alegre and the Cesta All-Stars. Regarding this Ramírez’s profile, critic Eleazar López defined it very well.

“It is not easy to arrange for a dance orchestra, especially when it is a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a vacuum in the dancer”.

Others arrange in a simple way, but it is so simple that they repeat and copy themselves, and the result is tired music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramirez has found the perfect balance… that’s why he always stays relevant.

Article of Interest: Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

#ISMPublicity

Noticias Con Sabor in the month of January

We leave this year with the loss of giants in the Latin Music who have joined the ancestors that include the recent loss of the legendary Mexican star Vicente Fernandez, Panamanian powerhouse sonero Meñique and Paquito Guzman who was known for both his boleros and Salsa tunes.  This year we have also lost legends and great musicians such as Johnny Pacheco, Roberto Roena, Chick Corea, Larry Harlow, Adalberto Alvarez, Johnny Ventura, Ralph Irrizary, Tommy Villariny and at the end of 2020, Tito Rojas.  We are lucky that these artists have left us with their legacies of music that will continue to entertain people for years to come.  Rest in Power!

Spanish Harlem Orchestra conquered Monterey with two explosive sets at a special show this past Saturday, Dec. 11th at the Monterey Conference Center. SHO played a few new tunes from their upcoming 2022 release, their repertoire of hits and Christmas salsa music much to the crowd’s delight. I had the pleasure of emceeing the show as well as playing music as the event’s DJ. SHO who were on fire all night and the dance floor was packed all night long. The crowd roared their approval with a standing ovation at the end of the night.  SHO responded with an infectious danceable Christmas song with a crowd sing-a-long which ended the festive evening. Thanks to producer Luis Mendoza and Montuno Productions for inviting me to be a part of this event. Thanks to the great crowd in Monterey who are salseros all the way!

During the COVID19 pandemic, it seemed that all live music stopped being played in public.  However, there were a few places, mostly outdoor cafes, farmer’s markets and restaurants with outdoor dining that offered live Latin Jazz during these dark times.  One of the unsung heroes who continued to play when the pandemic was at its height is veteran pianist-bandleader Gary Flores who formed Salsa Caliente in SF in 1976.  The group has had a lot of prominent musicians including vocalists Paquito Acosta and Angelo Pagan who continued to see their careers thrive in Puerto Rico and Los Angeles.  He disbanded Salsa Caliente in the late 90’s to concentrate on a smaller Latin Jazz group.  Flores along with ex Franco Brothers bassist/vocalist Carlitos Franco and a revolving lineup of all-star percussionists including Santana timbalero Karl Perazo and former Avance bongocero Oscar Soltero kept the live music going during the pandemic at different venues.  Flores was able to continue to play Latin Jazz and Salsa in stripped down format as a trio due to rearranging Salsa tunes as all the members sang coros and vocalized horn lines behind Franco,   Now that live music has made a comeback of sorts and some venues are now booking bigger bands, Flores is revitalizing a bigger version of Salsa Caliente featuring Franco and Perazo.  Flores has been writing new music and plans to record new music with the group.  His last recording “Descarga Caliente: A New Beginning” came out in 2005.  Gary Flores is a veteran and a survivor of the San Francisco Salsa Scene who deserves a big shout out for keeping Latin music alive in the age of COVID!  Pa’lante Gary!!

Reopening will be later

Some scenes are not reopening for 2022 until February or later.  One of those venues affected is Space 550 at 550 Barneveld St. in San Francisco who will reopen in February due to concerns regarding the current surge in COVID cases and the situation with the new variant of the disease.  I also spoke with Adrian Goddard of Jaffe Events who told me that he will continue to book events but later in the first quarter of 2022,  For some event producers, January isn’t a good month to book Latin Music.

However that’s not stopping Grammy Award winners Pacific Mambo Orchestra who will play their annual January dates at Yoshi’s, Jack London Square on Friday, January 7 and Saturday, January 8th.  Get ready to enjoy and dance to swinging Mambo, Salsa and Latin Jazz from this awesome all-star 20 piece band led by pianist Christian Tumalan and trumpeter Steffen Kuehn. This SF based band is scheduled to play at Europe’s prestigious Tempo Latino Festival in late July. Tickets are now available for these upcoming January dates at Yoshi’s. For more information,  visit www.yoshis.com.

