Rolling Salsa 2005 Thread

salsa romantica (sometimes disparagingly referred to as salsa monga): bad synthesizer parts, lyrics almost exclusively about romance, often whimpering vocals, sometimes complex arrangements, overall smoothness of feeling

the salsa romantica blacklash (self-consciously opposed salsa dura or salsa gorda or old school salsa, mostly led up by old school salseros)*

Colombian salsa (not unknown pre-90s, but it certainly emerged more strongly after the 80s), with its incorporations of cumbia and other Colombian elements and its particular way of riding on top of the rhythm (Cf. Lise Waxer, but I think I hear what she's talking about), and other traits I'm not sure how to describe

Timba (or salsa timba): maybe a genre in its own right, but also a presence in salsa at large

African salsa: much of which tends toward older Cuban models, but which is also capable of some new blends (e.g., Ricard Lemvo "Ay Valeria!")

The remix, especially the work of Baron Lopez--but the fact that I don't know the name of any other DJ doing this stuff suggests its relative unimportance in salsa

*However, plenty of musicians, including vocalists, work, or have worked, on both sides of this romantica/dura divide however.

(Man, sometimes I read these threads and ask myself if I am trying to bore everyone comatose.)

I think I know what your saying here. Most of the things I've heard that try to update the "salsa sound", say by combining it with other genres or using new instrumentation, have not been too exciting to my ears. Rhythmically, the salsa "template" inherently shares a lot with other genres like reggae, calypso and even hip hop/r&b.

In the U.S. it seems the salsa "scene" is pretty diverse/divided. There is an older kinda academic crowd that actively promotes it as a longstanding heritage of Latino culture. They tend to talk about the history of the music and the communities from which it sprung (its roots in Cuba and Africa, its religious aspects, its natural affinity with jazz and other African derived musics, etc).

There is also, for lack of a better description, an international scene, in which people more consciously learn the dance steps, take classes and attend Salsa socials and clubs.

Older folks who were born in P.R. or D.R. keep Salsa alive in the barrios, enjoying the music as a natural part of their culture. Their children, though, are more and more leaning towards hip-hop, reggaeton and other Western music. Therefore, this social base of salsa dancers is in decline.

"I think it's headed toward a niche somewhere between the type of thing jazz is (but not as wide open) and folkloric music (but not as constrained), yet with a living connection to social dancing."

This sounds like a reasonable idea of where it's all heading. The social dancing aspect has clearly stood the test of time. In NYC, nobody dances to a live band unless it's a salsa band. The pure funkiness of the music is undeniable.

Big up RS for reppin' Salsa on ILM!!!

Are there other English-language chatboards about salsa that you read?

Do you think more than a small handful of people will ever post on ILX about salsa?

Probably not.

I read rec.music.afro-latin, but it sort of faded away two or three years ago. A lot of people have migrated to the yahoo Latin music group (which I don't usual look at because I don't like the way it looks) or some Latin jazz newsgroup (which includes a lot of musicians, including some heavyweights). I do check the salsa board at dance-forums.com but it's more dance-oriented. (I haven't been reading it lately because it makes me too depressed that I haven't been dancing.)

What I'm interested in here is this, initially odd-sounding, statement that Cuban music doesn't have a beat. I don't think I fully understand what Sublette is saying, but if he's correct, my guess it that it's an important point. (I'm not assuming this is any sort of original idea of his. This is just the first time I've heard it said.) It might have major implications for how salsa can or cannot be mixed with other types of music without losing its rhythmic core. It might also explain why North Americans can have difficult with the rhythmic Cuban and Cuban-derived music (though obviously it's not that unusual for them to be able to get it enough to enjoy it).

But from the passage quoted above I can't necessarily discern what point he's trying to make. It might be interesting, maybe not - but definitely confusing. At worst, he's mystifying the concept of clave.

Marc Anthony: Valio La Pena
Victor Manuelle: Travesia
Gilberto Santa Rosa: Autentico
Son de Cali: Creciendo
Spanish Harlem Orchestra featuring Ruben Blades: Across 110th Street

I can't get too excited about any of these. (I haven't heard all the Marc Anthony, but don't expect any of the songs I haven't heard will turn out to be that great). Grupo Niche's Imaginacion deserves a nomination more than (x-Niche led) Son de Cali does, but Imaginacion is just pretty good overall. Some good singles here, but no superb CDs. Spanish Harlem Orchestra maintains the most consistent quality, but the best tracks on the others have more zing.

