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Search Results for: Salsa music

”Salsa Con Sabor’’ and its contribution to salsa music

Platfoms to promote salsa

Just as we always promote the artists and musicians who keep alive salsa and Latin genres, we also think it is important to highlight the work of communicators who have taken the task of continuing to spread the traditional Latin music through the resources that technology has made available to us. Such is the case of Charlie Perez and the web page ”Salsa Con Sabor”, which he has been running for several years.

We talked to this talented young man, who has illustrated very well how his work has been throughout these years with the management of ”Salsa Con Sabor”, interesting anecdotes and what he earned from all this process.

Charlie Pérez, administrator of ''Salsa Con Sabor''
Charlie Pérez, administrator of ”Salsa Con Sabor”

Conversation with Charlie Perez from ”Salsa Con Todo”

Salsa Con Sabor was born in 2010. I was always a salsa enthusiast and it runs in the family because my father has always loved tropical music, salsa, guaguancó, son montuno, bolero, among others. I became curious about these topics while naving in the social networks, so I created a Facebook page whose aim was to be a music space to share with salsa fans around the world. By this means, we began to share music, artist biographies, salsa history, salsa ephemeris and many more” were the words spoken by Charlie when asked how this project came about.

He also told us that the page was gaining a popularity that he and his team decided to shape this idea through the creation of a website, a YouTube channel and accounts in the rest of social media. All this led several independent artists to send their musical works to ”Salsa Con Sabor” to be shared and diffused.

Important to note that all members of this great team are professionals nothing linked to the world of music. They are simply people who enjoy Latin genres and want them to stay alive over time.

Charlie Pérez and his wife Wilendy Rosario
Charlie Pérez and his wife Wilendy Rosario

What do you see in an artist before spreading his or her music?

I like to support all artists, but I don’t deny that I focus a lot on the quality of the work presented. I always check certain aspects such as the cover art, the image and how music was worked, showing whether or not an album will be worth it. We always give the opportunity to all artists to send us their work, but they must have a standard quality” said Charlie on the subject related to unknown artists sending him their albums.

Successes to date

Perez has told us that he feels incredibly grateful for all the doors ”Salsa Con Sabor” has opened for him. He has met many important people in the industry and artists with whom he has developed good friendships, something he really values.

This space has also allowed him to expand to other fields. In the case of Charlie, he is a marketer and always had the desire to start his own business, which added to his knowledge of the music industry and marketing, led him to create his own advertising agency called Tumba Media Productions. The company is dedicated to dissemination activities such as press releases, graphic design, among other things.

Another thing that has been very important for the future career of this young man has been song writing. Composing his own material has earned him contact with great artists such as Venezuelan singer Néstor Pacheco, who motivated him to make music and with whom he has a clase friendship. They even wrote some songs together such as ”Sabor y Guaguancó” and ”Mamá Inés”.

Logo of the website
Logo of the website

The best experiences with the website

Regarding this point, Charlie replied that his reviews have received many positive messages from the public and many artists. He and his collaborators are very glad that so many people keep an eye on their content and that their platform let them know abut new music in terms of salsa, guaguancó, bolero, son montuno and other associated genres.

We are great popuizers of new music that nobody knows about due to the amount of content you can find, which makes us very happy and be satisfied with our work” says Charlie.

Activity during the pandemic

From the pandemic, we started working on interviews a lot more than before and had to focus on making video content. Video editing tools were very important for us at this stage, since it wasn’t just about doing interviews, but also about downloading them and doing all the corresponding editing to show them to the public in the most professional way possible” says the administrator of ”Salsa Con Sabor” about his experience with the pandemic.

He also told us that there were many artists he interviewed with whom he thought would never connect, which was made possible thanks to the tools that technology offers us today. In that sense, his wife Wilendy Rosario was very important in this entire process, as she was in charge of making contacts and conducting many of these interviews in that frame of time. She is described by her husband as a fundamental part of this project thanks to her communication style and charisma.

