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La Sonora Ponceña

Today marks 24 years of the death of Ismael Rivera.
Due to Blogger suffered plummeting yesterday (they are still picking up some pieces of the poor boy), and also because I'm traveling, now I can only promise a long post about Maelo for next week, where analyze which I believe is their best album, and I recommend, of course, listen and celebrate.
Ismael was one of the largest and most important events that have given birth in the Caribbean music. His art is as valid as 30, 40 or even 50 years. So a little rumba Friday night in his honor will not be nothing, nothing bad.
Do not forget, while your music sounds he will live.
Maelo I'm sure you'll be doing everyone dancing up there (or down there, anyway) at this very moment.

Écuajey.

Homemade Uhf Vhf Transformer

Écuajey turn on the stove

La Sonora Ponceña, founded in 1954 by Enrique Lucca, is one of the most memorable bands of the musical history of the Caribbean, not only because it has been known since the first time accurately recreate the sound that they came from Cuba (though initially had a lot to owe to the ubiquitous Sonora Matancera, orchestra orchestras, and the sound of Arsenio Rodríguez), adding, clarostá, that touch boricua needed to make a little distance and make it more intimate, if possible.

Papo Lucca (Diego R. Bravo)

Over time, moreover, has been creating his own style (thanks to the virtuosity of Papo Lucca, a brilliant pianist and musical director, who will speak more and better in the future) that maintains 57 years later, that intention and that taste. A watermark that began to be felt much more when, in the mid 70's, took away from the tedious repetition I was experiencing made Latin music in New York to shine with light itself .

Despite having been playing at parties and dances of his native Ponce for many years, with some dabbling in other cities of the island (and a trip to New York in the early 60's, which was the formal presentation to Puerto Rican colony located in the city), it was not until 1968 when he recorded his first Ponceña long duration, had little impact outside the island. Of course, they care little detail: in those days, most of the musicians what sounded Puerto Ricans in New York seemed alien and English with a rather unfortunate, too.

It would take several years before they could create those bonds that unite the sounds of the islands.

Just one of those first was the album ends From Puerto Rico to New York , produced by Larry Harlow in 1972 and still expands the traditional sound, although the virtuosity of one of the Papo- best pianists of the term, only 26 years marked some differences: his love of jazz and debugging when dwelling on the magnificent solos that drops in almost all subjects are, Paradoxically, as advanced as what was playing in NYC at that time. Perhaps the lack of the orchestra-by-call them that had more to do with the album in general (it was said that it was a format orchestral sound that sounded a whole ), his arrangements were a little behind what was listening, and hard-United States, plus the choice of themes, which still had a lot of debt with the Cuban theme, more rural than urban.

And that's a key point: for the urban Caribbean music lovers proposal Ponceña in those years was still a little, how to say, naive away from the neighborhood and their experiences.

singers in the orchestra, the great sonero and bolero singer Tito Gómez and the equally great Luigi Texidor, provide an interesting nuance to the band, which marked its sound with four trumpets, trombones no sight- also low, conga, bongo, piano, three and a guiro.

This is reflected in issues such as Tomb Jibarito cane (the Matancera), yes With skill, a slow Son Montuno allowing Lucca melodically expound the influence of Oscar Peterson on keys, merengue Force 'and face and three boleros: I forget, can not be and The door is open. It is also Turn the stove, with a letter rather macho, typical of the Caribbean in those years, that opens the record and intentions Antilles. It is also interesting

The guaguancó born in Havana, a spade a spade-composed and sung by Texidor-and Mayí Oh, in honor of the perennial Cuban deities.

It is definitely an album with lots of flavor that has a freshness that still did not overshadow the New York salsa production. It is also a good way to go finding out how Papo Lucca is virtuous when facing the piano, Latin music and arrangements. The germ disc as impressive as those who scored the late 70's can be found here.

Pinnacle Tvcenter Pro X64

my weakness, you're my weakness are

is one of my favorite singers, to take off the hat. So, with gratitude. Type: pussy, thank you for existing . It is also an excellent composer, singer, when that word was not used. He was fortunate to be a pile of years of Eddie Palmieri, with whom managed to accumulate and provide an extraordinary experience. Managed to develop a way of addressing the very peculiar and authentic edge that does not owe anybody anything, was able to avoid circumlocutions when fools do verses to a theme (they are famous for their collaborations with Palmieri, who arrived with a tune and say, Ismael, put this letter ) and was able to also foster a sense of life with a lot of positivity, with a shape to deal with almost religious circumstances, which always accompanied him.

Pat Ismael Quintana (photo: Martin Cohen)

Additionally, he is a gentleman in forms, the friend of most musicians of his day, respected by the public (although not always been a favorite, too, that amply deserved it) and so cordial in dealing with people who are almost impossible to find someone who can to release a bad word, even one, Ismael Quintana · · .
Although born in Ponce, never came to live in Puerto Rico. So feel Nuyorican and is well aware of what that condition, Quintana bongo started as one of the many bands that sounded like beasts in the suburbs New York in the late 50. On one occasion, at the Hotel Taft Manhattan, the band member who was kicked off with how it was that big hit by Benny Moré, and he, at that time, also had a starter, undid the bongos, grabbed a microphone and launched into singing .
After the piece his colleagues were surprised by the performance: leaves the bongos, you're a singer! , they said.

was not until some time later at an audition for the orchestra, Orlando Marin, when he heard by chance by Eddie Palmieri (piano player at the time of Tito Rodriguez, although he can not wait to mount separate tent), who in 1961 called him to sing on his new band, La Perfecta.