The Cigar Bar, 850 Montgomery St. in SF is starting 2022 with a calendar of great acts coming to this fine venue where you can dine, dance and smoke a fine cigar if you choose to do so. The schedule includes Orquesta La Original w/Alexis Jan 7, Josh Jones Latin Jazz Ensemble Jan 8, The Latin Rhythm Boys Jan 14, Edgardo y Candela Jan 15, N’Rumba Jan 21, La Clave Del Blanco Jan 22, Julio Bravo Y Salsabor Jan 28 and Manteca Jan 29

The Seahorse in Sausalito continues to feature explosive music from the following acts in January on Saturday and Sunday including La Clave Del Blanco Jan 2, Gary Flores and Salsa Caliente featuring Karl Perazo of Santana Jan 8, Edgardo Cambon y Candela Jan 9, Carlos Xavier Salsa Band Jan. 15, Louie Romero and Mazacote Jan 16, Braulio Barrera and Somos El Son, Jan 22,  Orquesta Bembe featuring Christian Pepin on Jan. 23 and Rumbache on Jan. 29.  DJ Jose Ruiz from KPOO/KPFA Radio will also be behind the decks for your dancing pleasure. Check out their fine Italian cuisine and selection of beer and wine.

The Ramp, 855 Terry Francois in SF continues to offer Salsa under their all-weather tent during the month of January.  Their line up includes N’Rumba Jan 8, Louie Romero & Mazacote Jan. 15, Manny Martinez y La Rebeldia, Jan 22 and Orquesta Borinquen on January 29th. DJ Mendy is providing the music in-between sets and from 9 to 11 pm.  The music starts at 5 pm on Saturdays.

Cascal, 400 Castro in Mountain View will be featuring the explosive sounds of Edgardo Cambon and LaTiDo on Fridays, January 7th and 21st starting at 7:30 pm. There is no cover. Cascal continues to offer their tasty menu of Spanish cuisine, Tapas and fine drinks.

The following recordings kept me going during the second year of COVID19: Ruben Blades “Salswing”, El Gran Combo “En Cuarentena” and their Xmas cd “De Trulla Con El Combo”, Gilberto Santa Rosa’s all-star studded “Colegas”, Sonora Ponceña “Hegemonia Musical”, Mel Martinez “Asi Escribe Un Sonero”, Los Generales De La Salsa featuring Van Lester, a 1996 all-star session finally seeing the light of day, Tromboranga “Salsa Terapia”, Los Van Van “Mi Songo”, Various Artists “El Son De Caballero-Homenaje A Adalberto Alvarez and “Son Para Un Sonero”, Sounds Of Cuba “Los Titanes De La Timba”, Alexander Abreu/Havana d’Primera, Various Artists “En Barranquilla Me Quedo-Homenaje a Joe Arroyo, Dorance Lorza’s Sexteto Cafe “20 Aniversario”,  Luis Perico Ortiz “Sigo Entre Amigos”, Charlie Donato’s Son Ideal “De Vuelta Al Barrio, Eduardo Zayas Y Su EZ La Banda “Huerto De Soneros” and his latest “Sabor Y Sandunga”, Alain Perez, Issac Delgado & Orquesta Aragon “Cha Cha Cha: Homenaje A Lo Tradicional”  and Orquesta Failde “Joyas Ineditas”.  There are a flood of singles that did the job as well from Julito Alvarado’s maxi single “Lo Que No Se Escucha (Descarga De Soneros), Don Pergiñon Y La Puertorriqueña, Marc Anthony, Wilito Otero, Josean Rivera, Monsi Y Su Salsa , Mariana Y Su Makynaria, Julito Albino y Secreto De Voces and VibraSON.  These recordings are some of my picks for the Best of 2021.

And…if that wasn’t enough, my program Con Sabor, Saturday nights 9 to 11 PM PST on KPFA 94.1 FM will be celebrating its 25th Anniversary year on January 1, 2022!  Time flies when you’re having fun!!  I’m also on “Sabiduria Con Tumbao” every Wednesday night 5 to 7 PM PST on WorldSalsaRadio.com.