Read also: Broadcaster and host of Con Sabor Y Amor Latino Tatiana Mezarina

Pianist Fadi Gaziri Debuts In Salsa Music With Cuba Classic

A Studio Album That Reflects The Multicultural Sound Of Western Europe And Latin America

Cuba Classic album cover with colored houses and a red car
Cuba Classic was released in August 2021

The son of medical parents and the grandson of a passionate pianist, Fadi Gaziri ventures into the Salsa world with the album Cuba Classic, independent record production in collaboration with his German colleague and great friend Fritz Wengler.

Cuba Classic fuses the incredible universe of emotions that classical music transmits with the passion, conventional melodies of Jazz, and the rhythmic base of the Caribbean that characterizes Latin culture.

“Arranging classical pieces to fit a Salsa vibe was surprisingly easy… The melodies can be rhythmically changed to suit the Latin vibe while keeping authenticity…” Voiced by the talented British pianist.

This masterpiece with hybrid two-language titles strikes a perfect balance between the original title of a classic work and the sensation of the indicated awakening of a Latin melody. “I always liked Salsa for its quality to make people dance, so naturally and with such confidence.

As for the music itself, I love the colorful brass arrangements and Latin percussion. It’s a lot of fun to listen to and to play… ”. Fadi indicated.

The 13 songs on the album are El Capo (Zarathustra, R. Strauss), 5 Sinfonía De Salsa (Beethoven’s 5th Symphony). “I had a lot of fun with this one. …The Reorganization, the phrasing, using repetitions, increases, and the complete brass arrangement to make it sound like a proper Cuban track”. Fadi added recalling his experience with the production of this theme.

The next track on the album is Mambo Loco Nórdico (Grieg’s Piano Concerto in LA minor), resembling Havana at its turbulent peak and with great determination. Continues, the fourth track Mambo Austriaco (Mozart – Symphony No. 40 and Eine Kleine Nachtmusik), and the exquisite mix of Calipso Alemán (Beethoven’s Symphony 9).

In addition, you will also find in Mambo Classic: G-String Bossa (Air on a G string, JS Bach), Salsa Húngara (Brahms Hungarian Rhapsody) thought for the Latin ballroom dance competition tracks, due to the grace of the exuberant exposure of the horns.

Funeral De Che Guevara (Liszt, Hungarian Rhapsody in C sharp minor), Havanera (Carmen Bizet) is another of the themes that stand out on this album. “It was inspired by the character of Che Guevara and his revolutionary spirit. Along, with a trumpet blast from Mariachi… Fernando’s lyrics and voice also add to the overall feeling”. Gaziri commented to us.

Rumba Rusa (Swan Lake, Tchaikovsky), La Toccata Loca (Bach Toccata in D minor), Green Leaves (traditional Greensleeves), and finally the piece Lambada A La Luz De La Luna (Moonlight Sonata by Beethoven) beginning with the funeral march played with a trumpet solo intervened with a joyous lambada, ending in a Latin urban sound.

Fadi’s main idea with Mambo Classic is to simplify the music on this album for use in schools across the country and have children perform it by simply playing percussion with the backing tracks.

Similarly, Gazziri hopes to present this record production live in 2021 on the big stages of Berlin and the rest of Europe.

Why The Fusion Of Latin Rhythm With Classical Music?

Fadi Gaziri in black and white playing the piano
Fadi Gaziri can handle musical instruments alongside cinematographic elements, folk, and ambient electronic sounds

This talented artist since his return to Hamburg in 2017 has been involved in teaching music to children and teenagers in schools in this port city located in northern Germany.

Gaziri showed signs of concern every day as he observed his students’ reluctance to learn classical music, a feeling already developed as a famed behavior among young people today. But why don’t German students like to learn about their cultural heritage? The main reasons that Fadi realized were that his students were not motivated to continue with their studies due to the complexity of the music and the difficult handling of the instruments that did not allow them to master them quickly.

Realizing this, Gaziri began to devise the fusion of the Latin genre with classical music and thus seek to reverse the discouragement of his students. “I wanted children to learn classical music in a fun and interactive way. Something that would not take long to learn and that could involve all participants, regardless of their age, nationality, or musical ability. Most schools have Latin percussion that sits on the shelves and is rarely used.

So, I thought it would be a great idea to put in some classic melodies and accompany them with this Latin percussion. Wouldn’t it be fun and a good learning experience at the same time? Fadi told us.

Currently, this prodigious pianist is evaluating the possibility of continuing to teach in German schools full-time by 2022.

  • You Can Also Read: Mozart & Mambo

The Story Of Fadi Gaziri

Fadi Gaziri in his recording studio with pianos around
Fadi Gaziri played the piano first time at the North Pole in August 2021

Fadi Gaziri is a natural music producer and composer for audiovisual media, film, and theater. He was born in Moscow and began his musical studies of piano and violin at the famous Gnessin Music Academy.

At age 12, he moved to Sweden with his family and later to England (1998) where he continued his musical training.

This extraordinary producer studied Music Composition, Piano, and Languages ​​at Durham University in 2004 graduating with great honors and passing his ABRSM piano exams with distinction. Two years later he entered Bournemouth University to study for a Master’s in Film Composition.

That same year (2006) Fadi moved to Hamburg and started working on music for commercials, films, and sound branding. At the same time, he began touring the Netherlands, Sweden, Norway, and Germany accelerating his musical career.

In 2014 Fadi released his first solo album titled Northern Lights, a mix of cinematic and folk sounds that he combines with electronic texture. He used his technological knowledge to loop while playing piano, violin, and adding subtle voices that he performed himself.

Over the next three years, Gaziri released his second EP “The Jump”, founded a music supervision company, and has been dealing with song placement, and licensing for film and television ever since. He assumed a permanent position as an in-house music producer at TUi Cruises in Berlin and composed, and arranged music for more than ten theatrical productions performed on board the ships.

Larry Harlow and Ismael Miranda: beginning of the so-called “Salsa Arseniana” in honor of the music of Arsenio Rodriguez, the creator of Son Montuno and “King of Guaguanco”

Extracted from the book called: “El origen y la creación de la Salsa”; creator: Mon Rivera, promoter: Al Santiago.

For sale on Amazon kdp, by clicking on the following link:

With which is attached a complete summary of the musical work of Larry Harlow with Ismael Miranda from its creation in 1966 to 71.

At the end is the original song of Arsenio: “Oiga mi Guaguanco”, with the fabulous musical arrangement of Harlow himself in “Salsa Clasica”, with the exquisite singing of the “Niño Bonito de Puerto Rico” Ismael Miranda.

Larry Harlow and Ismael Miranda: 1966 – 1971 with trombones.

Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa
Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa

Lawrence Ira Khan, better known in the music scene as Larry Harlow, affectionately known as “The Wonderful Jew”, was born in Brooklyn, New York, on March 20, 1939 and died in New York on August 20, 2021, American musician, orchestra conductor, pianist, composer, musical arranger, producer, creator of the so-called “Latin Opera”, in 73 he was one of the most important disseminators of Afro-Cuban Jazz, “Arseniana” Salsa and Classical Salsa, confirming at the highest level the use of the trombone and the USA instrumental technique, corroborated as the two most important characteristics that identify the new American Musical Movement.

The beginning of Larry’s musical work must be analyzed from his return from Cuba in 1959, after having traveled to the island in the mid 50’s, to know and study Cuban music in its different rhythms, but because of the Revolution he had to return to New York; finding the boom and enthusiasm produced by the Pachanga spread by Charlie Palmieri, Pacheco, Quijano, Orlando Marin, Mon, Eddie Palmieri, Ray Barretto, Richie, among others.

At the end of 65 he forms his orchestra with trombones and application of the instrumental technique of Jazz; he signs a contract with the “Fania” label and plans to record his first album.

In 1966 he recorded his first album called “Heavy Smokin” with Felo Brito’s vocals; L.P. little known, in which stand out: “Tu Tu Ratan”, “Maria la O”, “Rica Combinación”, “Mi Guaguancó”, “Orchestra Harlow” and “Adios Mamá”.

In the same year he recorded his second album called “Gettin’ Off” or “Bajándote”, sung by Ramón Quian: “Monguito” el Unico, an excellent full-length album that was a great success.

Some of the highlights are “Bajandote”, “Guarachita”, sung by Vickie; “Tu no lo creas”, “Meta y Guaguancó”, “Coco May May” and “Cienfuegos”.

In ’66, a young teenager appears singing in Andy Harlow y su Sexteto’s group.

Andy gave him to his friend Joey Pastrana at the beginning of 67 to record the album “Let’s Ball”, in which the young singer Ismael Miranda had his first hit with the song “Rumbón Melón”.

Larry Harlow who lacked a good singer, offered the job to Ismael, who without hesitation accepted it immediately; and debuted with Larry on his third album in 67 called “El Exigente” and thus began the WONDERFUL DUPLE OF LARRY HARLOW AND ISMAEL MIRANDA, who together formed a sensational duet, amazing and impressive, in the History of Classical Salsa.

In “El Exigente” with the debut of the “Niño Bonito de Puerto Rico”, the songs “El Exigente”, “Las luces”, “Rumba me llaman” and “El Mejor” stand out.  The following year, in 1968, he recorded the album, “Orchestra Harlow presenta a Ismael Miranda”.  With this unsurpassable combination, the Classic, Brava and Hard Niuyorquina Salsa begins in the unique style of the “Judío Maravilloso” with the singing of the fabulous Ismael Miranda, one of the most attractive, fine and sharp voices in the history of Salsa, in which stand out the songs: “La Contra- ria”, “Jaguey”, “Yo me voy”, “Lamento Cubano”, “Bobby’s Boo-galoo, ‘Rumba a la vida’ and ‘Mi Guajira si’.

In 1969 he recorded his fifth album and third with Ismael Miranda, called “Mi Mono y Yo”, in which he continues the teaching of Classical Salsa with Afro-Cuban Jazz fusion, in which almost all the songs stand out: “El Malecón”, “Voy para la luna”, “Amorcito Ven”, “Jovenes del Muelle”, “Ven Rumbero Ven”, “Para donde tu vas”, “Mi Madre” and “Traigo Guajira”.  With these last two albums, Larry with Ismael had achieved the expected success; and they had become the favorite orchestra in all the Salsa Concerts that had already become customary in the weekends of the Big Apple.   In ’69, the author witnessed for a month these Salsa Dance Concerts that were usually given in the halls of the Hotels of the New York districts.

DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.
DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.

In 1970, Larry introduces the electric piano in his orchestral format; this motivates him to title his album of the same year: “Electric Harlow”.  With the recording of this album really begins the so-called “Salsa Arseniana” of Larry, coinciding with the last year of life of the great Cuban musician Arsenio Rodriguez, the father of Son Montuno and “King of Guaguancó”, Legend and undisputed genius of the development of Cuban music; but, however, having been the most important Cuban musician of the twentieth century, for his contribution of having created the Son Montuno and the modernization of Guaguancó, has NOTHING TO DO WITH THE CREATION OF SALSA:  BUT YES; FOR HIS VALUABLE CONTRIBUTION, WITH THE DEVELOPMENT OF THE MOVEMENT CREATED BY MON.

In “Electric Harlow” stand out: “La Revolution”, the wonderful Salsa arrangement of “Oiga mi Guaguancó”, by Arsenio Rodríguez, “Guasasa”, “Con Dulzura”, “Donde va Chichi” and “Tu Cosita Mami”. In 71 he recorded his album “Abran Paso”, and here we have to refer to Ismael Miranda as a singer-songwriter; because if from his first album recorded with Larry: “El Exigente”; he had already shown his composer’s fiber, having composed some songs together with Harlow; in this 71 album:  “Abran Paso”, he confirms and ratifies his conditions as a singer-songwriter, composing five themes of his authorship, successfully distinguishing the theme of the same name of the album: ‘Abran Paso’, ‘Donde lle- vas el Son’, ‘Abandonada fue’, ‘Oigan bien mi Guaguancó’ and ‘Dolor y Amor’.  Other highlights include: “Se casa la Rumba” and ‘Vengo Virao’, by Tite Curet Alonso.

Orchestra Harlow Vocal Ismael Miranda – Electric Harlow
Orchestra Harlow Vocal Ismael Miranda – Electric Harlow

Having died the penultimate day of 70 Arsenio Rodriguez, Larry Harlow, a few months later had the idea of offering him a posthumous tribute, which materialized with the recording in 71 of an album “Homenaje Póstumo”, which was called “Tribute to Arsenio Rodriguez”, including four hit songs by Arsenio:  “Tumba y Bongo”, ‘No me llores’, ‘Sueltala’ and ‘El Terror’; ‘Arsenio’, Harlow’s theme with Ismael Miranda and ‘Saludos a todos los Barrios’, by Lázaro Prieto.  The Harlow Orchestra in the last two albums was integrated with:  Conductor and piano: Larry Harlow; Singer: Ismael Miranda; Trumpets: Larry Spencer and Ralph Castrello; Trombones:  Lewis Khan, Leopoldo Pineda and Sam Burtis; Bass: Lydio Fuentes; Congas: Frankie Rodríguez; Bongó: Manny Oquendo; Timbal: Phil Newsum; and Tres y Cuatro: Yomo Toro, in “Abran Paso”.

Finally, Larry Harlow participated as pianist in “Red Garter”; and also as pianist and producer in “Chee-tah”.  Ismael Miranda did it as a singer in the two concerts of the “Fania All Stars” in ’68 and ’71.

Julio Cesar Galindo Alarcón

Diplomat of Peru Minister (R), Musical Historian. Author of a book on the Creation of Salsa.

Also Read: Larry Harlow ”El Judío de la Salsa”: innovative and irreverent

Musical history of Roosevelt Cordova ”El Presidente de La Salsa”

Just as the case of Cuba and Puerto Rico, Peru has also given birth to many salsa exponents worthy of being highlighted and one of them is the talented Roosevelt Cordova, artistically known as ”El Presidente de La Salsa”. 

The sonero has a very interesting career behind him, so we decided to contact him and know a little more about his personal and professional life. Roosevelt responded by thanking us for the opportunity and finally, we were able to agree on a day and time to talk about issues of interest around his figure.  

Roosevelt El Presidente de La Salsa
This is Roosevelt Cordova ”El Presidente de La Salsa”

His taste in music since he was a child 

As has happened with many other salseros, Roosevelt also fell in love with music when still a child, but without knowing at the time that this is what he would dedicate his life to later. 

He always saw his family enjoying music at amateur level, which awakened in him a taste for this branch of art. However, his journey in this world did not begin with salsa, but with Peruvian waltzes and Creole music. It was not until he turned 17 that he became interested in salsa because an uncle of his signed him up for a contest called ”Buscando Un Sonero”, taking third place among 84 participants in total. 

Thanks to his performance in the contest, he was proposed to join the orchestra Camagüey, but his father refused because of all the excesses that an artist must face and he considered that his minor son was not ready for that. On the contrary, he preferred his son to be interested in other activities such as sports and leave music for later.  

In addition to this, the great references in which Roosevelt was inspired to follow his path have been El Gran Combo de Puerto Rico, Willie Rosario, Gilberto Santa Rosa, Héctor Lavoe, La Fania All Stars, among others.   

Roosevelt in Los Angeles 

It wasn’t until Roosevelt, at the age of 25, left for the United States that he could pursue his dreams and become the artist he dreamed he would be.   

He did not initially plan to devote himself to music, as he simply wanted to progress in life like any other immigrant, but it was not long before he decided to take the bully by the horns and return his great passion. It is then when he recorded an entire Peruvian Creole music album, but soon left this genre to return to recording salsa. 

This is how he began to seize every opportunity to participate in salsa orchestras to gain experience little by little.   

The first group he belonged to was La Sonora Santiaguera, which he joined in 1998, but from then on, there were many others with which Roosevelt learned much of what he knows today as an artist. 

Roosevelt in La Sonora and El Conjunto
Roosevelt Cordova belonged to La Sonora Santiaguera and Johnny Polanco Y Su Conjunto Amistad

One of the most important orchestras he belonged to was Johnny Polanco Y Su Conjunto Amistad. After all the experience gained so far, Roosevelt was encouraged to personally look for Johnny to talk to him at El Floridita, where El Conjunto Amistad performed weekly. 

