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Search Results for: music

The Royalty of our Latin Music Pete “El Conde” Rodríguez first singer signed by Fania Records label

Pedro Juan Rodríguez, Pete “El Conde” Rodríguez “La Realeza de la Salsa” (Born in Ponce, Puerto Rico on January 31, 1933).

First singer signed to the Fania Records label in conjunction with the Johnny Pacheco Orchestra and of outstanding participation with the Fania All Stars and his own orchestra.

Pete “El Conde” Rodríguez
Pete “El Conde” Rodríguez

His father, who made his living as a musician playing in a string quartet that entertained parties and social gatherings, guided him during his first steps as a musician.

By the age of 6, little Pedro was very skilled with the bongo and singing popular Puerto Rican songs of the time.

Things became difficult after the death of his father and as a teenager Pete had to emigrate to the United States (1946) to live with his aunt in New York.

Once in New York, Pete managed to establish himself as a percussionist in the Orquesta Oriental Cubana. Before, long before joining the great Pacheco, Pete had to go through several orchestras among which stand out: Las Jóvenes Estrellas de Cuba (57), the Típica Novel and the Broadway from which he left for personal reasons.

In May 1962 Pete Rodriguez (he was not yet called El Conde), joined Pacheco in a Charanguero orchestra (flute, violin, rhythm and chorus). The first album with Pacheco was Suavito in 1963.

By 64 Jhonny Pacheco and Jerry Massucci founded Fania Records and created the internationally recognized Fania All Stars.

Pete was the first singer that Fania had, and on his shoulders was the responsibility of taking that project forward. On Fania’s first album Cañonazo (1964) Pete performs the song Fania, a composition by Josualdo Bolanos, with which the orchestra was inaugurated.

The Realiza of our Latin Music Pete "El Conde" Rodriguez
The Realiza of our Latin Music Pete “El Conde” Rodriguez

Rodriguez’s first appearance with Fania was at the Greenwich Village Red Garter Club in 1968.

For reasons of life Pete had to leave Jhonny Pacheco’s group; the concrete reasons for this separation will remain a mystery, but it seems that his departure was due to personal disagreements with other members of the group.

After Pacheco, Pete packed up his motets and moved with Rey Roig and the Sensación group (1964-1968). From his time with this group w For the years 66-67, Pete returned to the ranks with Pacheco. This was a more mature stage where the marvelous duo achieved their greatest hits: Azuquita Mami, Convergencia, La Esencia del Guaguanco, Sonero, Viralo al Reves and others.

The turmoil of the time, the world events, the new way of dressing and people’s way of thinking made Pete change his appearance; he let his beard grow and changed his hairstyle a little. This change gave him a new image and a new name “EL CONDE”.

The Pacheco-Rodriguez duo lasted approximately 8 years, since in 74 El Conde decided to go solo.

That same year El Conde released his best selling and Grammy award winning album El Conde (1974). Two years later (1976) El Conde became part of the Salsa Hall of Fame immortalizing himself with Catalina la O.

With the appearance of Salsa Romántica and the onslaught of Dominican merengue in the markets, salsa entered a crisis which was reflected in the musical work of El Conde. So between 1983 and 1990 El Conde managed to record only 5 albums of which Salsobita (1987) stands out.

In 1993 El Conde made way for his son Pete Emilio and his daughter Cita Rodriguez who joined the group as second voice and backing vocalist.

The family was already complete because Francis Rodriguez, his wife, was in charge of the administrative and financial part of the group.ere the following songs Salsa, Bailando Conmigo and his hit El Rincón.

El Conde made his last recording on the Masterpiece Album (1999) with Tito Puente (1923-2000) and Eddie Palmieri. This album is considered posthumous because in that same year (2000) Tito and El Conde passed away.

Cepelio de Pete El Conde Jhonny Pachoco, Cheo Feliciano, Ismael Miranda y Papo Lucca
Cepelio de Pete El Conde Jhonny Pachoco, Cheo Feliciano, Ismael Miranda y Papo Lucca

El Conde had suffered from heart problems for many years, but was always reluctant to have open heart surgery. Pete “El Conde” Rodriguez passed away of a heart attack on Saturday, December 2, 2000.

His remains were taken to his native Puerto Rico. He is survived by his wife Francis, his two sons Cita and Pedro Emilio, and his grandchildren.

Remains of Pete “El Conde” Rodríguez finally rest on the island. December 7, 2023 – After his death in 2000, the remains of Ponceño singer Pete “El Conde” Rodríguez were transferred from New York to the National Cemetery for veterans in Bayamón.

Ashes of Pete El Conde Rodriguez
Ashes of Pete El Conde Rodriguez

Source: El Pozo de la Salsa

Also Read: Héctor Martignon has been one of the most sought-after pianists on the Latin jazz scene in New York

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 

Juan Valdez Byte Dominican musician, arranger, composer and singer-songwriter.

Juan Valdez Born in San Juan de la Maguana on June 24, 1962. Son of Mrs. Martha Ramona Ybert and Mr. Jose Ignacio Valdez (Kiko), he is the eldest of 6 siblings (all musicians).

Juan Valdez Byte Dominican musician, arranger, composer and singer-songwriter
Juan Valdez Byte Dominican musician, arranger, composer and singer-songwriter

He started in his father’s band (also a musician) La Gran Dimensión, he was the first saxophonist of the municipal music band of his town where he studied solfeggio and saxophone with maestro Plinio Feliz. Later he studied piano at the school of fine arts of the same town.

Juan Valdez Ybet at the age of 19 he moved to Santo Domingo, capital of the Dominican Republic, where he became a pianist and arranger for the Rosario Brothers Orchestra, Aramis Camilo, Alex Bueno, Sergio Vargas, Alex Mansilla and Canaveral, pianist for Juan Luis Guerra and 440, then director and arranger for Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Big Bang Congreso del Bolero, Felix De Oleo, Jaqueline Estevez, Anthony Rios, Camboy Estevez, Homenaje a Felix del Rosario, among others.

He was also Director of the Television Programs: Buen Provecho with Yaqui Nuñez, Viceversa with Mariela Encarnación and Georgina Duluc, En Resumidas Cuentas and Sábado de Corporan.

Juan Valdez Ybet he has participated as a pianist in concerts and studio recordings with Aramis Camilo, Alex Bueno, Sergio Vargas, Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Felix De Oleo, popular concerts, Orquesta Sinfónica Nacional conductor Jose A. Molina, Grupo Cañaveral, Wilfrido Vargas, Fernando Villalona, Sandy Reyes, Henry Garcia, Grupo Licuado de Crispin Fernandez, Maridalia Hernandez, Milly Quezada, Juan Luis Guerra, Andy Montañez, Paquito Guzman, Tito Gomez, Zacarias Ferreira, Eddy Herrera, Hermanos Rosario, Kaki Vargas, Hector Acosta y Toros Band, The New York Band, Grupo Ilegales, Manuel Tejada, Jorge Taveras, Rasputin, Pablo Martinez, Marcos Hernandez, Luis Miguel del Amargue, Aniversario Telemicro, among others.

He has made Musical Arrangements (Orchestrator) for: Aramis Camilo, Alex Bueno, Sergio Vargas, Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Felix De Oleo, National Symphony Orchestra, Placido Domingo Jr, Grupo Canaveral, Wilfrido Vargas, Fernando Villalona, Sandy Reyes, Henry Garcia, Milly Quezada, Zacarias Ferreira, Olga Tañon, Manny Manuel, Mayra y Celines, Placido Domingo Hijo, Hermanos Rosario, Kaki Vargas, Hector Acosta y Toros Band, The New York Band, La Coco Band, Grupo Ilegales, Rasputin, Pablo Martinez, Jailine Cintron, Grupo La Linea, Premios Casandra, Primera y Segunda del Merengue, Que Viva El Merengue, Dimanchy, Conjunto Quisqueya, Giselle, Isha, Pakole, Manolé, Yanfourd, David Kada, Shadow Blow, Vakero, Gingers for Brugal, Coca Cola and Pastas La Famosa.