That’s it for this time.  Ciao 4 now!!

This is the report last month: Noticias con Sabor by Luis Medina

BY LUIS MEDINA, PRODUCER AND HOST OF CON SABOR ON KPFA 94.1 FM AND SABIDURIA CON TUMBAO ON WORLD SALSA RADIO.COM

Album covers can express the technological and social advances of different epochs through indirect means.

“Salsa Fantasy” is a term coined by journalist Pablo Yglesias to describe a concept that artist and illustrator Ron Levine wanted to implement when he started creating various album covers for Latin music in the 70s.  He was primarily intended to propose a style that could compete directly with the creations of the prosperous American industry.

This article presents the reasons why Ron Levine decided to set out on on that journey. To that end, we have drawn on an interview conducted by Pablo Yglesias in 2011 in which, in addition to his interesting anecdotes, we are being offered a glimpse of a retrospect of all his work, going through his work with the Sonora Ponceña in which he had the opportunity to develop his style.

Album cover design, Fania Records, illustration, Pop Art, La Sonora Ponceña.

Introduction

Album covers can express the technological and social advances of different epochs through indirect means (Rondón, C., 2008), (Figueredo, M., 2010). The interesting thing about this is that the relative precarious situation in which salsa album covers were designed and the marginality expressed in many cases by the lack of resources with which they were created.

Jerry Masucci’s Fania Records was really focused on supporting that nascent number of singers of Latin origin.

Many of those covers created were concepts on which certain issues closely related to the songs or what the singer wished to express were handled.

In most cases, staging and photography were resorted to express certain ideas related to migration of Latinos in the U.S. and others of social order that prevailed in the lyrics of the songs (Yglesias, P. E., 2005).

In this way, various artists became directly or indirectly involved in the making of their album covers; one example of this are Eddie Palmieri’s album covers where a set of simple but forceful photos and the good mastering of typography can be appreciated (Yglesias, P. E. ,2005).

Although there existed a number of non-Latin graphic designers and artists who engaged in Latin music in the United States during the 70s and 80s, the team formed by Ron Levine and Marshall Lee was the most visible of Salsa in New York.

The two artists, both iconic and revered, worked for Jerry Masucci at Fania Records where Levine created many of Fania’s best known and appreciated covers.

Salsa wonderful photos of Lee would be part of a comprehensive separate study, what interests us in this article is to show the work developed in Ron Levine’s work as a graphic designer and artist.

Throughout his career he played an important role in carrying on the legacy of high quality in the design of album covers initiated by Izzy Sanabria, Walter Velez, Charlie Rosario and other artists and illustrators in the 60s and early 70s.

Below is a review of Ron Levine’s work and some aspects that led him to develop a style so particular that, still today, is applauded by many designers, artists and illustrators who have been involved in the art of creating album covers.

Levine’s childhood: from drawing horses to Ronald Stuart art school Levine was born in 1947 in Brooklyn, New York and moved to Long Island at six years old. His maternal grandparents were Scottish Protestants; his maternal grandmother was Theodore Roosevelt’s nurse in a moment of her life (“She was a big burly woman with hair like sheep,” recalls Levine)

Her paternal grandparents were Jews from Poland and Russia. Her mother, who was born in Glasgow, converted to Judaism when she married her father. She attended art school and, besides being a housewife, she used to work in a professional photo studio and was an expert in dyeing and painting backgrounds oil colors in black and white photographs for weddings.

Her father worked in a textile store and had a knack for textile marketing and fashion in Manhattan.

Levine spent his childhood playing with drums, Jewish folk dances and horse riding. Drawing horses fascinated him and he was obsessed with science fiction illustrations such as Flash Gordon, Disney cartoons, superhero comics, horror and fantasy.

By the age of eight, he was longing to work for Walt Disney; at school he was irreverent in art classes, preferring to draw horses, fantasy characters or Flash Gordon, rather than those boring still life, fruit bowls and colour cards that were classroom exercises.

He motivated himself by drawing fantasy and beautiful horses. Despite his poor grades, his parents knew he had talent, so they encouraged his artistic skills knowing that his career in the arts may not be very financially feasible.

