Search Results for: Son de Bolero

From the pen of the novel writer Urayoán Enrique comes Relatos en clave de salsa, a collection of eleven stories, all inspired by the same erotic salsa that revolutionized the salsa music scene at least three decades ago.

The eleven songs that inspired the stories contained in the book that Urayoán recently built-in clear homage to salsa erotica are all undisputed hits.  The concept of this collection of short stories follows the line that the author calls: from the LP to your library.

Most of the musical themes contained here came in LP (Long Play) format, those vinyl records that compiled ten musical themes in one unit, known as an album. From that concept, Urayoán came up with the idea of making the conversion, deciding that the collection of stories would be one of eleven, including ten tracks -in this case stories- plus the well-remembered bonus track, for a total of eleven.

During the official launch and presentation of the book, which took place at the Teatro Renacimiento in Arroyo, Puerto Rico on September 18, 2021; young actor Bryan (Brayito) Lebrón and Suhey Moraima played the lead roles in an apt theatrical interpretation of the story entitled Esa chica es mía.  Broadcaster and DJ Eduardo Huertas Alicea moderated the event.

Puerto Rican writers Bella Martínez and Richard Rivera Cardona, editor of the literary work, were in charge of the question and answer segment, whose answers brought to light details about the construction of this text that, as previously stated, pays homage to erotic salsa.

The titles contained in this collection, whose inspiration came to Urayoán by way of the musical themes with which the stories in reference share the titles, are:  Ven, devórame otra vez, Insaciable, Desnúdate mujer, ¿Quién será ese ladrón, Esa chica es mía, Desayuno, Caricias prohibidas, Mi mundo, Quiero morir en tu piel, Lluvia and Tu prenda tendida.

Before reading each story, it is suggested to listen to the musical theme that inspires it. The book is so carefully constructed that each story has the credits associated with the theme song.  The credits include the title, the performer, the composer of the lyrics, the arranger responsible for the musical composition, the album that contains it, the record label that published it and the year in which the song was published.  As can be seen, the research was exhaustive and the writing comprehensive; which evidences the care and respect with which this work, which has also been called salsa in prose, was treated.

Urayoán contemplates with his usual shyness to follow this literary line in order to continue building stories that keep the salsa alive and in the minds of the readers. There remained on the shelf the restlessness to write about: Me acostumbré (interpretation by “Tártaro de la salsa”: Frankie Ruiz), Sí, te mentií (interpretation by Lalo Rodríguez), Aquel viejo motel (interpretation by David Pabón) and 5 noches (interpretation by Paquito Guzmán).

By popular demand, Urayoán could write stories inspired by boleros. If he is motivated to explore the bolero, I suggested he develop a story inspired by Deseo salvaje (Lalo Rodríguez’s rendition). In addition to the lyrics of that song, the value lies in the fact that it was also composed by Lalo Rodríguez. Lalo wrote Deseo salvaje when he was only fourteen years old, and two years later he recorded the vocal part for Eddie Palmieri’s orchestra when he was sixteen years old. The album that contains the song I suggested here, The Sun of Latin music was the first salsa album to win the Grammy for “Best Latin Recording”. Even more significant is that it was the first salsa album to be nominated for the highest music award given annually by the world’s leading society of music professionals, better known as the Recording Academy.

In short, if the reader dares to dive into a daring read, inspired by salsa erotica, Relatos en clave de salsa is highly recommended.

Facebook: Urayoán Enrique

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

Puerto Rico

WebSite: Bella Martinez

Article of Interest: Tito Rodríguez, Jr. “The Palladium legacy lives on”

Erika Muñoz, official administrator of the portal “Se Armó la Rumba en México”, www.SalsaGoogle.com and International Salsa Magazine present the Puerto Rican David Morales.

Born in San Juan, Puerto Rico. Son of a seamstress and a furniture upholsterer. He began his studies at the Federico Asenjo and Albert Einstein School in Barrio Obrero where he grew up.

He graduated from Juan Ponce de Leon High School in San Jose and then entered the University of Puerto Rico completing his Bachelor’s Degree in accounting, through a scholarship that ironically he won through an audition he performed in the UPR choir.