"Tito Allen came to international prominence recording the monster classic Indestrutible as lead singer with salsa legend, Ray Barretto. Barretto’s 1973 album, Indestrutible is considered one of the best salsa albums of all times. Two other tunes, El Hijo de Obatala and Llanto de Cocodrilo were two more tracks that went on to become great hits. Those three hits on one album catapulted Tito to the position of New York’s favorite salsa vocalist.

Tito moved on to Tipica ’73, one of the finest salsa orchestras in history. His styling on the brilliantly re-worked Cuban classic “Pare Cochero”, became the standard of that hit for the 70s generation. Sonaremos El Tambo, another example of Tito’s signature style is evident during his work with Tipica ’73.

In addition to his time with Barretto, and Tipica ’73, Allen has associations with the Puerto Rico All Stars, Tito Puente, Conjunto Clasico, Noche Caliente, Pupi Legaretta, Johnny Pacheco, Louie Ramirez and many more. But it is as a solo artist that Tito has produced many of his best titled albums- Maldades, Feliz y Dichoso, Beyond, Unique, Ahora y Siempre, Untouchable and more."

See Eileen for tickets $20 advance-$30 at door.

Not sure what to advise you. He's definitely got the credentials, but the question is how well he is aging as a performer, and I can't tell you first-hand, but if you look at the new "classics rediscovered" on descarga.com, there's something about him.

I have two Tipica '73 albums where he sings, and they both stand up.

I've never seen him live, and haven't noticed that he's been gigging. If you're going for a new experience, it's potentially an amazing time. But there's got to be a smoking band (I'll assume he has surrounded himself with a smokin' band), dancers (does this venue have a good rep that brings out the dance crowd?), and a nice sexy environment (i've never been to Zanzibar).

That's my two cents, sorry I can't be more definitive.

I've been to Zanzibar. It's a fairly big club on the Southwest waterfront. They have Wednesday night salsa dj dance nights, and Saturday night international music dj nights. They like to cater to an upscale Embassy crowd(which means food and drinks are pricey). The place is always disorganized when I've seen live music there--with musicians not coming on to the wee hours. I saw the Mahotello Queens from South Africa there, and David Rudder from Trinidad.

Zanzibar wants and should be one, but it tries too hard, and not successfully. But I've never let that hurt my enjoyment there.

Again, I couldn't tell you for sure how he's sounding now. But he sings on a lot of classic recordings!

Come to think of it, I don't remember being disappointed after seeing a legendary singer perform within the last 5 years.

Salsa dances in DC attract a mix of native Spanish speakers who have moved to the Wash. DC area, and lots of others who have taken salsa dance lessons around town.

Otherwise, I'm interested in hearing the usual suspects.

(Once I, hopefully, get my driver's license--FINALLY--at the end of February, I plan on jumping back into salsa.)

This is pretty weird. I've never heard him referred to as the "devil of salsa" either. It's usually the "lion of salsa."

'Devil of Salsa' arrested trying to leave Colombia
Associated Press

BOGOTA, Colombia - Venezuelan salsa star Oscar D'Leon was arrested and
jailed when he tried to leave the country after failing to perform at a
scheduled concert, officials said.

D'Leon, known as the "Devil of Salsa," was detained Monday at the airport in
Barranquilla, 435 miles north of Bogota, as he prepared to return to
Venezuela, policeman Emilio Vence said Tuesday in a phone interview.

Concert organizers had filed a complaint against D'Leon, saying his failure
to appear at the concert Friday caused a disturbance as disappointed fans
destroyed chairs and other objects. It is illegal in Colombia for anyone
with legal proceedings against him or her to leave the country.

"He wasn't locked up in a dungeon, but rather a room with air conditioning,"
said Vence, head of the Colombian secret police in Atlantico province. "We
treated him the way someone of his stature deserves to be treated."

D'Leon, who was on the marquee to play in Barranquilla's carnival
celebrations, told local Caracol radio Tuesday he backed out because
organizers refused to pay an advance fee. He said he hoped "the people who
have done this take time to reflect, and they should be worried because they
stirred up this ballyhoo for which they are to blame, not me."

Concert organizer Gregorio Rico said an advance payment was made to the
salsa star.

"We hope the city understands and knows that it's not our fault ... and that
Oscar should apologize to the city," he said.