After 12 years together, during which he provided a bulk of the best music ever recorded in that city, that Ishmael was attracted by the siren songs of of Fania Records. They offered him all the creative freedom she wanted, an orchestra with musicians high bill and a good promotion to launch his solo career. Quintana had already made two solo albums for United Artists in the 60's, was happy to be part of the team of his buddy Eddie and I had no intentions of launching a solo career. Rapport with Palmieri was great and what change that, right? But Jerry Masucci, Johnny Pacheco helped managed to convince him. Quintana, in fact, not a bad word when speaking of Fania capitoste: he was a great person to me was very supportive, helped me a lot .

In 1974, with the full freedom to him given Fania ( you choose the musicians, the songs you produce and you have a free hand to do what you want into them ), Quintana mounts a great band, wonderful, composed Bobby Valentin on bass, Orestes Vilató on bongos, congas, Johnny Rodriguez, Vinnie Bell on guitar, the extraordinary Dimond Markolino and Pappo Luca on piano, Adalberto Santiago on maracas (and choir), Nicky Marrero on timbales, Harry Viggiano in three, the unusual and former bandmate Barry Rogers, who is next to Lewis Kahn on trombone, plus Bomberito Hector Zarzuela and even little-known Luis Ortiz parrot on the trumpets. In the chorus, in addition to Adalberto, sang Johnny Pacheco, Hector Lavoe and Jimmy Savater.
and produces a great album, unfairly discontinued, which did not reach the seats he deserved but still sounds so current among connoisseurs. An album composed almost entirely of Ishmael, and he opened with a theme that served as the official presentation of their income to the Fania All Stars: My weakness

my weakness, you you are my weakness

The consuming me and I can not refuse

My weakness, hey mom, my weakness is

know you're around and not able to conquer

your beautiful eyes, your mouth coral

and all things that body can not be beaten.

not lose the hope that you're mine, i s total

and will be a good thing, just my weakness

Dimond's solo in half of Latin music is extraordinary, and which is released on trombone Rogers beam. Both contain nuances that remind palmierianas influences in the form of see Ismael's music and several of the musicians grouped into production. Do not forget that what they call the sound Palmieri is largely a contribution of the genius of Barry, who was in The Perfect since its inception. I bring the key is a statement of intentions and leave it there not a bolero of both liked to Ishmael (who has always preferred this song to uptempo). Tambo is a son that becomes reminiscent festive guaracha palmierianas-how no-one simply Ortiz amazing and Quintana Montuno shown in full power of her singing. blush blouse is another star of the album, with lyrics that now sounds sexist but it was not unusual in those years Yorkers. In it, Pappo Luca launches estupendísimo piano solo, which marks the contrast between the key Markolino intricate jazz with the soul of Puerto Rican and melodic Pappo, both so great and so different at the time.

That thing called love is another bolero under the old , ie with a guitar and maracas set the pace; Mai are squishy it be a delicious, clear homage to the Cuban contained in the music-although trombones play a major role in the final bow, and a parakeet trumpet is to re-listen. And why see closes the disc: a bolero rudeness, those of I cut the veins right now, that ends in a Son Montuno is a delight.

One such wonder is expected to end up as a blockbuster sales and playing on the radio more than a jingle. Not so: the slab palmieriana-here-also weighed heavily on top and, as rightly said César Miguel Rondón in the Book of salsa, melómeno accustomed to the tessitura of Quintana as part of the animal Music was his former partner, did not want to hear it separately. The result was not the same. A final l going to be that the strength-and weakness, while Ismael Quintana, Eddie Palmieri called.

would

poetic.


Ya ... I know, I know. I apologize for talking back to another disk destacalogado, also not available in CD . I never imagined that this album so special not been reissued by the folks at Code Music.
Palmie ri's curse, yet again? Maybe. The truth is that the only way to have some of these songs is through collections.
Yourself.

Example Of Introduction Speech By Emcee

is a bleeding heart

In 1982, salsa and its last gasp was in deep coma almost was. Merengue invasion swept like a tsunami, matching and poorer-but few exceptions, the music of the region, while trying industry launched a counterattack that monster called erotic salsa, or salsa monga-lackluster ending almost inevitably what appeared to be the inexhaustible richness of sound of the son. In that year, however, the scene of the region was shaken by a somewhat unusual album, fresh and powerful, which was very successful in Venezuela and some other countries of the basin, especially in Puerto Rico. An album that for many was as rain in May and marked also a turning point in the career of the English-born Venezuelan singer Soledad Bravo · · . I mean
Caribbean.

Soledad Bravo (Photo: Carlos Hernandez)

The issue has a story. A year earlier, Soledad attending a concert by Willie Colon and Ruben Blades at Caracas. He was so fascinated with the power of the orchestra he asked Willie César Miguel Rondón please submit it. She had already completed a cycle of four years of experience in his native country after Franco's death, and had recorded five albums there very interesting ( Songs of the Nueva Trova Cubana 2 , Soledad Bravo - Rafael Alberti , Venezuela 2 songs, Sephardic chants and Boleros ). confessed in a conversation he had with my dear Maria Elisa Espinosa, she wanted to record with Willie because I wanted to dance my own songs and the dancing people . Or, as others think, because would be mounted (albeit somewhat late) in that wave of bembé helpful. Account