Juan he is also a professor of Piano and Popular Latin Orchestration at the National Conservatory of Music (CNM) since 2001 to date. He has been nominated for the Cassandra Awards since 1987 until the last Sovereign Awards.

Juan Valdez ByteBorn in San Juan de la Maguana on June 24, 1962.
Juan Valdez ByteBorn in San Juan de la Maguana on June 24, 1962.

Recognized by the green valley foundation in his town, by the city council and the syndic.

Recognized by the Grammy awards as an arranger and musician.

Arranger:

The Rosario Brothers: El Chicharron, Buena Suerte.

Aramis Camilo: Nena, Si la Ven, El Alicate, Hellow, Al Maestro Con Cariño, La india, A La Talalala, I Will Always Love You, Si Yo Pudiera (Salsa), Ya Te Digo Adiós.

Alex Bueno: Como Nadie (lyrics, composition and arrangement), Soy Rebelde, Una Lagrima Por tu Amor, Nuestro Juramento, Quien Soy Yo Sin Ella, Número C.

Quien Soy Yo Sin Ella, Número Cero.

Sergio Vargas: Marola, La Ventanita, La Pastilla, Bamboleo, Perla Negra, Se Acabo, Me Muero, El Merengue Se Baila Pegao, Dias de

Junio, Yo Soy, Muele, Maquina Olandera, Dudas, Por H o por R (Composicion y Arreglo), Perfume de Rosas, En Esta Casa Humilde, A Dar Amor, Tu Vacilandome, Tu Ausencia, Causas y Azares, Lejos, Ciclon, Que No Halla, Mas Fronteras, Amor De A Ratos, Que Linda, Mujeres, Dile Mas, Baile ae, Si Volvieras, Palo Palo, Eres Tu, Ramona, Musica para la fiesta, Soy Sergio, Ay Ombe, El Dolorcito, Jugue sin saber, Aunque mal paguen ellas, Magia, Sin Ella Sufro, Llore Llore, Lucerito.

Benny Sadel: Que pasará, Te He Prometido, Mis manos en tu cintura (Arrangement and Chorus), Homenaje a Wilfrido, Rompamos El Contrato, Quiero Ser, Por Que Yo Quiero, En Esta Navidad, Por Ti, Un Mal Sueño, Así Es La Vida, Yo Te Daba Amor.

Juan Valdez Byte
Juan Valdez Byte

Wilfrido Vargas: El Baile Del Perrito, Por La Plata Baila El Mono.

Fernando Villalona: Yo Soy Aquel, Sin Ti, Que Chuleria, Hoy Le Pido Al Señor, No Te Rindas (Bachata).

Rubby Perez: I Must Do It.

Eddy Herrera: Carolina, Callejón Sin Salida, Vete, Dueno De Nada, Desde Que Te Conoci, Lo Tiene Todo.

Hector Acosta (El Torito): Menos Que Nada, Sin Tu No Me Quieres, Déjala, Si Me Recuerdas (Salsa).

New York Band: Quien Piensas Tu Que Soy, Me Quedé Con Las Ganas.

Pochi y La CocoBand: Olvida Las Penas.

Diomedes: Balsie, Las Estrellas Brillaran, El Negro Chombo, Locos De Amor (Karen Records).

Kaki Vargas: Los Mosquitos Puyan (Complete Album), No Cojas Sola Pa Allá, El Hombre De Mamá, Muchachita De Los Limones, Arisleyda, Mampote, among others.

Juan Valdez Ybet

Also Read: Betsy Colombian Salsa, Bolero and Son Cubano Singer

Producer and saxophonist Martin Franco talks about his passion for music

Martin Franco is a talented New York’s producer, sound engineer, composer, vocalist, percussionist and saxophonist who has had a big trajectory in music, which he shared with us in a half-hour conversation we had.   

The artist of Colombian parents has been kind enough to reveal some of the most important details of his artistic career and the process by which he has managed to become the professional in the music field he is today, so we hope the information revealed here will be liked by those who usually follow our publications.  