D'Leon, 61, has suffered several heart attacks in recent years, but has
refused to retire. He began his career in 1973 with the group Dimension
Latina. Four years later, he launched a solo career during which he recorded
more than 50 albums and worked with artists including Celia Cruz, Tito
Puente and Arturo Sandoval.

This is genius. It goes directly to the heart.

(I have no idea what the song is about, but it is wrenching, and without histrionics.)

There are so many "recommended" picks at descarga.com . I don't know how anyone could afford to buy them all.

Just buy it, okay? (This is not new.)

Victor Manuelle En Vivo Desde El Carnegie Hall
CD (Sony Discos 95529), Released 2005;

Song titles include:

Tengo Ganas
Lloré Lloré
He Tratado
Tantos Deseos De Ella (Tanta Voglia Di Lei)
Lo Que No Fue No Será (A Duo Con Hector Ruiz)
Voy A Prometerte
Pero Dile
Si Te Dijeron (Interpreta: Gilberto Santa Rosa)
Poco Hombre
No Me Hace Falta
Vivo Orgulloso
La Vida Es Un Carnaval

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gc6ktr3ykl4x

Along these lines, I like Azuquita's "California" a lot. It has a whole bunch of different starts, some of them funky, and it goes into a guajira or cha cha cha, but it keeps coming back to the other stuff too (so it's mixed enough to be pretty boogalooish, to me). It's past the real boogaloo era.

Oh, also, I like La Lupe's cover of "Going Out of My Head." If you haven't heard that, I think you'd like it. (You must have heard some La Lupe though.)

What's funny is how many of the big Latin music stars who made boogaloo records also complained about having to do so. I'd guess that's more true of the people who already had established careers at the time, rather than the relative newcomers.

Suite Espagnole: Latin Japanese Classics
CD (Fania 814), Released 2005;
Editor's Pick:
Good compilation of jazzy salsa tracks that were big in Japan. With Louie Ramirez, Roberto Roena, Joe Cuba, Jimmy Sabater, Tito Puente and others.

1996 Victor Manuelle Top Latin Albums 42
1996 Victor Manuelle Tropical/Salsa 8
1996 Victor Manuelle Tropical/Salsa 9
1997 Pesar de Todo Top Latin Albums 9
1997 Pesar de Todo Top Latin Albums 13
1997 Pesar de Todo Tropical/Salsa 2
1998 Ironias Heatseekers 12
1998 Ironias Top Latin Albums 4
1998 Ironias Top Latin Albums 23
1998 Ironias Tropical/Salsa 1
1998 Ironias Tropical/Salsa 9
1998 Pesar de Todo Heatseekers 50
1999 Inconfundible The Billboard 200 96
1999 Inconfundible Top Latin Albums 2
1999 Inconfundible Tropical/Salsa 1
2001 Instinto Y Deseo The Billboard 200 197
2001 Instinto Y Deseo Top Latin Albums 1
2001 Instinto Y Deseo Tropical/Salsa 1
2002 Le Preguntaba a la Luna Top Latin Albums 12
2002 Le Preguntaba a la Luna Tropical/Salsa 1
2003 Le Preguntaba a la Luna Top Tropical Albums 1
2003 Le Preguntaba a la Luna Tropical/Salsa 1
2004 Travesia The Billboard 200 177
2004 Travesia Top Latin Albums 1
2004 Travesia Top Tropical Albums 1

El Gran Combo

Salsa may no longer dominate the Spanish-language radio airwaves, but El Gran Combo and Sonora Carruseles demonstrated the genre's continued dance floor vitality at a crowded Cococabana in Hyattsville Friday night. Both are 13-piece outfits with brass, congas and more.

Colombia's younger Sonora Carruseles opened with a lengthy, joyous set of percussion-dominated tropical rhythms. While that group has been around since 1995, Puerto Rico's El Gran Combo has been making couples spin in front of bandstands since 1962. Although only bandleader and pianist Rafael Ithier and saxophonist Eddie Perez remain from the beginning, the current set of musicians keep this Caribbean institution's reputation intact.

Music vet Ithier's compositional approach for his orchestra is seemingly simple -- verse, chorus, short instrumental interlude, verse. Never self-indulgent, this big band played to serve the needs of the rug-cutters.
The quiet but in-control Ithier and the bassist nonchalantly propelled the tempos as the horns, timbales and congas added flourishes and the trio of singers lyrically conveyed emotional heft on both older numbers like "Te Regalo El Corazon" and newer successes like "Me Libere." None of the instrumentalists were flashy, but the pinging of the cowbell, the pounding hands on the drums, and the brightness of the trumpets, trombone and saxophones certainly heightened the excitement.