To him, music was a passion almost be likened to painting. Levine formed a band called “The tensions” in which he played drums. He was also the lead vocalist of another band called “The New Rock Workshop” and its members toured and recorded for several years in the 60s.

In addition to playing and singing in those bands, Levine began studying at the School of Visual Arts in Manhattan, where he took classes in a 4-year programme. There he reclaimed his passion for drawing the human figure.

At the age of 20 Levine settled permanently in Manhattan anstarted his professional career as an artist.  He could not finish the last quarter of his studies, but through a professor he was able to make contact high-profile graphic artists such as Paul Davis, Milton Glaser, Chwast Seymour and Lubalin Herb. After a while he landed a job making magazine covers and also with the famous creative director Tony Palladino with whom he learned various tools of the trade.

In these early works, as may be noted, photography was used as an element of graphic expression, combining some illustration and staging. It was a work concluded between Levine and Lee.

After the first six years, Levine was already doing most of the work for Fania All-Stars together with Lee.

At the same time, Sanabria was occupied with Latin NY magazine, which was a very influential publication for Nuyorican popular culture.

Levine comments that he felt part of The Good, The Bad And The Ugly and Lo Mato.

The Good, The Bad And The Ugly

Jhonny Pacheco had respect for his illustrations because Levine also knew about music.

However, he says he took an intensive course and went from not knowing anything about Latin music to witnessing its history and evolution in the front row.

After that, he worked for some albums by Rubén Blades in which he began experimenting with portrait photography, which was a realistic interpretation from photography.

Lo Mato

Despite the pleasant working atmosphere, Levine had some conceptual discussions with Masucci in relation to logos and title text sizes in typographies, resulting in controversial results in some cases.

Since Latin music was marginalized for many years, the designs of the 60s and 70s used a shoestring budget, considering that Fania All-Stars was neither Columbia nor Atlantic Records, for many of the typographies almost everything had to be created manually and with basic techniques such as the use of masks, photocopies, adhesive tape and rubber cement.

In this way, there was a lot of handmade work in which Levine’s photos were taken to the extreme. All the lines were done by hand and then tinted with rapidograph pens. Levine says that some of the typographies created had no concept behind them, however, illustration to produce a quality product take a long time.

Creativity was blooming as was humor. Many musicians used to dress up in costumes and pose with girls.

Subsequently, he was called to work in the covers of La Sonora Ponceña given that the aesthetics of this orchestra’s pieces were in line with his expectations about fantasy illustrations.

La Sonora Ponceña.

Many of the covers created by Levine and Lee challenged the concept of the Latin identity’s representation, this can be better seen in the LP’s created for La Sonora Ponceña from Ponce, Puerto Rico.

The record label Fania Records offered that differentiation to new musicians, giving them the opportunity to say something interestingusing their covers. Sanabria had already begun to develop a concept, but were at the hands of Lee and Levine that a classic representation of the style based on comic-inspired illustrations, some humor and Pop Art was truly shown.

Ruben Blades.

Ruben Blades With Strings

This is how contextualized ideas and stories were developed; an example of this is a cover where a representation of the conquistador Juan Ponce de Leon in full body armor (something incongruous with the use of a sweater), a guitar on his shoulder, a maraca in one hand and a parchment in the other one.

When Levine took charge, there was some controversy concerning how the group should be represented; however, Levine was quite good in the eyes of the fans.

Given that they felt the story needed to be told in some way and the problems and artistic freedom so important to salsa in the 70s were illustrated with authencity through his creations.

These creations that came out from an initial idea of Juan Ponce de León’s representation mutated and became the issue of many album covers that not only told fantastic fictional stories related to music, but also changed the traditional image of the Latin album.

Sonora Ponceña albums (Musical Conquest – Back to work).

Sonora Ponceña Musical Conquest

Despite the success of Levine’s work with the public, Sanabria, who always tried to remain within the limits of Latin culture, criticized him precisely for distorting music and its culture.

Sonora Ponceña Back to work

However, Levine defended his idea by saying that Latin music and its artists very good music), had not received before the support as is provided to American music and artists. Given that Levine had been linked to the creation of covers for rock bands, he always felt that the quality of Latin music covers was very poor due to the low budget.

 Sonora Ponceña albums (Determination – Night Rider).

Sonora Ponceña Determination

In this way with his fiction proposal, Levine put Latin music on a par with some American artists who had recognition (Boston, ELO, Earth, Wind, Fire, Kiss and Yes).

Levine believed the covers should reflect the image of success. Fortunately, he had the support of Masucci, who, motivated by Levine, invested more money in the covers using the same premise.

Sonora Ponceña Night Rider

With his proposal for the covers, Levine wanted to show that Latin music was part of one of the biggest music scenes in the world.

He remarked that each of the covers had the same standard of treatment as a work of art; it was worked with great care and detail.

Finally, the last cover created by Levine for La Sonora Ponceña was made in the digital age – On Target (1998). There is a kind of hybrid between samurai and barbarian, with certain influences of the aesthetics of video games, fast-moving typography management with a flatter illustration but with a three-dimensional look.

The CD was released the year after the death of Masucci.

Sonora Ponceña On Target.

Conclusion

The concept proposed by Ron Levine allowed to explore from creation not only the various ways of making known a musical group, but also the establishment of a style that spread among the public to such an extent that his work on each cover is recognized as a work of art at present.

Mongo Santamaria

On the other hand, he was a pioneer of a style with which Latin music was not initially identified in its beginnings (fiction illustration, Pop Art, humor.) Yet, despite economic constraints, he designed several album covers with the best quality, they are even on the same level as those created on American record labels with higher budgets.

Notes

1 Member of the Research Group Camaleón.

2 Member of the Research Group Palo de Mango.

3 Music festival, art and Hippie congregation; held on 15, 16, 17 and the early morning of 18 August 1969, in Sullivan Country, New York.

References

Figueredo, M. (2010).

Album cover design in the 1970s.

Creation and Production in Design and Communication [works of students and Graduates] Nº 35 (2010). pp 99-102 ISSN 1668-5229 99

Rondón, C. (2008).

The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City The University of North Carolina Press.

Cocinando. Fifty Years of Latin Album Cover Art.

New York: Pricenton Architectural Press.

Received: June 30/ Approved: November 28, 2013.

For Santa Maria’s bongo album Afro-Indio, Levine produced a masterful watercolor of ritual imagery focused on African culture.

https://nexus.univalle.edu.co/index.php/nexus/article/view/747/870

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Ron Levine

News about the live music scene in San Francisco

The Ruben Blades concert at Oakland’s Paramount Theatre on Saturday, November 20th was sensational!  The anticipation of the packed intergenerational crowd to his first visit In 18 years was at a high peak.  Blades wowed the audience with a stunning performance backed by bassist Roberto Delgado’s dynamic Big Band.  Ruben’s powerful voice was as crystal clear as when he started his career with Ray Barretto back in 1974.  His set list was a retrospective into his vast and deep repertoire that included his big hits, crowd favorites, esoteric song choices and selections from his Latin Grammy award winning album Salswing! The musicianship that accompanied Blades was top notch as Roberto Delgado’s crack band were tight, explosive and swinging!  The visuals projected on the huge screen above Ruben were imaginative displaying photo tributes to Hector Lavoe as well as to recently deceased Latin music giants and clever animation that was the backdrop for songs.  This was a triumphant return to the SF Bay Area for Blades who last played a concert here in 2003 at Roccapulco.  He performed for 2 hours and 40 minutes to the delight of the massive crowd.  What a show!!

Speaking of big shows….Three time Grammy Award Winner Spanish Harlem Orchestra will play a special holiday dance/concert “Salsa Para El Bailador” on Saturday, December 11th, 8 pm at the Monterey Conference Center, 1 Portola Plaza in Monterey.   Yours truly, Luis Medina  will be your Master Of Ceremonies and DJ for the evening playing 100% Bailable in between the sets.  There are VIP seats and packages still available. There is also an auto caravan coming from San Francisco directly to the concert.  For more information on the concert, caravan and tickets, please visit www.montunoproductions.com or call 510-586-3215. 