Soledad talks to Willie that lasted several minutes, which gave him a demo of some of his songs and, a few months, almost without hope, received a call from New York with the firm proposal to do something together.
She also acknowledges, in a recording released by Leonardo Padrón during an interview made to Columbus last year, which was frightened by the offer and even called Celia Cruz to confess that I was shivering in the imminence of the album: Celia, I do not know sonear, I do not know about that . And Celia, provided such a good mother, would answer not to worry, because he was in good hands world. In a conversation I had with Soledad in 1996, I recognized that this album was a sort of test: I wanted to prove even able to get into the difficult Caribbean song.
And overall, as was executive produced by her husband, Antonio Sanchez, and Willie immediately appreciated the vocal qualities of Soledad, was also the symbol of his genius sister, Cynthia, decided to get down to business: if sonear woman does not know, because we teach sonear, if a woman wants to use the songbook of Brazilian demigod Chico Buarque, English versions as their best songs, the key is similar and drums all come from Africa, if Soledad wanted to include a son of his friend Silvio Rodríguez-almost an anathema in the United States at that time, because we recorded it.
And that is what God wants. The

disc recorded on Earth Fania Records Sound Studios in Manhattan, brought together many of the regular orchestra of Columbus to the time. Anyone reviewing the data sheet Caribbean and the Ghosts -1981 - and finds few differences: a set of trombones made by Leopoldo Pineda, Lewis Kahn, who also plays the violin, Luis Lopez and Jose Rodrigues, solvent always piano teacher Joe Torres, Salvador Cuevas doing a great job on bass, Jose Mangual Jr. on bongos and percussion, Johnny Andrews, Jimmy Delgado on timbales, Paul Kimbarow on drums, the ensemble Harold Kohon on the ropes and up Willie himself playing some leather. there are even female vocals, a hobby that he got to Columbus for those years, and well made arrangements from Hector Garrido, Luis Cruz (former pianist Ray Barretto) and Javier Vasquez.
The first song, dance Let guaracha, had the strength and the exact duration to be a radio hit of colossal proportions. And so it was all the time end up vinyl semitransparent rang so many times on radio stations and festivals, such as delicate soprano voice of Soledad, which barely scraped the lyrics when singing a song necessary, was seen here como un tornado en medio del montuno, arrabalera y llena de firmeza. Ese negro corre incluso con mejor suerte, porque aquí no hay que poner en cintura al tiempo y Kahn se lanza un soberbio solo de violín, mientras los mambos del montuno son acompañados por unos breaks por demás novedosos y efectivos.
Vagabundo  puede servir como ejemplo para entender que las realidades brasileña y caribeña son calcadas y el barrio es un concepto universal y propio de todo el Nuevo Mundo. María María pudo haber resultado interesante al momento de salir el disco, pero hoy en día es una canción envejecida y rayada -muy rayada- de tantas versiones que se le han hecho -lo siento Milton, his pace is a bit outdated repellent, the truth (I particularly can not stand his tumbao). Carnival arrangement is most interesting about the album, to begin almost rock then give way to a guaracha refined in its orchestration and melody, and the voice of Soledad, as butterfly sometimes suddenly start a guttural unsuspected perplexing.
are bleeding, Silvio, is a very long, tremendous, with a beautiful letter, Indian aroma and an array of Luis Cruz will never have due date:

A heart wanted to jump a well

relied on the prowess of their blood

now delirious with hunger listens

in the dark recesses of their joy

A heart of madness drowning

the will to live

times and today is a heart so maimed

has managed to die of sanity.

speak of a heart that

defends his old and used machinery

talking about a party at a funeral

talk about a heart that does not include

speak of a heart so crushed

such a little, as hard as he knows

in your bloodstream almost all

it is real or imagined.

At heart faltábale ear and loved

distracted by the street

choking with passion one size

unable to notice any complaint

clumsy heart Spring

had him ear grafted

and much has been heard cursing

to give back his deafness.

are is a bleeding heart

is not listed on the original loans, but the four of Yomo Toro sounds clear in the Latin music and he can play anyone like the strings that way. Here Soledad improvisations handled at will and proved that he knew sonear that inside was the germ and, apparently, Logroño can also host the caribbean song, plus fine wines. Close the disc
Fantasy , beautiful too, with a very pertinent point in this time of hope orphans and needy a remejida that can help change things (or even try, because in these 30 years not to have changed too). The song is about making a revolution, but only as a boy he could occur: preparing inks, decorating and singing places. The voice in the background of Willie, who was eager to take a little space in the recording accompanying Soledad amid a chorus of clapping.

spoke at the beginning of this long post of the break point he meant Caribbean for the course of Soledad Bravo. So it seems. From this album, his career became much more commercial, the song made necessary if necessary, apparently. Caribbean was also his last great album: the following Mambembe , immersed in the same vein but with much less Antillean Afinque (to the point it was discontinued), the subsequent fall in arenas as diverse and mediocre ballads, rancheras, the newest -Cuban nueva trova to call it in some way, or songs that just were lucky to advertise and fire telenovelas.
was at that time, apparently, when Soledad Bravo began to live the story.
a shame all this, because when compared with the great productions that performed on the 70 the result gives a bit of sadness. But so often be things of love.
Especially since your husband is also your manager. Things

label compression, the re-cataloging disc to upload to the web (both Rhapsody and in Spotify as Deezer) went through three themes include productions of Soledad. At the end left out other songs from other albums and total cares.

New Car Buying Bill Of Sale Ontario

Rafael Cortijo's dream

One of the best things that gave the world the master Poems Cortijo · sound was so distinctive seal which has its orchestra and its music. Although means 28 years between his first and his last recording, to name the ends, I was born, " plus all that this implies in terms of distance in the arrangements, instrumentation, style and intention, only two seconds to know that the melody comes from the direction of this humble Puerto Rican who organized the first black band on the island to play that happy music. Brother of soul and friend of Ismael Rivera -who was the singer for several years, Rafael had a very definite north: Cortijo y su Combo always, always, they would play and sounds full and bombs aimed at the holidays natural groups in Santurce and San Juan, with lyrics and emotive light, naughty and everyday.