Visually, the fun was in watching the singers' Latinized Motown choreography. They engaged in clever precision movements as they alternated leads or sang together energetically. The only disappointment with the El Gran Combo set was its length -- an hour and 20 minutes seems a bit short for a group with such a voluminous songbook.

-- Steve Kiviat

Oscar D'leon is coming back to DC April 15th.

LOS VAN VAN
Chapeando (CD Unicornio)
Category: SALSA/SON; SALSA CUBANA; CUBA
***EditorsPick: Yeah, it's good. Even with the departure of Pedro
Calvo and Pupy, the band sounds good, and big. As usual, the topic's
religion, and the base of the group is in the thump and detail in
Samuel Formell's drumming. And there's the ever-present sound of
violins and trombones. The piano seat's taken over by Roberto
Rodriguez, who does a fine job, and one of the group's newer singers,
Yenisel Valdes, who if I'm not totally spaced out, sang with NG La
Banda, is a serious improviser, capable of stretching out for half an
hour on a tune. Mayito Rivera is also on hand, and another other new
singer, Abdel Rasalps, sounds like Pedro Calvo, which is ok; once the
group settles into a groove, one has to give up the fact that the
mighty band sounds unstoppable, and that Chapeando is a classic. The
Formell harmony is all intact, the melodies, too. Pupy and his band
have taken over Havana with their new sound, but I'd bet that
Chapeando fields some hits. Ain't nothing like this.
Highly Recommended. (Peter Watrous)

There's also an interview with conguero George Delgado, whose debut came out recently; an article on reggaeton and Latinos in hip-hop; and along with the "Is Salsa Dead?" article, an article asking if bolero is in danger of becoming extinct. (Talk about a back catalog though, and catching up countries that mostly never went for salsa.)

I think that by "South America" he means "Cali Colombia and maybe Venezuela."

I like salsa and reggaeton but i see where you're coming from. Rapping in Spanish over a programmed beat with some sampled sounds is obviously very different from guitars and bass and pianos and percussion and horns and a clave beat. I hope the author of that piece is correct and that the latter sound will continue to be created and danced to by current and subsequent generations.

Dorance Lorza/Sexteto Cafe: Salsa Pa' Ti (2004). Really nicely done, very danceable, vibes-based, horn-free, covers of older material (that wasn't necessarily originally orchestrated that way).

George Delgado: Mi Ritmo Llego (2005). Solo debut by the conguero with Spanish Harlem Orchestra and Los Soneros del Barrio. It's a little closer to the sound of those two bands than I was hoping for (not that they are bad, but I think there's too much of a New York "we're going to show you what salsa is" traditionalist formula emerging). The singer sounds kind of lilke Ruben Blades and Cheo Feliciano at times, but at least those are two really good singers to sound like.

This is all based on one listen, but I'm pretty sure I like the Lorza. The other could definitely grow on me, but it's not as immediately striking.

I really don't like the George Delgado CD so far.

http://groups.yahoo.com/group/Salseroscollective/

I've started checking it out recently. I don't especially like the interface, but most of the action has moved away from rmal. (Partly, I'm afraid things have fragmented more so that there are new groups devoted to Cuban music and specifically timba; there is a Latin jazz discussion group; and there is this salsa discussion board.)

It could be a while before this thing is really up and running though, since the web-master is very busy.

Some of the photos of Puerto Rico on the news site are great though.

(Music discussion is one of the subjects she includes under the Borinqueneando.)

I hope she doesn't kill me for linking to it here when it's not even really finished, but I figure interest will be pretty limited anyway.

http://launch.groups.yahoo.com­/group/CubanMusic/

A timba group:

http://launch.groups.yahoo.com­/group/timba_geeks/

Latin jazz:

http://launch.groups.yahoo.com­/group/latinjazz/

Once again, I personally hate yahoo, but that seems to be where these discussions are moving, for some reason.

http://www.tosalsa.com/forum/features/article020618nina_canyoufeelme.html

(I don't agree with everything in this, and I'm probably more "ballroom" than I would prefer.)