I dropped by La Peña Cultural Center, 3105 Shattuck Avenue in Berkeley to catch the livestream of their couch concert starring Santana percussionist Karl Perazo live from their stage on Friday, Nov. 19th.  The web streamed concert was hosted by renowned Bay Area based flautist Miguelito Martinez (Candela) with an intro from La Peña’s Executive Director Natalia Neira Retamal. Perazo was in excellent form on congas, bongos and percussion leading a hot Latin Jazz descarga accompanied by Martinez, bassist Saul Sierra and pianist Julio De La Cruz.  This session was part of an on-going series that is coordinated by La Peña new creative staff Corey Raynor.  For more information, visit www.lapena.org. 

The Cigar Bar, 850 Montgomery in SF’s North Beach will be open to Salseros in December for part of December.  Their lineup includes Orquesta Timbalero Dec 4, Alberto Y La Differencia Dec. 5, Edgardo Cambon y Candela, Dec 10, Josh Jones Latin Jazz Ensemble Dec 11, Latin Rhythm Boys Dec 17 and the last night for Salsa this year will be featuring PMO all star vocalist/percussionist Braulio Barrera’s Somos El Son on Dec. 18.  Cigar Bar will reopen the Latin music nights in early January 2022.

The Seahorse is Sausalito will feature in their Sunday Salsa lineup the following acts: Julio Bravo & Salsabor Dec 5, Edgardo Cambon & Candela Dec. 12, Louie Romero & Mazacote Dec 19 and the Salsa Caliente All Stars with Karl Perazo (of Santana), Gary Flores and Carlitos Franco on Dec. 26.  The Seahorse will also be starting off their Salsa Saturdays with Rene Escovedo on Dec. 4th. For the rest of the Sat schedule, visit sausalitoseahorse.com.

More news

The Ramp, 855 Terry Francois in SF will continue Salsa under their weatherproof tent on Saturday afternoons beginning at 5 PM featuring Pepe Y Su Orquesta Dec. 4, trumpeter Julius Melendez All Stars Dec. 11, Eric Rangel and Orquesta America, Dec 18 and a special Thursday with Julio Bravo and Salsabor on Dec. 23rd

Space 550 at 550 Barneveld, SF has opened its doors again to Friday Salsa dancing featuring Somos El Son Dec 3, Orquesta Borinquen Dec. 10 and their last event for 2021 featuring N’Rumba on Dec. 17th.  The Friday Night happenings will resume on Friday, January 14, 2022 with Borinquen.  The Saturday nights have resumed with Bachata Takeover Saturdays featuring Bachata in the main room and the other rooms featuring Salsa and Bachata.

Kimbara 3380 19th Street at the site of the old big room of the former SF Bissap Baobab location is now featuring Suzy Q Wednesdays every 1st and 3rd Wednesdays of the month.  This night brought you by the Producers of I Heart Mambo and the SBK Congress feature Salsa Congress style DJ’s and live bands such as VibraSON on December 15th. 

Peninsula/South Bay’s long-running established Salsa Club Alberto’s, 736 West Dana St in Mountain View offers Salsa on Tuesday and Friday nights featuring dance lessons by Pantea with DJ and live entertainment.  Their weekly calendar includes Tango on Sunday, Bachata on Wednesdays and Rock En Español on Saturday nights….Cascal Restaurant  located nearby at 400 Castro Street, Mountain View offers live entertainment on Fridays through Sundays with great ambiance, tasty Spanish cuisine and the sounds of Edgardo Cambon and LaTiDo on December 3, 4 and 17th. 

Producer Adrian Goddard’s Jaffe Events continues to keep busy into the holidays.  They will celebrate with a Fiesta Navideña on Saturday, Dec. 11 from 3 to 7 pm. Featuring an afternoon of Salsa, Timba, Bachata, Reggaeton and more by DJ’s including Walt Digz, Tony O and Pablo at the Mars Bar, 798 Brannan SF.  Jaffe Events is also presenting Feliz Año Nuevo 2022 on New Years Eve with DJ’s spinning Reggaeton, Salsa, Latin Hits, Cumbia and more at the BEI Hotel, 50 Eighth Street in San Francisco.