At the age of 11 he began working delivering newspapers and years later he worked selling household products. Since he was a child he had two great ambitions: to be a singer and to be an airline pilot. At the age of ten he was already singing the songs of the orchestras of the moment such as Willie Colón and Héctor Lavoe, Ismael Miranda, Raphy Leavitt (RIP) and his Orquesta La Selecta, Roberto Roena and his Apollo Sound, Oscar D’León’s La Dimensión Latina and Oscar D’León’s La Dimensión Latina.

Dimensión Latina de Oscar D’León and Jimmy Urbina’s Orquesta Revolución 70 among others.

The first time he saw an orchestra perform in person was Orquesta Revolución 70, who sang at the Placita Barceló in Barrio Obrero and while singing their hit song Soy de Borinquén, David was fascinated by the music and discovered that his desire was to become a salsa singer someday. It was precise with Revolución 70 that David years later would be initiated into music as a singer.

Maestro Jimmy Urbina, director of Revolución 70 was preparing to record an album and it was in this way that Maestro Mario Ortiz (RIP) recommended him for the orchestra. After auditioning as a singer David joined the group and recorded an album where he sang 5 songs of the production along with singers Dino Guy and Angelo Pacheco.

During his artistic career, one of the orchestras that most captivated and inspired David was Raphy Leavitt’s Orquesta La Selecta.

With him, David had the opportunity to sing and from that moment on, the maestro became his mentor and they created a friendship that lasted forever.

In 1982 David had to give up music because he entered the military service where he achieved his dream of becoming a helicopter and airplane pilot. At the end of the 80’s he returned to Puerto Rico and returned to music, singing with the orchestras of Tommy Olivencia, Conjunto Chaney, Omar Alfanno, Manolo Lezcano, Aldo Mata, José Nogueras and Paquito Acosta. He was also a singer in the orchestras of Willie Rosario, Roberto Roena y Su Apollo Sound, Orquesta La Solución, and Orquesta Costa Brava, where he had the opportunity to record the production “A Pico y Pala”. During this same period the producer and arranger, maestro Carlos “Cuto” Soto baptizes David Morales as “El Piloto”.

David Morales as “El Piloto de la Salsa” (The Salsa Pilot), becoming known by that name within the salsa scene. David Morales had the opportunity to travel to many places around the world to sing with several famous orchestras within the genre.

He has also had the opportunity to sing as a guest with orchestras of the stature of El Gran Combo de Puerto Rico, Oscar D’León, El Gran Combo de Puerto Rico, Tito Nieves, Don Perignon and La Corporación Latina, among others.

After the passage of Hurricane María, in September 2017 David was invited to participate in the recording “Entre Amigos in the recording of “Entre Amigos Después de la Tempestad” with Luis González El Tsunami de la Salsa and Nino Segarra; production that took place together with several singers of trajectory in Nino’s recording studio.

Recently he has just recorded his first album as a soloist, under the direction of pianist, composer, and arranger, maestro Pedro Bermudez, who was David’s partner for many years in Willie Rosario’s orchestra. This production is quite varied, as it includes classic salsa, romantic salsa, boleros, and Cuban salsa, respecting the traditions of the masters and founding fathers of the salsa genre.

All the songs are oriented to the dancer.

There are compositions by Pedro Bermúdez, Ángel Santos, Peter Velázquez, Pablo Milanés, Gloria González, Jimmy Sánchez and Osvaldo Noel, Yturvides Vilchez and Michel Puche.

The arrangers are Pedro Bermúdez, Tommy Villariny, Ramón Sánchez, Carlos Torres,

Tito Rivera and Cuto Soto. It also features the participation of José Alberto “El Canario” as a guest singer in the song titled “El Piloto y El Canario”.

Thanks to all who made possible this record production which was always inspired for the dancer.

Enjoy!!!!

Facebook: David Morales-El Capitán de la Salsa

[email protected]

s[email protected]

Phone: 5529778401

Article of Interest: Chevy “El Pitirre De La Salsa”

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