As for dancing, I'm lame compared to my gf and others and don't dance enough, and haven't taken enough lessons. Watching others dance I often see that those who learned through lessons appear to be trying too hard, while those who learned, uh, culturally, look more relaxed. This doesn't hold for everyone. I've had some bad experiences with hardcore swing and Latin and zydeco fanatics who have learned through lessons. They're very doctrinaire about what is right and wrong about dancing, and they're often closed-minded about music. I'm generalizing a bit here but that's been my experience.

Do you have events like the below, in Philly?

Washington DC's own Orquesta La Romana will be opening up the DC Salsa Congress on Friday night June 10th with special guest Jimmy Bosch at the Hotel Washington in downtown DC, the DC Salsa Congress features 3 days of workshops, performances and instruction from around the United States.

Instructors and performers from DC, Boston, New York, Philadelphia, Georgia, Texas, California, Chicago and more will all be dancing and sharing the love of Salsa from Friday June 10 through Sunday, June 12, 2005. Live music, 6 DJ's, a huge ballroom and the party doesn't stop until 3AM every night! Vendors will be on hand providing dance shoes, clothing, videos and more. Performances and social dancing will be featured via the web on www.iMambo.tv. Visit www.WashingtonDCSalsaCongress.com for more information.

Also, since I have more of an idea of what style(s) I'm interested in dancing, I am fussier than I used to be about what teachers I'm willing to pay to get instruction from.

I used to really like the idea of making my dancing more circular, which happened to mesh with the style of the teachers I ended up with, but it's not really very practical for crowded club dancing. It's very good to know how to dance in a slot, and I'd like to get back to that (not that I don't have enough moves that fit that form, but some of the more advanced things I've learned tend to spill out into more of a circular approach, which isn't always viable if everyone has staked out a slot on the dance floor). Locally, some of Rafael Benitez's students seem to do some really beautiful things while dancing in a slot, so I'd like to study with him next if possible. (He's not super-flashy as a dancer himself, but I'm impressed with what I see his students doing.)

(Apparently I think it's very important to let you all know this.)

(There are only a few sprinkled in at the beginning of that, but more as you go in to the other pages of the editor's picks section.)

I was recently talking to a veteran salsero and vinyl collector. He said he has 7,000 records. I assume that's not all Latin, but I bet a lot of it is. I'd love to see that collection. He was going to be going to a record fair in Puerto Rico to buy more.

So I was at an Orioles baseball game and before Miguel Tejada (from the Dominican Republic) bats they play a little 15 second salsa soundbite. They did not play any "Daddy Yankee" or other reggaeton artists for the Yanks or Orioles!

I don't know all this material, but those of you who got my mix CDRs will recognize some of these songs, and a lot of the artists (though not all). They even picked Jimmy Bosch, Oscar D'Leon and George Delgado recordings I like (when there are plenty I don't especially like). This brings together classic 70s/Fania era salsa; some of the better salsa romantica/poppier things; Colombian salsa; and current New York salsa dura artists.

Disc 1

Soy Vagabundo (5.56) - Hector Lavoe
Manos Duras (5.08) - Ray Barretto
Estoy Como Nunca (4.53) - Tito Allen
Sin Negro No Hay Guaguanco (3.33) - Lebron Brothers
Historia De Una Rumba (5.30) - Celia Cruz, Johnny Pacheco
Plastico (6.37) - Willie Colon, Ruben Blades
La Musica Es Mi Vida (5.25) - Johnny Zamot, Sociedad 76
Rebelion (6.15) - Joe Arroyo
Los Bravos (5.27) - Fania All Stars
Sola Vaya (6.02) - Sonora Poncena
1983 (5.50) - Eddie Palmieri
Volver (5.31) - Tito Gomez
Me Voy Pa'Cali (3.50) - Oscar D'Leon
Por Esa Mujer (4.51) - Tito Rojas
Le Robaron Los Timbales (4.19) - Tito Puente

Disc 2

A La Hora Que Me Llamen Voy (5.06) - Jose Alberto
Etnia (5.28) - Grupo Niche
Pueblo Latino (4.20) - Spanish Harlem Orchestra
Coquetona (4.40) - Sonora Carruseles
Salsa (4.28) - Yuri Buenaventura
Por Nada (4.28) - Gilberto Santa Rosa
La Noticia (4.08) - Jimmy Bosch
Dale Cara A La Vida (4.51) - Tito Nieves
Contigo No (4.06) - Los Titanes
Trucutu (5.07) - Los Soneros Del Barrio
Betece (5.03) - Africando
No Hace Falta Nada (5.09) - Victor Manuelle
Eso Digo Yo (4.25) - Rey Ruiz
Los Hijos De Obtala (5.36) - George Delgado
Ya Era Tiempo (4.36) - Ricky Gonzalez