The artist told the leader of the group he was a singer and wanted a chance in his group. After hearing him sing with his musicians that same night, Johnny invited him over to his home to give him a cassette with all the songs he had to learn to work formally with them. Two weeks later, he was already making his debut with Johnny and El Conjunto Amistad. His entry into the group coincided with the farewall of the lead singer, something that was just perfect for Roosevelt. 

Other groups 

After leaving El Conjunto Amistad, Roosevelt continued his career and joined Ángel Lebrón y Su Sabor Latino, with whom he recorded a full album. Some time later, he joined Guapacha Latin Jazz led by the Venezuelan Gil Tower, with whom the Peruvian has an excellent personal relationship, despite having separated professionally. 

In 2011, he became part of Conjunto Oye, which Roosevelt thinks is the best moment of his career because he was able to be himself within the orchestra and express his art with independence, something difficult in his previous groups. It was here that he had the growth he really needed to get ready and to take up greater challenges in the future.   

Solo career  

The information we found about his solo career revealed that Roosevelt went solo in 2019, but he corrected us by saying that, in reality, his first solo album ‘‘Un Nuevo Cantante” was recorded in 2018, which is when he really decided to open paths on his own. 

Although he says he is grateful to all the bands he has played in, he also adds that there comes a point in life where every artist wants to build his own path when he already fulfil the conditions for that. In his case, he already had experience in singing, composing and creating useful contacts, so he gave himself the opportunity to try. The best thing is that his wife supported him at all times and, today, she continues to be his rock in whatever he sets out to do.   

He also noted that he dreams of having his own orchestra someday and that it is important to have dreams in order to get where you want to be.  

Roosevelt singing
Roosevelt Cordova singing on stage

 

Roosevelt Cordova ”El Presidente de La Salsa”

When we wanted to know the origin of his artistic name, he laughingly told us that it is all abut his first name. Let us remember that Franklin Delano Roosevelt was President of the United States and his last name coincides with the singer’s first name. 

When someone approached him to ask for a picture and asked his name, he said he had the same name as former U.S. President Roosevelt. Since this situation constantly repeated, his wife proposed him to use this to create a stage name for himself. That is how ”El Presidente de La Salsa” was born. 

Llegó La Navidad 

Currently, Roosevelt is currently promoting his new Christmas song ”Llegó La Navidad” of his own authorship. The idea of composing the song came from his wife and daughter, who insisted that it was time for him to release music written by himself.   

So, he started the writing with the chorus and, from there, continued with the rest of the song. This is a technique he uses regularly when composing, as he ensures that people always remember the chorus more than the rest of the lyrics, so he always strives to have a catchy chorus that stands out in the public’s mind. 

Read also: We bring trombonist Félix O. Rodriguez from Santurce to ISM 

“The Sun of Latin Music” the first Grammy Award for Salsa Eddie Palmieri’s historic album

It has been 49 years since “The Sun of Latin Music”, Eddie Palmieri’s historic album, which marked a fundamental milestone in the history of Latin music by becoming the first production to win a Grammy Award in the category of Best Latin Recording, awarded on February 28, 1976.

"The Sun of Latin Music" the first Grammy of Salsa Eddie Palmieri's historic album
“The Sun of Latin Music” the first Grammy of Salsa Eddie Palmieri’s historic album

Recorded in New York at Electric Lady Studios, the album was released by Coco Records on Wednesday, September 18, 1974.

The album featured vocals by Lalo Rodríguez, who was only 16 years old at the time.

It includes: ‘Nada De Ti’, ‘Deseo Salvaje’, ‘Una Rosa Española’, ‘Nunca Contigo’, ‘Un Día Bonito’, ‘Mi Cumbia’.

“The Sun of Latin Music” proved to the world that Latin music, especially Salsa, was an honorable art form and opened the doors for many other Latin artists to receive solid recognition for their talent and work.

Eddie Palmieri

The sun of Latin music

MP, 1990. MP-3109 CD

Recorded in 1975

The Sun of Latin Music was a controversial album. It was too far from the easy formula of the middle salsa boom – what César Miguel Rondón calls the “mtancerization of salsa”.

