Search Results for: salsa

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

A set of innovative ideas

Recorded live on January 16, 1974 at Sing Sing Prison, listeners will immediately discover that the musicians actually came to play from the first note. In a recent conversation, Harlow considers this album to be one of the best of his career and tells how the enthusiasm of the audience positively affected the performance. This was the only Latin album to be recorded in quadraphonic format. The basic concept was similar to today’s surround sound systems, but the way to achieve the four audio channels changed in terms of format.

Harlow took advantage of new technology and recorded the live album live an 8-channel RCA unit and mixed the recording by spinning on a chair surrounded by four speakers. The Fania sound was created by New York musicians who added swing and a distinctive musical sensibility to Cuban son and other Spanish-speaking Caribbean genres. In the process, they twisted the music into something totally new. “Live in Quad” provides an opportunity to hear that musical transformation, as the main part of the music from this concert consists of compositions by Arsenio Rodriguez.

In the 1950s, Harlow made several visits to Cuba, where he followed and became friends with Rodriguez. Back in New York, he had the opportunity to play with his idol and eventually dedicated an full album to him. For Harlow, the piano is overdubbed and interacted with a harpsichord, simulating the union of the tres and the piano made by Arsenio. This album sounds as exciting and fresh as it did 32 years ago. “Señor Sereno,” Harlow’s big hit with Ismael Miranda, opens the album. Junior Gonzalez, who debuted with Harlow in Hommy, gives us his own version. On a personal level, this performance is an example of the Fania sound: great orchestral work, swing and energy.

More details about the album

Also from Hommy, the song “Gracia Divina” grows in intensity with Tony Jiménez’s brilliant rhythmic fills over Harlow’s guajeos and the powerful swing of the horn section. Justo Betancourt’s gifted voice stars in the treatment given by Harlow to “Mayari” by Compay Segundo. “Jóvenes Del Muelle” is another Cuban classic, arranged by the great Barry Rogers. The arrangement and playing evoke classic ensembles while still sounding modern. Here we listen to trombone solos and a tasty bass solo by Eddie Guagua Rivera.

To date, Harlow is best known for his version of “The Wallet.” This arrangement by Sam Burtis in a masterclass. Notice the Lilí Martínez’s influence in Harlow’s solo, followed by fine trumpet solos and another violin solo by Lewis Kahn. “Tumba y Bongo” was originally composed for Arsenio’s rhythm section (Kila, Quique and Chocolate). This arrangement by Mark Weinstein highlights an exciting hand-to-hand between Pablo Rosario and Tony Jimenez, who delights the audience when he raises his drum in the middle of the solo.

“Suéltala” provides a framework for Júnior González’s soneos while offering exciting solos by Reynaldo Jorge and Nicky Marrero. “Arsenio”, the theme song of the dramatic album Harlow recorded in tribute to his musical hero, gets the matancero flavor of Justo Betancourt with Tony Jimenez standing out with another great solo. In “Descarga Final,” Harlow unleashes the creativity of the members of his orchestra and the singers exchange soneos in a friendly hand-to-hand. Guagua offers another impressive solo while the percussionists are meant to steal the show.

Credits:

Ralph Castrella – Trumpet

Charlie Miller – Trumpet

Junior Gonzalez – Maracas

Larry Harlow – Piano, Harpsichord

Reynaldo Jorge – Trombone

Pablo “El Indio” Rosario – Bongo, Cowbell

Anthony “Tony” Jimenez – Congas

Nicky Marrero – Timbales

Eddie “Guagua” Rivera – Bass

Lewis Kahn – Trombone, Violin

Lead Singers – Justo Betancourt, Junior Gonzalez

Choir – Adalberto Santiago, Larry Harlow, Ralp Castrella

Master Of Ceremonies – Paco Navarro

Producer – Larry Harlow

Engineer – Bernie Fox

Assistant Engineer – Randall Shepherd

Mixing – Good Vibration Studios, N. Y. C.

Recorded Live – Sing Sing, January 16, 1974.