Teh jazz:

Cooper-Moore: Deep in the neighburhood of history and influence
Cooper-Moore/Tom Abbs/Chad Taylor: Triptych Myth

I ordered them by mail directly from Hopscotch, since the only other place I found them was the Downtown Musicans website, and I didn't like their ordering set-up. It's been two months and I've heard nothing (but I do know Assif Tsahar and Cooper-Moore are or were on tour). I've tried e-mail. I would call, but I don't see a number listed on the web-site. Ultimately I canceled the order, but I never heard anything back in response to that either. I really just want the CDs. I don't understand why this Cooper-Moore guy wouldn't be picked up by the independent stores near me that carry jazz. (I did see Triptych Myth once a while back at an indie oriented store I don't especially like to go to, but I have never seen the solo recording.)

"Marta Moreno Vega grew up to be a City University of New York professor of Afro-Caribbean religions and write a book about Santería. But in the late 1950s, she was just a young East Harlem kid curious about the Yoruban and Congolese gods and goddesses invoked by her abuela and the dance moves practiced by her Palladium-going brother. In her memoir, When the Spirits Dance Mambo: Growing Up Nuyorican in El Barrio, Moreno Vega offers a bittersweet account of the days of stickball, Tito Puente, and learning life's lessons from a cigar-chewing grandma. Though occasionally a bit *Brothers Garcia*– cute—"Mi nieta, remember that time is precious," she's told at one point—the prose is often beautiful. Tonight, to accompany her book talk, Vega screens a documentary she filmed in Cuba and New York, which covers the African roots of the religious and secular music she loves as well as the ongoing influence of those roots on Latin jazz and Spanish-language rap. The program starts at 7 p.m. at the Hirshhorn Museum and Sculpture Garden's Ring Auditorium, 7th Street & Independence Ave. SW. Free. For reservations call (202) 287-3382. (Steve Kiviat)"

http://www.hopscotchrecords.com/catalog.html

Sorry to derail my own thread.

I'm still sorting through 2004's salsa releases, and I remain convinced it was one of the best years for salsa recordings for a while.

Fact checking, I came across this interview (which I had seen before, but forgotten):

ONE OF THE SONGS PEOPLE ARE REALLY NOTICING ON YOUR CURRENT CD IS TUMBA RANDY. IT IS A REALLY EXCITING AND UNIQUE TUNE. CAN YOU TELL ME MORE ABOUT TUMBA RANDY?

It starts off as a rumba, a guaguanco. Right away Alfredo comes in with a “Call”. The call is commonly used in rumbas. For example rumbas start with the drums and then the lead singer comes in with a musical phrase to set the key of the song. Then the number goes into the verse performed by the singers. But on Tumba Randy instead of the lead singer delivering the call, Alfredo plays it on the violin. This is something I had never heard anyone do before. I have heard the call played on a trumpet or performed by a singer. Alfredo really makes his violin sound like a voice. He does the same types of calls that the rumberos sing. Since I grew up playing congas and performing rumbas, I had listened to all those calls. It was a natural thing to include rumbas in the music and it turned out really great for him to play that tune. Originally I was the only violinist on the tune playing a long solo instead me trading solos with Alfredo. I think the concept of alternating solos makes the tune more interesting. It is a long song but because it has a lot of sections it does not seem that long. It was truly an honor to play with him.--http://www.salsacrazy.com/salsaroots/anthonybleaysucharanga.htm

There's the sad aspects as well--Cruz leaving Cuba and later being denied by Castro the right to come back for her mom's funeral...
Victor Manuelle is shown singing powerfully at Celia's funeral, plus there's the sight of thousands of people lining up in NY and Miami in 2003 for her wake(s).

I wish I understood Spanish better so that I could hear and understand for myself the vocal improvisation skills I'm always reading that Celia and other great salsa singers possess.

