Search Results for: salsa

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

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.

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

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

Fundación Cultural Madera 15 where Brotherhood, Sports, Dance and Salsa go Hand in Hand

By the end of the 70’s and beginning of the 80’s a group of young people from different parts of the country gathered by chance in the same sector 4 de las Mercedes in La Victoria, Aragua State, began to listen to the new genre of the time, the popular “Salsa”.

Fundación Cultural Madera 15 donde la Hermandad, el Deporte, la Danza y la Salsa van de la Mano

Each one with different tastes but without leaving the genre, they felt the desire to imitate the Venezuelan and international bands they knew through the Lps, so every weekend they organized themselves to play their instruments with musicians already studied and the guataqueros in an empirical way.

These meetings became more and more frequent and due to the need of an acquaintance of the zone to have a salsa group they decided to form the first salsa group of the sector called “El Quinto Sonero”, then years later with many of the members of the previous group they formed the group “Juancito y su Son” and years later the “Conjunto Sabor”.

It is worth mentioning that the rehearsals of the different groups took place in the homes of some of the members, playing songs by Ray Barreto; Eddie Palmieri; Dimensión Latina; Grupo Mango; Trabuco Venezolano Grupo Libre and of course Grupo Madera, among others.

By the end of the 80’s this same group of young people always supported by their families decided to formalize all the events that took place during the year, thus creating the “Madera 15 Foundation” unifying culture, sports, art and dance all in what was once a “Little Square” and over the years became a court, which would become its main location.

Its name is due to the admiration that everyone felt for Grupo Madera and product of its unexpected accident in which most of its members lost their lives on August 15, 1980.

For this reason the affection and the interpretation of many of their songs and the attendance to their concerts. Once the tragedy occurred, the passion for the Caracas group grew, specifically in the Marín neighborhood of San Agustín del Sur, which was invited to the inauguration of the Cancha in 1989, an invitation that was accepted and it was possible to enjoy three days of Afro-Caribbean songs and dances among neighbors and people close to the area.

From then on, cultural, recreational and sporting activities are carried out and one of the most important meetings is organized every year on December 31st, where the Guataca de Fin de Año is held, which began as an informal meeting of these young people every year-end, specifically on the 31st of the year, and continued with a soup on January 1st, welcoming the new year.

Currently by decree of the Mayor of the Municipality of Ribas in La Victoria Aragua State, specifically by Mayor Juan Carlos “Jaimito” Sanchez in his 1st term in 2012, the Municipal Day of Salsa is celebrated, and are invited to cultors and musicians from different parts of the country to participate in this special date with all attendees, which enjoy a unique day full of much feeling.

For years, all kinds of musicians, orchestras, groups and salsa characters that have exalted the salsa culture, as well as characters of the gaita and folklore, have passed through the festival.

Today, the tradition of the Guataca is still maintained, paying tribute to the life of its famous characters and remembering those who left for another plane and those who unfortunately emigrated.

Hand in hand with the music was also formed the dance group of the area called in its beginnings “Los Gurrugurru” which performed nationalist dances and sang aguinaldos and parranda every Christmas. Today there is still a dance group called “Danzas Tricolor” also dancing all the national folkloric dances.

Through both groups passed the great majority of the young people of the sector and after generations their children and now grandchildren, all under the direction of Griseida and Mileyda Batidas.

It is important to highlight some emblematic names of the foundation among them stand out:

Benilde (RIP), Mercedes (RIP), Ligia (RIP), Aminta (RIP), Alicia (RIP), Carmen (RIP), , Williams (RIP), Santana (RIP), Agustín (RIP), Neptali (RIP), Mileyda (RIP), Ángel Miguel (RIP), Amalia, Dinora, Raquel, Adela, Eugenia, Ángel, Jaime, Nelly, Entre otros.

Participating Families:

Los Bauter, Los Yanes, Los Ascanio, Los Bastidas Salazar, Los Momplasiert, Los Power, Los Anzolar, Los Escalona, Los Guevara and many more.

Memorable sites

La Placita, La Cancha, La Matica de Amalia, La Esquina de los Bauter, and El Terreno.

There the traces of all those who in their time gave their hearts for the good of the most rumbustious sector of La Victoria were captured.

This message goes to them:

MADERA 15 we are all and even those who left.