Fe Cortijo and Ismael Rivera Jr

No nonsense. Cortijo

have had more or better fortune in all his life and artistic production during the 70-was stalled by the competition that was El Gran Combo and died with economic hardship, "but none of their albums bored. All are very cool, close, with lots of leather and walker. As done in the middle of a cumbiamba and we will put a microphone to it to see how it is obviously with varied results. The chorus, flavored street, for male and female voices, those are long montunos and give a lot of freedom to the singer. Cortijo
had the luxury-it is good to remember, to command a musical front willing to openly disclose the richness of sound
Antilles, which had many ramifications, and symbiosis between the islands and the mainland, at the time that music was not While cities view on racial and social. She put
full and the pump in the best dance halls of San Juan and produced one of the most sold-outs in recent memory at the Palladium Ballroom on 53rd Street New York, when he ran late 50.
always puzzled, yes, Maelo's voice, which was a vital part of the orchestra. When Rivera decided to move to New York in 1967-because in Puerto Rico not hired because of his past prison, "Cortijo tried for several months a move to Manhattan, but could not stand the noise of the city and decided to return to their usual Santurce.

is in San Juan where he performed in 1980 teacher's dream, his penultimate recording and one of the most refined. Supports his orchestra in two vocalists known names: Fe Cortijo, Rafael niece with a flawless soneo and several years of experience with the combo, and Ismael Rivera Jr., son of Maelo, Cortijo godson and, at that time by far that owing to his father. Perhaps
too.
The disc opens with Estanislao , a bomb tasty, very Santurce and daily, that invites to dance. Then a rumba advancing rapidly: With one foot, which seems to increase in tempo on purpose in the recording studio. And further, She spoke of love, a beautiful song, perhaps the best piece of the disc, which begins as a bonus with Fe Cortijo, then goes on to pump Cheche and ends in the middle with Junior.
drops of poison, with a chorus weak for my taste, it seems to follow the game -motion is a tell-of the romantic salsa begin to wreak havoc in the 80's, while Elena Elena may be the fifty re-version of the chocolate of Elena, one of the biggest hits of Cortijo (is perhaps in this area where most noticeable difference between father and son). The sauce itself, taken without complex, occurs in May does not end the bongo, a faith that shines, a fierce leather and a very interesting arrangement. A pity that you can not get the song online. Closed
album Bambolaé Cirilo Sanchez and revisiting both the typical floklore Borinquen but with modern arrangements and well-intentioned.
Two years after he recorded this album, Cortijo died because of pancreatic cancer. The funeral provoked spontaneous shock that paralyzed the island, showing a truth that no one could never hide: his beloved music was tied to the land where he lived, in Puerto Rico, and each of their productions could not help but pass that lair.

Nones, or Spotify or Rhapsody you can listen. The record was digitized on CD in 1989 but has not yet passed the cloud.

Soul Silver Rom Anti Freeze

Mount

Eduardo Palmieri (Photo: Martin Cohen)

Many people considered it their best production. At least the title song to the album, Vamonos Pa'l Monte, can be included without much thought in the list of the ten best songs of all the Latin of the last 50 years. Or more. Warrior is an album made with a boundless passion, when things that could still be free and allowed the luxury Palmieri also to commit certain eccentricities.
As sold, as it was 10 years ahead of any other musician of his class, and had a reputation within the music scene and no one was shadow in terms of sonic experimentation, Eddie decided, for the third time, chipping ahead and experiment with new sounds, to do so, he sought new grounds. After all that song to
equality that was the album Justice, Palmieri was influenced by the psychedelic experience Superimposition in (which is, of course, my favorite album of Eddie and I will discuss in a future), but never put down the redefinition of the Cuban sound that both liked to play and combine.
These new quests are also reflected in Vamonos Pa'l Monte , his last studio recording for Tico Records. This time, however, thus depriving the electric hue, because the very daring had no better idea to put his brother to play the organ in montunos, while he was in charge of adding an electric piano in other parts resulting in a mosaic of sound that is far above any other musician of his caliber. Account
Miguel Estivil, producer of this work, to work with Palmieri meant to be subject to a strict regime of late changes. Not to bring the man did not bring to studies A & R Recording , where he began to gather his musicians the September 24, 1970, final arrangements for each of the subjects to be included in the disc, everything is solved on the fly. What I ordered were four pianos, which they rented, downloaded and installed. I wanted to try them, pick one and send back the other three.
As simple as That.
Estivil said that meetings with Palmieri began taking chords of the piano, while the rest of the musicians: José Rodrigues-trombone-guitar-Bob Bianco, Alfredo Chocolate Armenteros Victor Paz, Charles Camilleri, trumpets, Ronnie Cuber, baritone sax, tenor sax Pere-Yellin, "Monchito Muñoz-hype," Nick Marrero timbales and bongo-conga Eladio Pérez-big-and Ismael Quintana on members, they would uniting, infected by the spirit. It seems unbelievable that this scheme could creative things occur as well structured. But it did. One reason was the effort that had Bianco, a great friend, for Eddie to further his studies of theory, music theory and composition.
The result is seen in the disk.

The spirit in Revolt / Freedom, logical , one of the most thrilling of his entire career, is capable of remejer the foundations of a skyscraper. Begins with the title and structure, which originated with a fanfare almost jazz-with much of Thelonious Monk, to pass dissonances characteristic of rock and then the overflow of a montuno fierce, very fierce, Quintana releasing her face rather than singing, "these verses-calling and ask-an equality of rights for Nuyorican, while the trumpets of Armenteros and Peace (a Cuban, traditional, and one Panamanian, much more modern) are duel. Nicky Marrero, just 21 years, pinch the skins of the drums and bass Monchito used like a weapon of war, giving an idea of \u200b\u200bthe intentions of the subject. The original title was going to hymn to freedom , and when asked about that word, his answer was very clear: yes, of course, freedom is the logical response to problems.
And stayed. Walking
puts things in slow motion and this is where the electric sound begins to emerge, with lots of flavor and a catchy chorus composed of names from the likes of Santos Colon, Justo Betancourt, Marcelino Guerra, Yayo el Indio Elliot Romero and Mario daddy Muñoz. Choruses that owe nothing to boogaloo sounded until recently.