The annual free outdoors Smithsonian-sponsored Folklife Fest is coming up at the end of June. Lots of traditional Spanish-language music from many genres. Not sure if there will be salsa. They will have a DC-based merengue band that is quite popular and not that stereotypical folkloric(meaning traditional in a staid sort of way).

http://americanhistory.si.edu/exhibitions/exhibition.cfm?key=38&exkey=353

A little more innovative than what I'd expect from World Circuit.

http://www.justsalsa.com/usps/

Now we need to get Tite Curet Alonso, postal worker and great songwriter, on a stamp.

"... Last year’s introductory bill of “Nuestra Música” featured groups strumming tunes by day and night; this year, Spanish-language sounds will be heard only at the evening concerts and dance parties. Los Camperos de Valles is a rural Mexican trio playing sharp-edged rhythms on unusually strung guitars and violin with high-pitched vocals that sometimes resemble country yodeling (Friday, June 24, & Saturday, June 25). The folky strumming and dramatic melodies of Ecos de Borinquen (Saturday, June 25) and the funky beats of Los Pleneros de la 21 will represent Puerto Rico (Saturday, July 2, & Sunday, July 3). Named after a bus stop in a San Juan neighborhood, Los Pleneros are masters of the Afro-Hispanic call-and-response genres bomba and plena. Occasionally twangy, the group sounds best when the barrel drum, maracas, and gourd-banging dominate. Drums also feature prominently in the program of music from Oman. The three large music and dance ensembles appearing from this Arabian Peninsula nation blend traditional Arabic vocals with percussion drawn from both South Asian and African traditions. A bit less exotic, the Forest Service’s roster offers campfire songs and string-band Americana. The festival runs through Monday, June 27, then picks up again Thursday, June 30, to run through Monday, July 4, on the National Mall between 7th and 14th Streets NW. Live musical performances and demonstrations are presented from 11 a.m. to 5:30 p.m., with special celebrations, performances, and concerts continuing until 9 p.m.

I'm gonna go see Los Pleneros next weekend on July 3rd with a DC merengue act.

Also, the new Kim de Los Santos is pretty solid. (I've heard all but one track.)

I'm still waiting to see an American distributor for the new Juan de Marcos and the Afro Cuban All Stars CD, which I'm convinced is going to be excellent.

Less good: sunburn.

I'm heading to the beach in a couple weeks and will thus miss Gilberto Santa Rosa.

I like some of the singing and violin playing (on other tracks) though.

I'm sorry, I think I will always prefer Puerto Rican/NuYorican music to Cuban music. Eddie Palmieri's better work totally trounces anything here. Maybe that's not a fair comparison.

The laid-back vibraphone danzon/cha cha cha is nice I guess.

Okay, so maybe my second, negative, take on the album is wrong. It seems to get better in the middle, oddly enough. It is very smooth though. I don't think there's anything here as interesting and inventive as the two best tracks on Anthony Blea y su Charanga's album from last year, and in a way, they are working with a similar combination of musical possibilities (modifications of the charanga tradition, with greater or lesser acknowledgment of timba).

http://music.barnesandnoble.com/search/product.asp?userid=M07GGZcBgb&EAN=688164311929&ITM=1

(& I actually think some of these people are good singers, or have good voices, or something. But me and Cuban music don't get along.)

I have to admit I haven't been listening to the N'Klabe CD, but I fully expect to dance to be out dancing to some of those songs in the near future.

Cesta All Stars [canta Cheo Feliciano]: Salsa Maxima
Celia Cruz con Johnny, Justo and Papo: Recordando el Ayer
Tipicá 73 En Cuba Intercambio Cultural [I heard something fantastic from this album, this past Saturday. I hadn't expected to be interested.]
Sonora Poncena: On Target
Maybe some kind of Louie Ramirez related thing
Maybe some more Ismael Rivera who is growing on me again

http://s16.yousendit.com/d.aspx?id=0588YYG0UBQX805X1O3CY4LZUS

I hope Xiomara Laugart gets more time in the spotlight this time around, but probably not, with all of these guests.

Yerba Buena
Island Life
CD (Razor & Tie 182942), Released 2005;
Editor's Pick:
Terrific new Latin dance-funk-hip hop-whatever project led by Andres Levin.
A whole lot of fun with guests John Leguizamo, Alfredo De La Fe, Brian Lynch and others. Check out "Belly Dancer" and "Bi-lingual Girl." A non-stop party.
Highly recommended.
Review to follow shortly. (BP, 2005-07-25)

Song titles include:
Dr. Aneub Abrey's Island Blues Cures: Part 1 - Intro (feat. