Search Results for: Salsa Orchestra

Louie Ramirez “The Quincy Jones of Salsa” and his progressive talent a genius-in-hidden of Fania All-Stars

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.

a Hidden Genius of La Fania All Stars — The most progressive arranger that Salsa had in New York.

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

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, since that first recording "Meet Louie Ramirez" in 1963. — Introducing Louie Ramirez 1963

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

star of Fania Records and, at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez soon found himself in a busy schedule and was only able to record two albums during the sixties, "Good news" and "Alí Babá". — 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

Ramirez was considered in New York as the most progressive arranger that Salsa had. — Louie Ramírez 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

But the high point of Ramirez's career came in 1980 when Joni Figueras, a representative of K-Tel International's K-Tel label, took Ramirez's career to a new level. — “Noche Caliente” and was recorded by Louie Ramirez’s own orchestra.

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

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.

Louie Ramirez has found the perfect balance... that's why he always stays relevant — Louie Ramirez The Hidden Genius of La Fania All Stars

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

#ISMPublicity

Salsa Escrita, the Salsa Column of Barquisimeto presents Cheo Valenzuela

Cheo Valenzuela, “El Sonero de la Dulzura”

We are pleased to have as a special guest in our salsa column, one of the vocalists possessing a unique, admirable, and respected quality of interpretation, which has stood out in our country and abroad, bringing his flavor and swing with great professionalism and hierarchy. We are talking about Cheo Valenzuela, “El Sonero de la Dulzura”, born in Cantaura, Anzoátegui state, on January 24th.

At the age of 7, he moved with his family to the city of Caracas, settling in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, “La Columna Salsera de Barquisimeto” and International Salsa Magazine, www.SalsaGoogle.com.

Thank you, friend and professor, Carlos Colmenárez, for giving me the opportunity to be present in this tribune of our Afro-Caribbean music, which serves us to make known our talents and musical projects and thus be able to interact with its assiduous readers in Venezuela and around the world.

Salsa Escrita, la Columna Salsera de Barquisimeto presenta a Cheo Valenzuela — Cheo Valenzuela, “El Sonero de la Dulzura”

Cheo, to begin with, we would like you to tell us how were your beginnings in music? Carlos, at the age of 14 I began my career as a salsa performer and with time I was called to join quite renowned orchestras.

Such as Cheo? I belonged to the Latin Dimension, then Oscar D’León called me and I was at his side with his orchestra; later I joined “Nuestra Orquesta la Salsa Mayor”; later I was called by “La Sonora Antillana”; then I joined the groups: Rumbero Menor, Venezuelan Master Orchestra, Orquesta Los Latinos, among others. Nowadays I have my own salsa orchestra “Cheo Valenzuela y su Orquesta” and also my own bolero group, called “Cheo Valenzuela y su Ensamble”.

Excellent Cheo, we really admire your work, which has been persevering and over the years, continues to rise steadily, with national and international projection. Yes, Carlos, let me tell you, apart from thank you for inviting me to your salsa column, that I launched myself into the market as a soloist some time ago and I currently have two musical productions, the first one entitled “Cheo Valenzuela and his Orchestra is you”.

Cheo Valenzuela — At the age of 7, he moved with his family to the city of Caracas.

This CD is made up of traditional salsa, romantic salsa, bolero, son, and ballads. Dear salsa lovers and consistent readers, let me tell you that Cheo, every time he gets on stage, shows off all his musical talent with total stage control, since he is a sonero, backed by multiple experiences acquired in his presentations, both in Venezuela and in the different countries he has visited.

Cheo, what can you tell us about your current musical situation? Professor Carlos, at present I am presenting for the consideration of all music lovers the new promotional theme that is part of my second musical production, which is called “Salsa Buena”, a theme of my authorship, with musical arrangements by the Venezuelan pianist, trombonist and singer Mauricio Silva, which we hope will be to the complete satisfaction of all of you. Of course, it will be a success, my friend Cheo, because your productions always carry an indisputable quality seal. By the way, what are your digital platforms and contacts? You can get me as Cheo Valenzuela in all social networks, you can also do it by email: [email protected] and Valenzuela [email protected] and for bookings by phone +58 424 1044822 and +58 416 6388420.

