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?