Arrangements – Louie Cruz (“Señor Sereno,” “Gracia Divina”), Larry Harlow (“Mayari,”, “Descarga Final”), Barry Rogers (“Jóvenes del Muelle”), Sam Burtis (“La Cartera”), Mark Weinstein (“Tumba y Bongo”), Charlie Camilleri (“Suéltala”), Bobby Valentín (“Arsenio”)

Original Album Cover – Gary Mason

Metal Graphic Art From Original Album – Charlie Rosario

Devised used by Harlow — Device used by Harlow to record the album

Señor Sereno
Ismael Miranda

Garcia Divina
Larry Harlow / Jenaro ”Heny’’ Álvarez

Mayarí

Jóvenes Del Muelle
Sabino Peñalver

La Cartera
Arsenio Rodríguez

Tumba Y Bongó
Arsenio Rodríguez

Suéltala
Arsenio Rodríguez

Arsenio
Larry Harlow / Ismael Miranda

45 years of salsa career of ‘el más que canta’ was in style

On Sunday, February 5, 2023, at about 5:00 p.m. Puerto Rican time, the curtain of the Coca Cola Music Hall rose to give way to a radiant Domingo Quiñones.

El más que canta’ arrived ready to share his voice and his usual nostalgic smile with the audience.

The 45th anniversary party began, the melodic style of the saxophone in charge of Jorge Baez. A minute after the orchestra played the first notes, Domingo let out a loud war cry that sounded like: “Puerto Rico”. Immediately, the first two songs were played: Chica romántica & Poeta y guerrero.

After a brief greeting in which Domingo thanked his fans for their support, the most emblematic songs of his career were heard, such as: Tú cómo estás, Soy, Enséñame, El progreso, Busco un amor, Falco de valor, Salsumba, Cuando se necesitan más, Fuera de control, Río abajo, Deseo salvaje y Devórame otra vez, A que no te atreves, Se necesita un milagro, Pasarás al libro del recuerdo, Lo reconozco y No voy a dejarte ir.

Keeping the rhythmic base going, Charlie Padilla was in charge of the tumbadoras, in perfect sync with Javier Oquendo on the bongos and Pablo Padín on the timbales. It was clear that Domingo was backed by a luxurious orchestra, under the musical direction of pianist, music producer, arranger, composer, singer and dancer: Carlos García. Ricardo Lugo accompanied with his impeccable bass playing. Ramón Sánchez complemented the perfection of the stage behind the keyboard.

The wind section was formed by Ángel Hernández and Jesús Alonso on trumpets, and Eliut Cintrón and Víctor Vázquez on trombones. In the choirs, the vocal forcefulness and precision of Jorge Yadiel, Nahyra Pérez and David Carrero was heard.

About an hour into the celebration, Domingo decided to do a conga solo, what a surprise we were in for! The conga solo was very well done.

An hour and a half into the concert, Gilberto Santa Rosa, Luisito Carrión and Carlos García sang with Domingo Quiñones the song En el mismo barco, composed by Domingo in the midst of the COVID-19 pandemic.

Domingo Quiñones Tributo a Lalo Rodriguez

The arrangement of the song allowed the wind instrumentalists to have their way with the big spoon before giving way to a very heavy rumba in the percussive corner.

A moment of great emotion was the one that gave way to the song Río abajo, with the accompaniment of Luis ‘Perico’ Ortiz in his impeccable trumpet solos, in addition to accompanying Domingo in the chorus.

Por todo lo alto fueron 45 años de trayectoria salsera de ‘el más que canta’

This intervention made clear the affection that Domingo and Perico have for each other. It must be because when Domingo decided to pursue his dream as a soloist, he was part of ‘Perico’s’ orchestra.

For this celebration, our Domingo Quiñones gave way to a repertoire that summarized very well those 45 years of career. More than singing, Domingo interpreted with that emotionality of his best times. The audience vibrated with his performance. His histrionic ability, his interpretative quality and the charisma with which he captures the audience’s attention, kept them captive for hours.

Photo credits: Félix Guayciba

Bella Martínez

Bella Martínez Writer, researcher of Afro-Caribbean music and author of Un conguero para la historia, Las memorias de Jimmie Morales.

787-424-8868

Two radio programs of the salsa movement in California

Introduction

After the entire journey, the cultural salsa movement in the state of California is well established, which includes a good number of media outlets that focus on this and other Latin music genres. In this article, we are going to talk a little about two very important radio shows in Los Angeles, which play a very important role in the spread of salsa and its greatest exponents today.

They are the radio shows ”Alma Del Barrio” and ”Canto Tropical”, whose work has provided an immense contribution to the world of music and gained a huge audience both in Los Angeles and in the rest of the world.

Alma Del Barrio

In the autumn of 1973, what would become one of the most important Latin radio shows in Los Angeles started to go on the air, which is known as ”Alma Del Barrio” to this day and its main founders were Enrique Soto and Raul Villa, who were still university students at the time. What Raul and Enrique were looking for with this show was to educate the audience musically speaking and ensure that listeners to learn much more about their favorite artists.

A key part of this show is to interview the greatest exponents of the salsa genre and some of these have been Celia Cruz, Chucho Valdes, Manny Oquendo, Tito Puente, Roberto Roena and many more. Thanks to these conversations, fans of these artists have managed to learn more about their favorite artists and their future projects.

From the day of its founding, the show has been broadcast through the radio waves of KXLU, which is one of the largest radio stations in Los Angeles and offers all kinds of variety and musical genres in its programming.

Host Eddie López and Venezuelan Latin music bandleader Rudy Regalado

Canto Tropical

”Canto Tropical” is a radio show created with the firm intention of serving as a bridge to unite generations, cultures and countries that appear to not have anything to do with each other. The main musical genres on which the programming is based are salsa, Latin jazz, merengue, Afro-Cuban rhythms, among others. The music comes from all over the world, but most of the material comes from South and Central America and the Caribbean.

In addition to being always aware of the latest Latin music, hosts Kathy Diaz and Hector Resendez always make sure to get the best interviews with the most famous local and foreign artists so that their fans can get to know them better both personally and professionally. Likewise, listeners have the possibility to participate in contests and sweeptakes to win free tickets to concerts and events that are of their interest.

One of the requirements to be met by the show is to always invite local artists and singers to help them promote their music, new albums and concerts. In this way, the audience is aware of what local talent is currently doing. In fact, there are many figures who are still thankful for the exposure given the program, thanks to which they have achieved the popularity they were seeking.

Another detail that cannot be overlooked is that several social and community organizations have publicly thanked the show for its voluntary work and its hosts Kathy and Hector, who have even written for major publications such as Hispanic, Bilboard Magazine CASHBOX, among others.

Alma Del Barrio’s logo

The story of how Oscar D’León’s “La Salsa Mayor” came about

How Oscar D’ León’s “La Salsa Mayor” came about, is a story that has already been commented on, including the subsequent separation of musicians that the aforementioned orchestra had, which gave way to the formation of another well-known group (Nuestra Orquesta la Salsa Mayor), is also a well-known story, but one as a good music lover always wants to continue to investigate and whenever the opportunity arises to make a healthy discussion about the subject in question, one does so without any qualms.

That is why it is never too much to remember some interesting facts that adorn this story, such as the headline that appeared on the front page of Swing Latino magazine in November 1977, which read: “KO a la Dimensión? OSCAR D’LEÓN after signing WLADIMIR.

In summary, the article said that Wladimir had intentions of leaving Dimension because of an alleged refusal of a loan request, a situation that induced the vocalist to want to sign with another orchestra. Another excerpt of the article says that Oscar D’León in his eagerness to have Wladimir in his orchestra, would have given him the money to satisfy his economic needs, but in exchange he would have signed a contract with the orchestra.

In short, by that time in November 1977, these were only speculations, of course, as it is also mentioned in the article in a jocular way “When the river sounds it is because it brings stones”.

The truth is that the year 1978 arrived and in the Swing Latino of March another headline appeared on the front page “¡LA DIMENSIÓN LATINA SE VA DE VENEZUELA! pero Wladimir se queda con Oscar”, which clearly shows that those speculations or rumors that were made in the salsa milieu at that time were a reality that quickly materialized.

“Last February 20, the bolerista presented his resignation to Dimensión Latina and began to work his notice period. In the meantime, he has already begun his rehearsals with Salsa Mayor and will soon be fully incorporated into this group that already threatens to become a real monster not only nationally but also beyond our borders, which we have no doubt he will now achieve with this valuable acquisition” (Swing Latino. March 1978).

Now, only a month had passed when another news about the orchestra of the dancing bass shakes the salsa milieu, “¡SE DISOLVIO LA SALSA MAYOR!”, headline that appeared in Swing Latino for May 1978 and stating: “Seven of the ten musicians that made up the prestigious group of Oscar D’León, left the orchestra for economic reasons”.

The rest is already known history, the negrito from Antimano reassembled his orchestra with some musicians from “La Critica” and others who came from the orchestra “La Renovación”, which at the same time also dissolved and the rumba continued.

Con Bajo y Todo Oscar D' León's "La Salsa Mayor" — Con Bajo y Todo Oscar D’ León’s “La Salsa Mayor”

In August of that year 1978, Oscar D’León’s last album was announced under the name of “LA SALSA MAYOR”, a fabulous double LP, that just by looking at its cover you could already feel the strength with which the sonero from Caracas was coming along with the diminutive in stature but great with his voice, Wladimir Lozano.

The internal title of the album spoke for itself, “TRANQUILO Y SIN MIEDO”, this makes us think that the phrase had a double meaning, remember that the musicians who defected to form the other Salsa Mayor, recorded that famous song: “Fuimos Amigos”, where they throw a few puns at Oscar and this “calm and fearless”, returns them in the song: “La Mano”… “Why did not you follow me when I gave you my hand?”Now it weighs on you, you fell in the mud”… Chorus: “Que te vaaaya bien”.

The album is excellent as almost all the ones published by D’León in those past decades, all the songs are good, but I can’t help but comment and recognize that the song that I liked and still like the most from this double album is “MARIA”, maybe because in every man’s life there has always been a Maria…My respects and salsalutation to all of you.

Enrrique “Culebra” Irierte y Dj. Augusto Felibertt

Oscar D’León y su Salsa Mayor (double play) (1978) ths-1225

Disc 1 – Side A

Que cosa tan linda (Oscar D’León) Singer: Oscar D’León
Consentida (Alfredo Nuñez de Borbón) Singers: Wladimir and Oscar
La mano (Sandy Omar González) Sung by: Oscar
Te llamo (D.D.) Sing: Wladimir and Oscar

Disc 1 – Side B

Dulce desengaño (Armando Beltrán) Sung by: Oscar and Wladimir
De frente Panamá (L: Andrés Vega, M: José Zamora) Sung: Oscar D’León
Mira que eres linda (J. Brito) Sung by: Wladimir Lozano
Consígueme eso (Pedro N. Perez) Sings: Oscar D’León

Disc 2 – Side A

Sandunguera (M. Guerra) Sung by: Wladimir and Oscar.
Piénsalo bien (Agustín Lara) Sings: Wladimir Lozano
Ven morena (R. Paz) Sing: Oscar D’Leó
Ausencia (Rafael Hernández) Sing: Oscar and Wladimir

Disc 2 – Side B

Reclamo místico (M. Matamoros) Sing: Wladimir y Oscar

María (Florentino Padrón) Sing: Oscar D’León

Chancunche No. 1: Sing: Wladimir and Oscar

*Que noche tan linda (B. Diez, A. M. Romeu)

*Inconsolable (Rafael Hernández)

*Micaela (Raúl Guillaume)]

Musicians:

Enrique “Culebra” Iriarte (Piano).

Oscar D’León (Bass)

Rhadames Pimentel (Congas)

Edward Pimentel (Timbal)

Hungary Rojas (Bongo)

Ángel López (1st Trumpet)

César López (2nd Trumpet)

César Pinto (3rd Trumpet)

Tarcisio Piñango (1st Trombone)

Pedro Piñando (2nd Trombone)

Andrés Mendoza / Pedro Vilela (Tres)

Oscar D’León (Vocal)

Wladimir Lozano (Vocal)

Oscar D’León / Víctor Mendoza / Humberto “Tigre” Becerra (Backing Vocals)

Enrique Iriarte / Oscar D’León / José “Cholo” Ortiz (Arrangements)

Other Credits:

Intersonido C.A. Recording Studios.

Sound Technicians: Agustín Verde and Carlos Guzmán

Mixing: Rafael Hernandez

Art Direction: Víctor Mendoza

Idea, Design and Album Art: Drago Fernández

Photos: All Freddy.