Another significant change, another experiment is below: Vamonos Pa'l Monte guaracha is completely ignoring the mambo-song-structure and montuno goes straight to the last part ... that's where the juice. Eddie captain of the ship from the electric piano while making a syncopation to the melody and played with a posh guest: his brother Charlie on organ, which is released, and who does not like things, one that is among the best in the genre. The chorus plays Ismael uses two alternating phrases pastoral idea of \u200b\u200bgoing to the countryside to escape the troubles of the city ( here in the big cities is just congestion, but there on the mountain mine, there is peace and fascination ), although many others say no more than a song to marijuana and recreational drugs, of which Eddie was user for several years

Vamonos Pa'l Monte, a mountain to guarachar pa'l

let's go Pa'l Monte, which I prefer Mount .

and

Mount For me because I'm happy.

original 1971 Home

Ismael strongly denies a interview that there were drugs at the time by thinking about the subject. The lyrics, in fact, he wrote, by request of Palmieri. However, care little conclusion to draw: just listen to the game of metals versus trombone trumpets, saxophones while filled and add color to the discharge, to understand that this is unique. It was demonstrated that the saxophone, in these conflicts, it serves as a filler and not to create sound buildings, because otherwise occur somewhat unfortunate things like this .
sly old is an old Cuban son and the circumstances refurbished electrical drive, and has a heavy montuno in which, there yes, saxes shine setting the pace while the trumpets are responsible for lifting the bows and the mambo that adorn each of the breaks. Chocolate again shows his virtuosity, this time with memories of earth are gradually is becoming unloading, jam session, and see who dares to stop this.
was missing a bolero, and I do not know is the ideal opportunity to showcase the potential that has always been Quintana as bolero, and the ease with which this genre and intermingle with jazz and welcome arrangements that could well play a blues. The disc closes Comparsa of Fools , another tribute to the Cuban rhythmic richness ideal opportunity to catch all the hell that accumulate in the studio and simply releasing the music getting a result by other wonderful.


Given the importance of this production, the new owners of the recordings decidieron lanzar hace dos años una edición especial, Masterworks , en la que incluyeron otros temas más que fueron grabados en esas sesiones de 1970. Estos permiten palpar las otras inquietudes de Palmieri en cuanto a música se refiere y que se reflejarían en muchos de los discos producidos por él a partir de los años 90, ya imbuido en los ensembles de jazz latino. De esta forma, además de incluirse la toma 9 de Viejo socarrón (ya pudieron haber puesto alguna otra toma de La libertad, lógico o de Vámonos pa'l monte) incluye una soberbia descarga:  VP Blues , que se pierde en la distancia de sus más 14 minutes of dissonance, rhythm, bravo, piano mumbling like a demon and several great solos of the musicians in the studio.
Mixed marriage is another demonstration of the sonic experiments were in the air, this time giving superb field at a low, some leather to tone (or no) to the tune, a guitar that escapes rock and exalted keyboard keeps reminding us that Palmieri is in charge. And finally, Moon Crater 1 (Lindsay's Raiders) , an experimental / rock band tribute to Paul Revere & The Raiders and vocalist Mark Lindsay, who by that time would record Indian Reservation, an issue that ranked first in the U.S. charts.
Ultimately, Vamonos Pa'l Monte is a fundamental drive to better understand the term salsa. One of these experiments had no sequels. A tribute to the times we were living and that wonderful music that still sounds fresh. Rabid
.


A detail of which I remember: In some cases, little truth, I have read or heard some opposition to the idea of \u200b\u200bPalmieri on the grounds of Latin jazz. Or whatever it is called. Has seemed a kind of betrayal that in the last 25 years has often been away from the salsa wave. And I ask: why not? Could it be that much difference? Latin jazz was already or whatever, in 1970. The best example of this is the B side of Superimposition.
One may have some type of repair in some detail of the artistic life of Eddie Long. Normally, we go. But if there is something to be applauded it is their lack of orthodoxy has never made any sound Asquith by expressing interest, wherever it comes from, helping to greatly enrich his music.
Eso, a fin de cuentas, es lo que importa,  ¿no? 

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Iqbal Masih symbol of the fight against child exploitation

A Iqbal Masih snatched childhood when he began working with only four years and stripped him of youth and maturity when he was assassinated with just December 1 April 16, 1995.

In memory of this child from Pakistan who spoke up against the exploitation of the weakest will be held this Saturday in the whole world world day against child slavery.

was just four years old when his father in exchange for a loan to pay for the wedding of his eldest son Iqbal decided to give the small to the owner of a carpet factory. Thus began work 12 hours a day to pay off family debt , but over time the debt is not only not diminished but increased with interest and with new loans that his father asked.

In 1992, five years after he began his particular hell, Ehsan Iqbal knew Khan, an activist who fought to end slavery conditions at work. Following his example, and not so small Pakistani began to denounce the deplorable working conditions where many children as he worked in the carpet weaving, becoming a hero to them.

However, activism began soon be a hindrance to the businessmen who profited from child labor and April 16, 1995 His voice trailed off for good after being shot while riding a bike safely.

His murderers killed him but not his legacy and continues Iqbal today a symbol of the fight against child exploitation.

Unfortunately, there are still many small world Iqbal, mostly in depressed regions of Asia, Africa and Latin America .

In Spain the situation is not idyllic. As recalled Save the Children, trafficking is the main forms of child slavery. " Spain is a country of transit and destination for children and adolescents trafficked labor exploitation and sexual exploitation ."

Rome No Piror Installation

I like The Lebron Brothers in their element and control

En 1970, un par de años antes de que la compañía que les grababa fuese adquirida por Fania Records, iniciando el declive en la promoción de sus discos (provocado aparentemente por cierta animadversión que Jerry Masucci y Johnny Pacheco tenían contra e llos) , los ·Hermanos Lebrón· sacaban al mercado Salsa y control , un disco algo aburrido, con una carátula fuera de lo común, que resume muy atinadamente la transición I was living the musical world of New York.
Because that was an embarrassment, my friend.
This album is considered one of the biggest hits of his career-di latada the band is still active today, "which always struck me, because no big deal.