Collaboration and Main Source:

Lcda. Shinaury Rojas / Publicist for Salsa Escrita

Photographer Nelson Bauter

Actividad con el Septeto Caribe y Nelson Bauter en La Fundación Cultural Madera 15

Also Read: Djane. Shina Rojas una Pasión Convertida en Realidad

Cultural impact of Edwin “El Calvito” Reyes and his management of the “salsa nueva”

On November 9, 2024, the second edition of the International Bailable in Honor of Our Heroes was held in Orlando, FL. The first edition of what is already shaping up to be an annual activity was held in November 2023. This unprecedented initiative is the brainchild of U.S.-based Puerto Rican salsa artist Edwin “El Calvito” Reyes. During both editions of the bailable, personalities within the music scene have been recognized for being pillars in the production, promotion and dissemination of the salsa sound.

The night before the bailable, a press conference was held in Kissimmee, FL. Afterwards, the five salsa generals of the year 2024 were named: Carmen Aguilar, Bella Martínez, Migdalia Sánchez, Herman Olivera and Richard Román. The ceremony was framed by the protocol and discipline characteristic of the civilian and military decorations that exalt with seriousness the personnel who fulfill the mission entrusted to them. In the first collation of salsa generals, invested in the 2023 ceremony, the work of the following was recognized: Chamaco Rivera, Eduardo Robles, Joey Hernandez, Luis Gonzalez and Richie Sanchez.

“The idea arose from the need to recognize the sacrifice of our heroes,” said ‘El Calvito’, adding: ‘I wanted to create a space where veterans could feel valued and celebrate with their loved ones’.

Since its first edition, the bailable and the activities surrounding it seek to acknowledge the commendable work and dedication of veterans, active duty military and other heroes of the community whose mission is to maintain the integrity and security of our nation, our communities and our families.

The bailable featured a good balance of established and emerging artists. Attendees enjoyed performances by Chamaco Rivera, Edwin “El Calvito” Reyes, Izis “La Enfermera de la Salsa”, Ivan Cacu and Christian Ray. Fernandito Rentas, Jai Ramos, José Cheo Torres, Harold Montañez and Wiki González were the evening’s special guests. Last year, the artists who also celebrated with “El Calvito” the 5th anniversary of his so-called salsa nueva were: Melina Almodovar, Kharim Santos, David Atanacio, Christian Ray, Fabian Rosales and the ensemble Reunidos por la salsa.

El Calvito Reyes e Izis La enfermera de la salsa

The production of Con Clase Media Group and La Feria Salsera, with the collaboration of Taíno Shirts and Latinos in uniform was at the level of any concert of international stature. Thus, “El Calvito” has materialized an unprecedented idea, achieving the recognition of the sacrifice of the heroes of the nation, in the key of salsa. For the second consecutive year, the novel initiative brought together a large number of veterans, family members and members of the community, who are also followers of salsa. This staging, at the initiative of “El Calvito” promotes respect and gratitude to those who have served the nation from different trenches.

Having been more than pleased, we have reserved in our agenda the weekend of November 7-9, 2025, to go to Orlando, FL to celebrate the third “wikén de sabrosura para nuestros héroes”. Once again, the team led by Reyes will aim to pay tribute to U.S. military veterans, as well as police officers, firefighters and first responders who have dedicated their lives to protecting and serving the nation. November 8 already promises to be a night full of music, dancing and recognition.

Images: Jefferson López

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

Melómana – Salsa has a woman’s name

Latin America / Venezuela / Caracas

The Salsa World by Melómana

Born on July 2 in the populous and musical parish of San Agustín del Sur, she reserves the year of her birth, which, although it does not weigh her down, assures that they are years of hers and each one has earned them by hand.

She studied at the Don Pedro “Fe y Alegría” school, and although he has prepared himself for life, he does not like to talk about titles. Consider that these do not define the human being, because the higher you get, the more humble you must be. At this point in his life, with fewer shocks, he finds himself pursuing another professional dream.

Music lover from her mother’s belly, affirms that they fed her with a bottle to the rhythm of the Matanzas sound and other rhythms of that golden age. She feels a great passion for her friend salsa, the one that doesn’t let anyone down.

Asocosalsa - Melómana - Salsa — Asocosalsa – Melómana – Salsa

She has been President of Asocosalsa San Agustín for nearly 5 years, an Association of Salsa Collectors in Venezuela, which was born 44 years ago by Elio Navas, with the purpose of highlighting and publicizing the great musical talent that Venezuela has. , today is one of the largest collectors’ associations in the country, with almost 48 representatives nationally and internationally.

Attending the different events that take place in some places of the capital city, he realized that very few media echo the great work that the country’s musicians do to show their talent.

This is how she began to leave a photographic record of each one of them, that is when Elio Navas called her to create an Asocosalsa page with the name of the parish where she lives: and that is how “Asocosalsa San Agustín” was born.

The rest is embodied in its two Facebooks, where it seeks to make the micro visible and turn it into a macro; They are already part of the history of salsa, each one contributing their grain of sand to highlight what is ours and that the salsa does not decline. Because as our friend says: It’s no use having everything, if you don’t contribute or leave a positive mark in your time in this world.

And how not to love salsa if he was born and grew up where the thing started!!

Salsa has a woman’s name…

Salsa is the seasoning that gives joy to the days.

Salsa always cheers you up, because its rhythm is contagious and moves the hip to the cadenced woman.

Salsa enters your skin and shakes your veins, it makes you forget all your sorrows with its melodious rhythm. Salsa fills your being with its tasty rhythm and makes your friends enjoy feet, oh what a tasty rhythm!

Betty Zapata ¨The Lady of Salsa¨

Latin America / Venezuela / Caracas

In Venezuela, Caracas, the neighborhood is a way of life with its own identity. The neighborhoods of the entire National Territory, its inhabitants, become outstanding characters. Such is the case of Betty Zapata who was born in the emblematic La Pastora Parish located in the Capital (Caracas). There he spends his childhood in a neighborhood of colonial and historical houses of Venezuela.

There are many memories of that legendary Zone, they are inevitably built by those associated with survival, preparation, development, work, love, struggle and family formation, its magic and what marked it for life… . “Music”.

My connection with music is due in part to the fact that I live in a popular area where the music that was heard was Afro-Caribbean (mostly Salsa), the parties or meetings in my house and the neighborhood were always enlivened by that type of music, the most rooted and sticky collectively, originating the most varied dancers.

In the Carnestolendas festivities, improvised platforms (Templetes) were installed to stage the most varied costume and dance contests. Leaving my childhood and beginning my adolescent stage, I participated in dance competitions, obtaining recognition and prizes that were awarded to the young people of my generation.

I attended festive celebrations (dance meetings) with my older sisters at the age of 12, not because I was a dancer, but to not leave me alone, since I was the youngest of 3 sisters, this allowed me to share with people older than me and which I was learning the different dance styles “remembering with great affection the Cayender family, made up of excellent dancers” they are part of my school and love for dance. My cadence, flavor and body movement also allowed me to learn until I had my own dance style.

The music of the moment was the Danzones, Billo’s, Melodicos and in my house my sisters listened in the 70’s to Joe Cuba, Ricardo Rey and Bobby Cruz, Eddie Palmieri, the Latin Dimension prevails, Grupo Mango, Salsa Mayor, La Banda and his Young Sauce. That stuck with me forever and I felt drawn to Salsa.

That gave me the basis to fully incorporate myself into the exciting world of music. In the Barrio salsa is something essential, if you don’t dance it, enjoy it, feel it, you’re nothing.

Attending a meeting, an event, a concert, a presentation, a party or a meeting and there is no salsa, you feel an emptiness since with it we enjoy, we share, we dance and it definitely puts us to enjoy.

Photo - Betty Zapata ¨The Lady of Salsa¨ — Photo – Betty Zapata ¨The Lady of Salsa¨

In the course of my 6 decades of existence, I have not ceased to be linked to it in different facets: as an audience, spectator, guest, contestant, jury, organizer, producer and director of events.

Each of these participations has allowed me to stand out, stand out and be a well-known, popular and loved person, a reference in the organization of a good party, night events, presentations of representative groups of the world of Salsa such as:

Ray de La Paz, Herman Olivera, Frankie Vásquez, Bobbie Valentin, Willie Rosario, Spanish Harlem Orchestra, Sonora Ponceña, La Selecta, Mulenze, Carlos Cano Estremera, Julio López, Yolandita Rivera, Mambo Legends among others, and for those from the Patio: Bailatino, Rumberos del Callejón , Ensamble La Calle, Albondiga y su Pandilla, Repicao, Tributo, On Fire, La áquina de la Salsa, La Negramenta, Gerardo Rosales, Javier Plaza’s Son Risa Orchestra among others.

This has allowed me to be an obligatory reference when it comes to producing and making an event of great importance and musical quality where the Dancing Public is respected and appreciated, providing them with the comforts to enjoy an excellent show and Latin music is seen as an element of identity that belongs to all of us to live it and feel it.

I am (Betty Zapata) currently planning and developing projects in the short, medium and long term and to give you a heads-up I am giving you the scoop: I am here with my radio program to promote, support, disseminate and promote our exciting and magical world of Caribbean music.