Source:

José “Cheo” Guevara

Enrrique “Culebra” Iriarte

You can read: Víctor Porfirio Baloa Díaz, more commonly known as Porfi Baloa

Salsa at Hacienda El Paraíso with Los Lebron Brothers Orchestra

The house of Hacienda El Paraíso or Casa de la Sierra, was built between 1816 and 1828, by Don Victor Cabal, a cattle rancher from Bugueño and ex-mayor of Cali. On June 20, 1854 it was sold to Don Jorge Enrique Isaacs, father of the poet, in whose hands it remained until June 15, 1858.

On April 18, 1953 it was acquired by the Department of Valle del Cauca and its first restoration was carried out by the master Luis Alberto Acuña in 1954.

It was declared a National Monument on December 30, 1959. It currently holds the status of Cultural Interest of the Nation.

With Law 397 of 1997 the properties previously declared national monuments were considered as properties of cultural interest and by Law 1185 of 2008 the BIC were defined as such due to the special interest that the property has for the community throughout the national territory…” (Law 1185 of 2008, Article 5, which modifies Article 8 of Law 397 of 1997).

Los Lebron Brothers agradecidos y maravillados con Cali graban en enero de 1990 el elepé “Salsa en el Paraíso”

The Hacienda El Paraíso de Cali, setting of “María” written by Jorge Isaacs, a novel of an impossible romance and such wonderful landscapes that some Japanese decided to live in these lands just by reading the novel, landscapes that the Lebron Brothers also fell in love with.

The Lebron Brothers, grateful and amazed with Cali, recorded in January 1990 the LP “Salsa en el Paraíso” for the short-lived Cali label AstroSon Records, the hit of the album was the song “Thinking” with vocals by Luisito Ayala (RIP).

Los Lebron Brothers“ Salsa en el Paraíso”

The Lebrón Rosa family was born with the union of Francisco Lebrón Feliciano and Julia Rosa Sosa (mother of Pablo López Rosa) in Aguadilla (Puerto Rico), where María Antonia, José, Ángel and Carlos Enrique were born. They moved to New York in 1952, where Frank was born; they were educated in a purely musical environment, the father wrote décimas and in the family most of them were musicians and played cuatro and guitar, besides singing.

Pablo Lopez, since childhood was noted for his voice, was born on June 30, 1937 in Aguadilla, Puerto Rico.

Already settled in New York, he organized a trio “Las Tres Monedas” (1954). In 1962 José and Ángel formed their first group called Los Eltones.

Pablo founded the Orquesta Arecibeña (1965). Pablo managed to get the owner of the La Vega club in Brooklyn to give them an opportunity to audition, at which time José joined the Arecibeña as a pianist. In 1966 Angel Lebron y su Combo was formed, where his brother Carlos is the pianist.

The opportunity to record came from the hand of businessman George Goldner, head of the Cotique label, thanks to the fact that he had agreed to listen to them live.

As this meeting was important, Angel and Jose asked their brother Pablo to accompany them on vocals, to take advantage of his veteran and wonderful style.

The brothers Angel, Jose, Pablo and Carlos performed two boogaloos in their own way and style. It was Goldner who suggested that they call themselves Los Hermanos Lebrón and asked them to prepare a complete album.

Frank Lebron, Dj. Augusto Felibertt y Jose Lebron

The album appeared in 1967 under the title Psychodelic goes latin, which included the hit Summertime blues.

Thanks to the overwhelming success of the first work, in 1968 they presented their second album, The Brooklyn Bums, name of a famous baseball team. They released nine songs with interpretations in English and Spanish.

In 1969 the productions I Believe, (Lo tuyo Llegará) and Brother, (Pancho el Loco y Fe). These hits catapulted them internationally before the Latin American public, tracing a new musical horizon.

The boogaloo began to lose ground and Los Hermanos Lebrón reflected this change by producing an album entirely in Spanish with the title Llegamos, containing the songs Mi fracaso, Tus recuerdos (a song that achieved Pablo’s recognition as a great Bolerista).

BOOM…! SALSA…..!

In the same year with the production of the album Salsa y Control, success was glimpsed giving relevance and turning the term Salsa into a worldwide social phenomenon; where the younger brother (Frank Lebrón) makes his debut.

The innovations of three chorus singers (dubbed) were present, which gave it a true seal of distinction. In the boleros, they searched for the traditional sound of the Puerto Rican trios.

Los Lebron Brothers Orchestra

You can read: Luigi Texidor el Negrito del Sabor