Angel Lebron, leader of the orchestra (photo Lisa Lindhart)

Lebron Brothers are a bit special. At least, I see them. Let's start by design: at the time used to integrate five children (sometimes even more), roll clan-states-for-ever. Different parents (Paul, the singer's name was not really Lebron), almost all were born in Puerto Rico. Nuyorican turned to be part of that wave of portorros who tried his fortune in New York and grew up bilingual in those streets. Were and are almost all music, because music has always been a family affair. In mid-1966 under the baton of Angel Lebron decided to join forces and founded the orchestra. Recorded tapes and showed them to various Fania labels-even-, and spent all of them ... until they knocked on the door of the legendary George Goldner, who had just founded Cotique Records, who appreciated the tone of these boogaloos
and decided to record immediately. Very successfully, too: because these reminiscences Latino, that particular flavor mixed with a dream that assumed as his own New York street and diversity that she was breathing, were the breeding ground for polishing the sound of Latin Soul, similar to that popularized La Lupe in the same time. But without the excesses of the Cuban will not believe.

The Lebron shot to fame during the supreme madness of the boogaloo, and then comes the paint masking many of his arrangements. Americanizing a layer of sound that always accompany them and, paradoxically, made them very popular and essential in places as disparate as Cali or low Bronx.

This album shows the moment when they ceased to bow to the premises of the latin soul to get wet legs in the choppy waters of the sauce, which were beginning to flood everything, the boom sounded just around the corner .
The trouble is that in this case, they were halfway through intention.

to the date on which they publish, Frankie Lebron joined the company playing the congas. His brothers were present Angel on bass and address Paul solo on piano and José Carlos on bongos and percussion. Gabe Gill complemented them on alto saxophone, Herman Sandane on tenor sax, Louis and Pete Maldonado Ocasio trumpets and Tito on timbales.

I've always thought the song unknown Salsa and control, with a great name that helped a lot to take root mote salsa when defining any expression that was brewing in New York and the basin Caribbean, is in fact a son montuno slow, almost lazy, without force or roots. Neither
trombone. It sounds

trial before a concert, as to warm things up, but only slightly:

I tell my people that are enjoying

That the orchestra is playing

Lebron

Something simple, something moved
and good that is dance with me.

Elelolé elelolá, check p'acá because good is.

Take it easy the key rate

Orchestra Lebron has the key

Invitation to Son Montuno

men Arise, and get hard.

pulling pulling my guaguancó

Son Montuno what I bring.

and control Salsa, salsa and control

Son Montuno and what I bring.

Let's see: it is as if they wanted to play salsa with the same sound with which articulates arranging for a boogaloo, something had to fail. I mean, the saxophone sound blends well with the salsa, but only if accompanying a good pair of horns and one or two trombones. Instead, you can go without problems of the weight of the melody in a boogaloo. Listen here this uptempo version of this topic, with a final settlement salsoso-included-slide trombone, and notice the difference. The original result was very fragile and I am surprised you have pasted both.
Was it by name?
Another example of this paradox may be the bolero You came into my life . Look how things are: I have almost 20 years listening to this song and still do not know if I like it or not. There is something in it that I finished squaring: perhaps the arrangement of the metals, or the voice of Pablo Lebron, who can not say the bolero (if it is actually a bolero). The truth is that grates me the ears. Another issue, What , corduroy runs with better luck. At least here is very present this delicious blend of rhythm & blues and are, it's almost another tumbao boogaloo but with a different spirit.
Instead, cheesy tone that never stopped latin soul fester when left unattended is represented in Return to me and I am crazy. I do not think Link's music, in fact. Better forget it, because they are very poor and I will excuse the frankness. They are much more relevant
Think again and Bongo crazy. Both are at least of what they say go, they lack orchestra and the entire disk-but just are solvent.
The end result, then, is a boring drive, with lack of grip. Transition.
Despite the opposition who claimed they felt from the very bowels of Fania, the Lebron Brothers continued to record with discipline and meeting the demands of his fans. In 1982 he completed his contract with that label and set up shop apart, true to their sound and the way you see the Latin expression. They have not gone wrong. For nothing. But I can not see it as a band of the bunch.
with one another great song, but little else.

This was what he said in a Frankie Lebron interview in 2006: Fania never gave us the merit that we share. Cotique they bought and they did it because we sold many records, but we wanted because we were black . We only used to make money. Despite the great success we had with Salsa y Control, we never got to play a concert at Madison (Square Garden) , never made a video, we were not part of the Stars Fania and even got us to mingle with them. We kept playing a lot because our major performances were in Harlem, with the brown. It is curious that a record company who ran its efforts to sell music for an audience that was largely mestizo and black or had racist policies. Much of the roster of the Fania All Stars has always been composed of brown and black people think that, even with a lot of weight errors, sought to address the widest possible audience.
So the truth that the racist motive does not seem to have much grip.
What is certain is that when discovered in the middle of the last decade the famous warehouse in New Jersey, llenecito of unreleased recordings, several of them were from the Lebron Brothers. So yes there would be some animosity.

Toy Story Cake Transfers

Al Santiago and incredible Alegre All Stars

Rare picture: At Santiago plays clarinet, flute and Willie Colon Kako trying to sleep. 1966

One of those fantastic characters that shaped the term salsa was · Alberto Al Santiago · . He was fortunate to be born into an environment-laced rhythms in English Harlem ... and a house that was filled with musicians todas las semanas del mundo.

Contagiado de ese espíritu, Al se inició primero como saxofonista y, luego, como director de la orquesta que había dejado su tío, a la que fue reemplazando poco a poco los músicos para renovarla y hacerla más acorde con lo que se estaba cocinando en el gueto latino durante los años 50. Con el rimbombante nombre de Chack-a-ñu-ñu Boys, la banda sudaba reminiscencias de Machito -a quien Al siempre admiró-, tocaba guarachas, mambos y boleros, y sonaba en fiestas y bodas del bajo Bronx. Su decisión de apartarse del negocio de las orquestas le sobrevino una noche que el trompetista regular no pudo asistir y envió como reemplazo a un colega amigo suyo... nada más y nada menos the huge Buck Clayton.

A Santiago hurt much understand that a musician of that caliber were to charge just $ 20 for the touch. As a detail, Eddie Palmieri, aged 14, was in charge of the piano (charging much less.)

act was not for her, she decided, and hung the baton.

Soon, Al borrows his family and rides a record store, Casalegre at the intersection of Prospect and Westchester Avenues in the Bronx. The success was immediate and soon became the musical reference in the area. This success motivated him to join the entrepreneur Ben Perlman founding in 1956 the legendary Alegre Recording Corporation, considered the Blue Note in Latin music of the era. In it, James is characterized by organizing recordings with upcoming dates, draft contracts and improvise at the last minute almost as much as the musicians he hired. If a disc was not money, not worried. After all, the store gave maximum profit and pleasure was to record the music he so adored.

With a small but qualified roster of musicians in four years released 44 singles 78 rpm, and ran radio promotions to strengthen the business of the shop. And vice versa.

hear the brass band in 1960 by Johnny Pacheco Triton and the club decided to record them. The result was the biggest selling Latin album to date: Pacheco y su Charanga, which helped strengthen the madness of the bands that dominated New York during the first half of the decade. A few months later discovered the mouth of the director · Charlie Palmieri · , Charanga Duboney that had lost the contract with United Artists Records was due to the exclusivity requested by Tito Rodríguez (poor Palmieri, with so little Luck always, in the future speak of that trance).
without thinking twice, Santiago was signed, confirming a friendship with this gesture was made inseparable.

As in the musical world of jealousy have been almost always at the surface, this friendship in the future would force the birth of Fania Records, which achieved a few years to engulf most of its competition in the city, among them Alegre , which was already under the umbrella of Branston Music and Tico Records.

The Alegre All Stars, volume 1

But let's not get ahead and the next step which gave Santiago, inspired by such legendary Cuban downloads recorded by the Panart , when the arrival of the Castros was imminent. These sessions had with a rhythm section so much weight and Safe genius, and are the crown jewels of Cuban music and Caribbean basin.

Al decided to make his own version, integrating in a jam session with the heads of the different bands that grouped under the awning of his label. Santiago himself once told that the disc you bought on a trip to Puerto Rico, and such was the impression that caused you decided to put it to her mother, who also raved in color. He then thought that if the boys in Cuba could do that, boys of New York also could do . Said and done
gathered for several days en los estudios Mastertone de la calle 42 West, a cerebros de la talla de Pacheco -en la flauta-, Charlie Palmieri -en el piano-, Bobby Rodríguez -en el bajo-, Barry Rogers -el mejor trombón que ha parido la salsa-, Chombo Silva -en el saxo tenor-, Francisco kako Bastar -en los timbales-, Marcelino Valdés -en las congas-, Julián Cabrera -en el güiro-,  Dioris Valladares -vocalista merenguero-, Yayo el Indio -vocal y percusión- y Rudy Calzado -vocal.

La primera hornada de esta agrupación -unidos algunos retazos gracias a la magia del ingeniero Roy Ramírez y las novedosas para ese entonces cintas magnéticas-, fue lanzada en 1961 con bombo y platillo: The Alegre All Stars. Y is a great album, very free, especially, which includes some footage of conversations in the studio, and false starts-which had previously seen only in the recordings of Miles Davis for the jazz label Prestige, "which managed to transmit that atmosphere with delicious melodies that touch on the go.

The album, which still is discontinued, but they get cd online store, starting with Oh, walk and see , a shock that marks the intentions of this meeting. It is far from Cuba, but also the flavor that West Indians and Nuyorican musicians that sound permeated Cuban, managing to flip like a sock in just a few years. Rogers highlights the trombone, virtuous always in an atmosphere in which the metal was still seen as secondary. It has shaped jazz and musical syncretism that lived in New York, plus the Cuban experience. In fact, the following year, Al Santiago mark this pattern of trombones in the orchestra of Mon Rivera ... and the rest is history and salsa.

The next song is Rarity century, a bolero, a strange letter that had already sung Celia Cruz with Sonora Matancera, and sounds great here, more uptempo though. And almost bolero-cha. Then another slow bolero, almost a Latin blues, I'm happy , where the voice of racing shoes the tessitura Chombo beautiful sax and piano great in the hands of Palmieri. I'm looking for Kako joke is on plan, and all musicians have their bit of glory and glorious solos are little Johnny, Bobby Chombo, Charlie, Barry and Kako. And then Rudy, and Yayo Dioris giving their own with their voices, in what is, in my opinion, the best theme of the production. Almond download is exquisite reinterpretation of the classic Cuban songbook, with a low-key and a trombone Bobby looms over all the musicians in the studio. Al carnival is a parade that begins with criticism an impertinent reporter did not want to leave the studio. The uproar that gives shape to a rumba step after phenomenal through free download with instruments such as those scoundrels heavy weapons. And close For you, a topic more guapachoso trombone and flute and piano and all that might sound in this wonderful session.

must be said that both virtuosity was not well received in the early 60's. The first jam sold less than ten thousand copies, and just paid the required investment and wages. Relatives of Al Santiago, when they heard, said no one would buy that craziness. But they bought it: musicians, managers bands in the city, thus giving rise to a trend that materialize later in the Stars Tico and the defining Fania All Stars.