At the end of the interview, let me say that it was an honor to have you in Salsa Escrita “La Columna Salsera de Barquisimeto” and wishing you continue to succeed inside and outside our country so that we all enjoy Cheo Valenzuela “El Sonero de la Dulzura”.

A thousand thanks, Professor Carlos Colmenárez, for your unconditional friendship and for giving me a space in your column through International Salsa Magazine, also predicting successes in bulk and that you continue to support us in order to make our productions and presentations known, very soon in the name of God. Bendiciones Carlos and counts with the friendship of Cheo Valenzuela “Con Dulzura” and a lot of salsa…!

Remember not to leave your house…! Until next time and let’s keep on saucing!

Article of Interest: Eliel Rivero, “The Shaman of the Trombone”

Julio Bravo Y Su Orquesta Salsabor conquer the SF Bay Area

Julio Bravo and his amazing orchestra

The San Francisco Bay Area is fortunate to have many musical talents who have made left this corner of the United States of America at the top. Acclaimed Julio Bravo is one of them and there are many reasons for stating that. Julio Bravo is a famous singer and musician who has been performing with his orchestra in many nightclubs and salsa festivals for quite some time now. He is the leader of the Orquesta Salsabor, which is composed of 12 members whose place of residence is the East Bay.

This Peruvian says that they are a hard-working group with many decades of experience. He has also said at times that playing with the same people for so long makes a huge difference in terms of sound. In that sense, Salsabor is not unlike other orchestras of its type and time.

As a child, Bravo already showed a big vocation by the world of music and this is reflected in his appearance on children’s television programmes, school plays and some more formal projects. At the end of the 80s, he came to the United States and it would not be long before he started walking the path still to be followed today. One of his first projects was his incorporation into the Trio Los Chalanes, which led him to become more and more known in the Latin community of his new country of residence.

One of the events that projected the most his image as an artist was his brilliant participation on the TV show Buscando Estrellas, a contest in which he reached the final and became much more recognized than he already was thanks to his hard work. With the amount of fame he had earned so far, he started taking part in La Orquesta Internacional, with which he performed on countless occasions in various venues in California and had a heavy demand from places that wanted him to perform there.

A few years later, he made the difficult decision to create his own orchestra which he named Salsabor and with which he remains active to this day. All this time, both Julio and his musicians have earned a reputation for professionalism and quality that would guarantee them the confidence of many festival organizers in night clubs and private events.

His hard work has made his orchestra one of the most important salsa groups in the San Francisco Bay Area.

Julio and his orchestra — Julio Bravo Y Su Orquesta Salsabor

Interview

We are talking with Julio Bravo, Peruvian artist and leader of Orquesta Salsabor. Good afternoon, Julio. How are you?

Very good afternoon, Karina. I am delighted to be here. Thank you for the invitation.

Julio, you had your first contact with music when you were very young in your country. At what age did you know you wanted to dedicate yourself to the musical world?

I think you are born with that. I think it all started when I was in school. In elementary school, I was always involved in the performances or the school theater. That’s how I think it all started.

So, from schooling age, you already expressed this interest in the world of music and the arts.

Exactly. I did not necessarily sing, but we acted and did skits. In my neighborhood, musical manifestations were very frequent. My parents always organized meetings at home and my friends came, and they loved to bring their guitars and the acoustic cajón. There were always meetings at my house or at a neighbor’s.

Do you think there was something that inspired you?

In Peru, we have the Creole music genre. Since I was a small child I listened to it at home with my parents. In order to play it, you only need the cajón accompanied by a guitar. In neighborhoods, when there are no guitarists, children have a cajon or they make one in wood. In the 70s and 80s, there was a strong influence from Creole music on radio and television in my country, plus my parents and neighbors liked it. So, seeing all that up close was one of the things that inspired me.

Peruvian bandleader, singer and musician Julio Bravo

In 1991, you were on the TV show Buscando Estrellas, since your career took off in many ways. Do you consider that this project changed your professional future?