On New Year’s Eve, the renowned Salsa orchestra Grupo Gale from Colombia will headline at the Hyatt Regency in Burlingame.  The event will also feature DJ Tony O, DJ Bosco and DJ Franklin.  The event will also feature International music in their second room. For more information, go to eventbrite.com, ticketsparaticom or call 415-424-8809.

The Marriott in San Mateo will feature 6 rooms featuring live music by Julio Bravo and Salsabor, Amor Do Samba with Brazilian Drummers, Orquesta N’Rumba, Orq Revelation and 10 DJ’s playing hits, Reggaeton, Bachata and Salsa.  Free beer offered from 8 to 11 pm. For ticket info, visit www.marriottliveparty.com.

There will be a New Years Eve Descarga 2021 featuring Salsa, Bachata and Kizomba music at 1824 Hillsdale Avenue in San Jose.  This bash will feature a tribute to the legendary all-star timbalero Louie Romero who will be performing with Orquesta Salson, Dance performance by John and Liz of Salsamania Dance Company,, DJ music will feature WorldSalsaRadio DJ’s El De La Clave SF and DJ Boricua, dancer Kathy Reyes will be hosting the bachata room and more!  For tickets, go to eventbrite.com

Be sure to check out my radio programs “Con Sabor” every Saturday evening 9 to 11 pm on KPFA 94.1 FM/kpfa.org and “Sabiduria Con Tumbao” every Wednesday evening 5 to 7 PM PST on WorldSalsaRadio.com.

Until next time, Ciao 4 now!!!

This is the report last month: NOTICIAS CON SABOR- SAN FRANCISCO BAY AREA/NORTHERN CALIFORNIA

BY LUIS MEDINA, PRODUCER AND HOST OF CON SABOR ON KPFA 94.1 FM AND SABIDURIA CON TUMBAO ON WORLD SALSA RADIO.COM

In the early 70’s, the trumpet player of La Sonora Ponceña, José “Joe” Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca.

Joe had been part of “La Más Sureña” since almost the foundation of the orchestra and was even the lead trumpet player in the successful productions “Hacheros Pa’ Un Palo” (1968), “Fuego En El 23” (1969), “Algo de Locura” (1971), “Desde Puerto Rico a Nueva York” (1972) and “Sonora Ponceña” (1972) with which the orchestra achieved great international recognition; however, this time, the trumpet player had decided to execute an idea that had been in his head for some time.

He was also joined by percussionist Mickey Ortiz and, incredibly, the lead voice of La Sonora Ponceña, Tito Gómez.

Soon, Joe Rodríguez, with the collaboration of the resigning members and his first cousin, bongos player Francisco “Chalina” Alvarado, who curiously had also been part of La Sonora Ponceña in the past, organized his own orchestra which he called “La Terrífica” and began to travel all over Puerto Rico performing at festivals and patron saint festivals.

Sometime later they signed a contract with the powerful Fania Records label to record with its subsidiary, Internacional Records, their first album under the production of Larry Harlow, titled “Terrífica” (1974), which featured Adalberto Santiago on backing vocals, Héctor Lavoe and Yayo ‘El Indio’, which included the song ‘Hachero Mayor’ written by Francisco Alvarado and vocalized by Tito Gómez as a protest to one of the most popular Sonora Ponceña songs on the island: ‘Hacheros Pa’ Un Palo’ authored by Arsenio Rodríguez.

“Yo traigo el hacha mayor, De aquella 72 Arsenio me la dejó la, con doble filo la traigo yo.

I come to chop down a stick, which they call ‘palo mayor’ because I’m the brave one here, I’m the axeman, I bring the axe, from that 72 Arsenio left it to me, I bring it with a double edge.

I come from the mountains and I bring a lot of firewood,

Gentlemen, I come waving, I am the main axeman.

Seventy-two axes for one stick, with my two-edged axe,

Now I cut it.

I bring the biggest axe, with a double edge I bring it.

 Gentlemen, I went to the mountain and I come very tasty, to distribute to the whole world, I’m the biggest axe man.

Double-edged, double-edged gentleman.

With double edge I bring it.

Careful, jump out of the way, gentlemen, so that they will know, I’m coming with “La Terrífica”.