Santiago, watching the future, inadvertently provided some sounds that were decanted to reach the top in the production of the 70's salsa.

Committed, yes, a serious error of assessment. And I return with it an idea sketched above left: Charlie and Johnny were good friends, played together in the 50's for several months until the different styles that they were forged forced the dissolution of the orchestra and I I'll take this and you with this musicians. It took forever, yes, much respect and esteem. As I said earlier, James was inseparable from Charlie ... and that was why he decided to name the Stars musical director. C uchillo for my own throat, he acknowledged later. The appointment, obviously did not like anything anything Pacheco-far more than it sold Palmieri, who declined to participate in the following discharges, recorded three more albums with Alegre and in 1964, clinched his contract with that label, you Jerry Masucci joined to found the ending Fania engulfed almost the entire competition. Alegre
Recording Corp. included.

I'm sorry I reviewed more than one disk is out of print. Yes, he who seeks finds it.

How To Keep New Shoes From Creasing

The puzzle of Bobby Valentine and Marvin Santiago

I always thought Bobby Valentina · · is a smart guy. Sensible. With clear pods. At least that has been taking his life from tiny.

I explain: In 1956, the man was 15 years and live in New York, studying trumpet as one bag, to make a living, like everyone who leaves after 15 years of Puerto Rican home to go into the jaws of this city and what that entails. In the two years since the group was working on Joe Quijano playing and producing interesting arrangements that showed his liking for the typical range typical sound and shape their own character.

, Robert Valentine in 2006 (Photo: Jean-Luc Agata)

has always been eager to experiment.

then participates in the orchestras of Willie Rosario (who was resident at Club Caborrojeño), Charlie Palmieri, Tito Rodriguez and Ray Barretto, who are not little. But not happy and, at the time, decided to found his own band, which released their first album in 1966 under the label Fonseca Records. Shortly after signing with Fania five-year contracts-smart, as I said, "and begins to carve a name in the nascent musicality. Back to the island in 1969 and settled there, perhaps to escape the music competition Manhattan perhaps anticipating that this madness would end up dying of salsa in New York and continue living in Borinquen, as more or less happen.

next year discovers his true passion is low when in a concert at La Concha in San Juan bassist fails him, he replaces and feel that the orchestra sounds different - had another swing, another dimension and I really enjoyed , once said, because the low gives great depth to the music -, beginning his distinguished record in this instrument, a very reliable music production and business man at last, a record label own with the which replaced in 1975 his contract with Fania.

early 70's his band without a vocalist dawned twice. The first was when Buba Morales decided to continue living in New York, and the second, when Frankie Hernandez, melancholy voice that singer had hired as a substitute, leaving the group to start a treatment for his addiction to drugs. Valentin then decides to hire a curious, good neighborhood with one of the most amazing riffs that calved the Caribbean soneo: · Marvin Santiago · , who came to sing for the orchestra of Rafael Cortijo. Both Valentine liked the way they faced the montuno Marvin even changed the design of the rhythmic structure of the orchestra, so that attitude coupling to snore.

The first time they recorded together was on the hard Puzzle (1971), important though it is still discontinued. An album that has a special sound that recalls the big bands of the 50, characterized by a strong metal line (Mike Torres and Melvin Sotomayor in the trumpets, Aldo Torres on trombone, Juan Maldonado on tenor sax and Humberto Ramirez baritone sax), much given all the jazz emphasis, along with a powerful rhythmic structure based on the timpani Oscar Colon, William Thompson on congas, Hector Faberile on bongos and Larry Harlow as a guest on the vibraharp. Besides Paquito Guzmán, Cheo Feliciano and Ismael Miranda on vocals.

The piano does not know who he is not in the credits, but it may be Harlow.

was also recorded in the studios of San Juan Ochoa, before they did others who later considered it a matter of honor.

And today I will not point to the PRAS.

Rubén Blades said that when soneaba, James was able to park a Mack truck in space where it would fit a Volkswagen beetle. Not wrong. Step completely transcribed one of his soneos, because without music does not make sense, but invite you to listen carefully to this virtue in Go p ' beyond, a cascade very own Marvin, although composed by Valentin, who was a jibarito of care, in The Mataka, a composition of Tite Curet, or Poor am a fairly populist guanguancó, or also in paper clown, which is not just another love rudeness, or Grinder with the viciousness of neighborhood and clothes hanging from clotheslines, or You do not know me. But especially in Besos witches and ingratitude, a slow Son Montuno, also of Tite, with lyrics and great arrangements

I will never understand

you came to hate me.

Instead, I loved you

with all my heart. False

witch woman

with your love you gave me pain.

never in life can I close this wound

your love left.

ingratitude are what cause me pain

ingratitude are what you love left me

And that soneo masterful Marvin Santiago.

skip some masterful much to say, yes, but more macho. And why not remove them. This issue has been discussed ad nauseum, even some of his soneos and were poorly viewed through the lens of that era. But do not forget either of which actually came all this music-and the same Santiago: the barrio, the ghetto to the suburbs-even mark even worse in Puerto Rico in NYC-where sweet forms usually do not have room or are you sufficiently refined to who may be drinking to a more educated public. That may sound like a waste, a niche is one of the essences of the sauce and in which bases all of its urban character. And so, because it is the picture of musical moment, is essential.

I have is in the air intelligence Valentine: still active, with its well-oiled band and touring again, never had conflicts with Fania and remains part of the All Stars. James was expelled from the orchestra in 1976 for tardiness problems due to drugs, was jailed in the 80 for cocaine trafficking, reborn Christian, completely lost her voice and died in 2004 by problems derived from type I diabetes

Yes, guys, sorry. Not in Spotify or Rhapsody. The new owners of these recordings do not have cataloged or remastered, but still available in these internet stores ... and green roads.

Ah, Valentine is also a type I diabetic From a young age.