That helped me a lot, but it happened when I had barely two years here. When I came from Peru, I did not want to be a great musician or look for work in that field. I came to seek a future in whatever God put in my way and I was fortunate to have music as an instrument to generate work. When I started singing here, on my first week here, I went to sing at a restaurant because some friends took me over there. It was called ”El Chalán” and that’s where I met a group that performed that night and started playing with them, but I would recently arrived, so I had to get a revenue-generating job to pay the rent. I worked construction for about 10 years, but I was finally starting to work in music only on weekends. In 1994, I formed my orchestra after singing in several groups. I did not have such a plan, but the conditions were right and doing what you love does not take much effort because the thing leaves naturally.

You mean, when you arrived in the United States, you were ready to do other activities and the music thing just came naturally.

Exactly, I did not come with the desire to become an artist. I studied journalism at university in Peru, but I knew that it would be tough to practice my profession here because of language and immigration status. There were many obstacles that, like every immigrant, I had to learn how to overcome. I came with a degree in Communication Sciences, but I worked construction and did it with pride. 30 years later everything I worked in construction also helped me become a real estate and loan officer. However, I have not been able to leave music as a passion. I can quit jobs that have come my way, but music never.

Never got to practice journalism in the United States?

I could never practice journalism, but there were a couple of magazines run by some friends from the Peruvian community and I collaborated with them writing about show business. I also got to interview a couple of artists at that time. When La Orquesta de La Luz came to the San Francisco Bay Area, I interviewed them for that newspaper. I have not worked as a journalist, but I have done many things related to that environment. I have worked in radio and looked for a job at a television channel in my youth. Unfortunately, I did not have migration documents, the Green Card as people call it here.

Julio Bravo posing for the camera

How do you think language made things difficult for you at the beginning?

I always liked English, although I did not know how to speak it. Whenever I listened to songs in my country. We tried to imitate what artists said, but we could not (laugh). Before coming to this country, I decided to have as a priority booking intensive English classes a year before. I mean, every day, I had a two-hour class during the year my departure. That helped me a lot. When I came here, there were some barriers and I did not understand what people were saying, but I managed to learn a lot of vocabulary. Here, each working branch has its own vocabulary. If you work cleaning houses, you are not going to use the same vocabulary as if you work construction or in a store. I do not feel that language was an obstacle for me. I met people who discriminate in the early years, but that has not stopped me from moving forward. I do not think it is a barrier that prevents you from growing.

What were your favorite bands in English?

The Bee Gees and I also liked the Beatles. When the Bee Gees and the ”Saturday Night Fever” movie with John Travolta came out, I was about 13 years old and was working on a children’s television programme. On Wednesdays, we sang Peruvian music and played the cajón, but on Fridays, we did dance shows in the clothes of that time with large collars. I worked there for five years and that helped me a lot in my artistic training because it was a wonderful experience. The programme was called ”Villa Juguete”, which had music and dance. That helped me a lot to overcome stage fright.

What makes Orquesta Salsabor different from other groups in the San Francisco Bay Area?

I do not know what the main difference is. I think I like to play my original music, but I also know the importance of playing what people want to hear. You can’t just play my original music because I am no longer famous enough for people to know my numbers from beginning to end. For example, Oscar D’ León has more than 50 years in the artistic life and still plays ”Llorarás” every time he comes to the Bay. When people listen to one of those songs, they come out to dance immediately. I think I have the good sense to know when to play the hit songs that I have chosen over the years. I think that is what has differentiated me from other orchestras.

Julio Bravo, Martin Villamizar, Evelio Llamas and Alberto Palomino (three of his musicians)

What do you think has been your best professional decision in your career?

The best decision I have made was to form my orchestra and it has taught me many things. I was taught to be a manager, a soundman, among other things. If someone new in this world wants to know what steps to take, I can gladly say what not to do to not make any mistakes. I do not think we have made mistakes as an orchestra, since we have always tried to do our best. We have had to travel in a van, in a plane or each in his own vehicle to go to play. The musician moves by the desire and motivation to show the gift which the Lord gave us. The restaurant and record label owners move by the economic benefit, but the case of the musician is different. I think the best decision I have made was to form my orchestra. I think that, if you talk to the musicians I have worked with, they know that, as the leader of the orchestra, I have done the best I could to offer them a good, fun and healthy working environment.

And the worst one?