If you don’t get out of the way, I’ll run over you with my truck.

I’ll bring it with a double edge”.

The new orchestra was doing well, they enjoyed the public’s acceptance.

The contracts began to arrive by themselves and they had a good future, however, Tito Gómez would surprise everyone when he announced that he was resigning from “La Terrífica” because he had received an interesting proposal from New York to join the powerful band of conguero Ray Barretto who, after the sudden departure of his singer Tito Allen, was looking for a new vocalist to accompany the young Panamanian Rubén Blades at the front of his orchestra.

The following year, La Sonora Ponceña records in “Tiene Pimienta” (1975), its next production, the song “Hachero Sin Hacha” in the voice of Miguelito Ortiz (who arrives to the orchestra replacing Tito Gómez to accompany Luigui Texidor), written by Papo Lucca himself, in which he responds harshly about the alleged awarding of the axe to “La Terrífica” and even makes fun of the resignation of Tito Gómez with the pregón “una gallina que no pone porque ya no tiene gallo” (a hen that doesn’t lay because she no longer has a rooster).

“Where is that great hatchet man who advertises himself out therethe one who remembered Arsenio for a triumph to get.

You are nothing more than a parrot a head without brains a hen that does not lay because it no longer has a rooster.

That axe that you have looked for cardboard teeth that was that the great Arsenio, a joke played on you.

Search well in your memory the year sixty-nine when in your presence Arsenio with Lucia sent me an axe as a reward the sign of the woodcutter.

Axemen without an axe, they are.

Your axe does not break skulls, your axe is made of cardboard.

Arsenio mistook you, Arsenio misled you, your time is long gone Ay, I’m telling you, where is that great axeman?

Maybe he died, maybe he died, you have to put your head in it, you have to put inspiration in it”.

Incredibly, when a strong response was expected from “La Terrífica”, its director Joe Rodríguez decided to concentrate his energy on finding a replacement for Tito Gómez and to reinforce his orchestra. Thus, Yolandita Rivera from New York and a 16-year-old teenager named Héctor “Pichie” Pérez joined the group and recorded “Sabor A Pueblo” (1976), their next LP under the production of pianist Jorge Millet.

The differences between both orchestras seemed to vanish as if by magic after a supposed private meeting between the founders of both groups, a situation that allowed them to have a peaceful party.

This fact would be verified later with the recording of two songs by La Terrífica: “Humo En La Cabeza” and ‘”Vida Se Llama Mujer” both authored by Luigui Texidor, the vocalist of La Sonora Ponceña; and the linking to Quique Lucca’s orchestra of vocalist Yolanda Rivera (the main voice of La Terrífica), who, besides other hits, recorded the merengue “Si No Me Meto” composed by Francisco Alvarado, co-founder and bongos player of La Terrífica in the album “El Gigante Del Sur” (1977).

The result of this determination gave great and good results for all, to the extent that Tito Gómez returned to La Sonora Ponceña to record several songs written by Francisco Alvarado, among them “Moreno Soy” included in the album “Explorando” (1978) and eventually Joe Rodríguez participated with Quique Lucca’s orchestra as a guest trumpet player for some trips.

From this moment on, “La Terrífica” would act as a kind of quarry of vocalists and musicians that would provide La Sonora Ponceña with salsa talents, this is the case of Manuel ‘Mannix’ Martínez, Héctor ‘Pichie’ Pérez, Yolanda Rivera, Luisito Carrión, Wito Colón, Luis ‘Cuchy’ Castro (trumpet), Efraín ‘Frao’ Hernández (bass), Freddie Del Valle (trumpet), Japhet Rodríguez (timbal), Jorge Miranda (bongo), among many others.

La Terrífica, from its creation until 1992, recorded ten incredible productions, saying goodbye to the Salsa market with the hit “Corazón Fracturado”.

For his part, Joe Rodriguez, the founder of La Terrifica, has been retired from music for quite some time and devoted to his religion; while Francisco “Chalina” Alvarado founded El Conjunto La Perla and is still immersed in the world of salsa.

Facebook: Orquesta “La Terrífica”

Source: Frank Manuel Orellana 

Article of Interest: Where the idea of the name of the Fania Record label came from