Martin, founder of Mambo Soul Band
This is Martin Franco, saxophonist and founder of Mambo Soul Band

Martin’s interest in music while still a child 

Something important we did not know about Martín is that, although both his parents are Colombian, they moved to Mexico when he was little and he spent the first eight years of his childhood in that country, before moving to Laredo, Texas.   

At his new school in the US, he and his classmates were allowed to choose the instrument they liked most to learn to play it and the boy chose the saxophone, as he thought it was ”the most beautiful” at the time.   

When Martin began his training, he discovered that he had a real taste for music and began to see it as a pleasant pastime and not an obligation, which led his mother to buy him his own saxophone and tell him to ”throw forward to music” if that was what he liked. 

When he turned 12, the family moved back to New York, where Martin started to take music more seriously and meet people related to the industry. That was when percussion and tropical music also caught his attention, as Texas was packed with Mexican cumbia and other such rhythms.   

On the other hand, New York had an immense Puerto Rican community and even his own aunts had married Puerto Ricans. Since this was the dominant community in the city in those years, Martin began hearing the conga, the keyboard, the trombone, the timbales and all the music made by the Fania. It was then when his musical tastes and plans began to change.   

Martin and the rest of the group
Martin Franco and the rest of his orchestra Mambo Soul Band

Martín’s beginnings in music in New York City 

When he arrived in New York, Martin was not old enough to start a professional career, so he was engaged to play with friends in the streets, houses, apartments and private parties. However, this time helped him a lot to gain experience and his family was a great support in all this.   

Martín, his family and some of his friends used to go to see live Latin artists and orchestras such as Celia Cruz, Héctor Lavoe, Tito Puente, Eddie Palmieri, Ray Barretto, Mongo Santamaría, among others. This also represented part of his motivation to do salsa in the future, although he also liked American jazz, which features the saxophone, his favorite instrument.   

The mix of Latin and American genres resulted in the music that became popular in those years, and the music Martin makes today has much of what he learned back then. It was a mix of Caribbean tropical rhythms, jazz and American funk.   

The musician considers that American and Latin rhythms have complimented each other over the years and he always tries to unite them in his performances, just like English and Spanish.  

Mambo Soul Band 

The name ”Mambo Soul Band” is a mixture of ”mambo”, which means ”to greet someone” or ”to communicate” in some African dialects, and ”soul” in English. This resulted in something like ”to communicate from the soul”, a concept that fascinated Martin. At the same time, both are the names for well-known musical genres, the one Latino and the other American. 

He selected these genres as the name of his band because they contain what influenced him musically speaking. Latin jazz, soul and funk were the genres on which Martin based his songwriting for the band he was creating and he hired musicians who had experience with these rhythms. And in case they do not master any of them, he teaches them.   

According to Martín, guitarists and bassists are the ones who usually have more problems when playing or learning to play these genres, while a percussionist usually has a greater dominion over these areas. 

Another variant of the same project also led by Martín is Mambo Soul Jazz, which offers music and songs much more inclined to the American way. Mambo Soul Jazz is more aimed at quiet events where people do not usually dance much and just want background music to enjoy the evening. 

The choose of one or the another will vary depending on the public of the day, although the basis of everything is always Latin music.  

Martin performing live
Martin Franco and Mambo Soul Band performing live

The most challenging aspects of the Latin music scene 

In the view of Martin based on his experience, one of the most challenging things for him and his musicians is the economic issue. At the level where they are, they do not make big profits from their work, which contrasts to the high cost of living in California.  

This situation has led many of the musicians to have parallel jobs that allow them subsistence since it is very difficult to make a living from music. The only alternative is to constantly tour with famous groups, but not everyone is willing to do that, so they prefer to work on other things. 

In his particular case, he can afford to live only from music because he is the leader of the orchestra and the one who is in charge of getting contracts and shows for the group.  

What we took from the conversation 

From the beginning, we have noticed that Martin is a man absolutely passionate about his Latin roots and all that comes with them, especially the musical part. He always stressed that everything he does is for his love of music.   

It is our pleasure to have the opportunity to talk with this great exponent of Latin and Afro-Caribbean music and we offer him our best wishes for success from now on. 

Read also: Lengaïa Salsa Brava is killing it in Montréal 

“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.