When I started with the orchestra, I wanted to make studio recordings here and I lost a lot of money because the musicians I called to record did not arrive after I paid for the studio. The desire to to record here made me lose a lot of money. And by the way, this was money I was saving for the project, but it was gone away soon enough. That’s where I was recommended to talk to a producer and musician named Oscar Pitín Sanchez. I only knew him by his music, but I struck up a friendship with him. He helped me produce two of my salsa records. Sadly he passed away last year. Then I started getting some experience in the recording studios because experience is needed for everything. In the studios, the thing is cooler because there is no audience to applaud you. On the contrary, you do not want to make any mistakes because everything will be recorded. After being wrong in producing my own album without the required experience, I found a light on the way after a very long tunnel (laugh).

Your website and social networks to follow you

Website: juliobravo.com

Instagram: @juliobravo_oficial

Facebook: Julio Bravo Y Su Orquesta Salsabor

Cover of the album *Bravissimo*, one of his most recent records

The latest news in the world of salsa in January

The latest news about the world of salsa

As usual, Johnny Cruz brings us the latest news about the world of salsa in New York. This month is very special, as there are currently many new musical productions made by some of the most famous Latin music groups of recent times. In addition, we talk a little about upcoming events at one of the most recognized venues in all of New York.

New recording by El Gran Combo de Puerto Rico

It was recently announced that El Gran Combo de Puerto Rico has released its latest album entitled De Trulla Con El Combo, the first Christmas musical work in decades. The album contains a total of 10 songs with a focus on lighthearted and Christmas themes, which are very popular in the Island of Enchantment. This could make more than one boricua return to his roots and remember what this wonderful time of year was like at his birthplace.

Let us recall that the orchestra had already released a Christmas album called La Fiesta de Pilito in 1985, so it is not the first time that the Puerto Rican group experiences this type of themes for some of its musical productions.

Something that makes Rafael Ithier, director of the orchestra, very proud is that they managed to create the album in a very short time, thing that did not happen with their other Christmas works. Evidently, these times of pandemic were extremely productive for the Gran Combo, which is very near to celebrating its 60-year artistic career. Despite the prolonged time, this group of musicians has not yet lost what makes them unique in the public’s eyes.

Cover of the album *De trulla con el combo*

New Christmas album by La Sonora Ponceña

As well as the previous case, La Sonora Ponceña has done the same and released a new Christmas album entitled Christmas Star, which would be the fourth musical work of this kind that the group has done in its entire artistic career.

What most characterizes this musical production is the use of themes that are largely related to the holiday season in Puerto Rico, something that will undoubtedly create a nostalgia feeling in many who listen to it.

Enrique Pappo Lucca said they want to present a work which is as faithful as possible to the musical quality that has always characterized La Sonora Ponceña, but without losing the essence of what this season is and what it represents for Puerto Ricans.

This album is available on digital platforms and physical stores for those who wish to purchase it and celebrate Christmas with this incredible group in the background.

Cover of the album Christmas Star — Cover of the album *Christmas Star* by La Sonora Ponceña

Events at the Lehman Center for the Arts in the coming months

The first big event at the Lehman for the Arts in January will be Manny Cruz’s first performance in the establishment. This talented Dominican will be delighting the audience on January 29 at 8 pm. It is worth mentioning that Cruz has been nominated for the Latin Grammy four times and the genres in which he specializes are ballad, pop, merengue and bachata.

Almost a month later, Ballet Folklorico de Mexico de Amalia Hernández will perform at the Lehman Center to celebrate its 70th anniversary with a very special classical choreography for the occasion. The company’s last tour a few years ago was a resounding success and there is no doubt that this time will be no exception.

Manny Cruz and his performance — Manny Cruz will perform at the Lehman Center for the Arts on January 29 2021

By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York

Salsa fantasy, a concept of the Salsa designer Ron Levine

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 has a respect for his illustrations, because Levine also knew about music. However, he says he took a crash course and went from knowing absolutely nothing about Latin music to witnessing its history — 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 related to logos and title sizes in typefaces. — 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

In this way, contextualized ideas and stories were developed; an example of this is a cover that shows a representation of the conquistador Juan Ponce de Leon in full body armor (and somewhat incongruous with the use of a sweater — Rubén 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