“Ahead of its time” was one of the comments; “a piece like Un día bonito, had to be mutilated” with a 6-minute piano intro just to be able to play it on the radio; a danzón (Una rosa española) with lyrics by the Beatles; a cumbia that is not very Colombian, despite the name (Mi cumbia) and the chorus that says “very Colombian…”.

Nevertheless, this album represents the strength of the spirit of salsa: the encounter between the harshness of the street and the majesty of the most sophisticated musical sound.

One of the best albums of Caribbean music ever released.

Palmieri was always in search of something new. The Sun Of Latin Music is the culmination of a phase that began with an earlier album, Sentido (1974).

This time he chose the Panamanian Vitín Paz for the trumpet solo, Barry Rogers for his trombone and an unusual tuba, which formed a kind of basso continuo, and besides Barry, José Rodrigues, who for a long time was, and despite his absence still is, his most emblematic trombonist.

Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.
Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.

Ronnie Cuber and Mario Rivera were chosen as the first saxophonists in a Palmieri orchestra.

For many it is Palmieri’s best album, the most experimental and universal. One that borders on academic music, but without forgetting the dancer.

With spices like the violin of Alfredo de la Fe, who contributes his creativity everywhere, the tuba, the penetrating power of the brass, the overwhelming percussion.

Thus, Una rosa española is a modern danzón that later becomes a montuno that revives the joyful Palmerian game with the dignified uproar of trumpets, saxophones and trombones.

A young man of only 17 years, Lalo Rodríguez, who years later would become the standard-bearer of what was called salsa erotica, was chosen as the singer. Another novelty: the timbre of his voice, with a very high register, and the way he faced the montuno, which did not correspond to his age, caused different reactions.

But the most amazing thing about this 1974 album is the 14:20-minute track Un día bonito, arranged by Barry Rogers, which would keep even the most trained dancers busy. But Palmieri wasn’t just thinking about leg sets or dance floors.

The piece begins with a long piano interlude, the same structure he used in the track Adoración from the album Sentido, which would mark a new musical phase in his career.

It was more than experimental, it had some electro-acoustic music; no one had ever had the audacity to do that on a salsa album. Palmieri made the leap, he could do it, it sounded more like Stravinsky or Milhaud than Puente or Fania.

Suddenly, back in the piece, the orchestra bursts in, harder and heavier than ever, wishing the city of Los Angeles a beautiful day and San Francisco a “warm greeting,” and it is certain that Keruack and Borrough heard the call.

First Eddie Palmieri Grammy
First Eddie Palmieri Grammy

Then Eddie Palmieri was consecrated by the intellectuals and the educated and also by the Grammy.

Eddie Palmieri

The sun of Latin music

Produced by Harvey Averne

Eddie Palmieri: piano

Lalo Rodríguez: vocals

Vitín Paz: trumpet

Virgil Jones: trumpet

Barry Rogers: trombone, tenor tuba

José Rodrigues: trombone

Ronnie Cuber: Baritone Saxophone, Flute

Mario Rivera: Baritone Saxophone, Flute

Alfredo de la Fe: Violin

Eddie Guagua Rivera: Bass

Tommy Chuckie Lopez, Jr.: Bongo

Eladio Pérez: conga

Nicky Marrero: timbales, percussion

Peter Gordon: French Horn

Tony Price: Tuba

Jimmy Sabater: Chorus

Willie Torres: Chorus

Tommy López Sr.: conga

Tracks: Nada de ti; Deseo salvaje; Una rosa española; Nunca contigo; Un día bonito; Mi cumbia

Arrangements by René Hernández and Barry Rogers

One of the most valuable pieces in the exhibition “Rhythm and Power: Salsa in New York”, which will be presented until next November at the Museum of the City of the Big Apple, is the first Grammy in the history of Latin music, awarded in 1976 to Eddie Palmieri for his album “Sun of Latin Music”.

“The Sun of Latin Music”
“The Sun of Latin Music”

Sources:

Anapapaya

Salsero Radio

D j. Augusto Felibertt

Also Read: Salsa and its detractors “Caiga quien Caiga”

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.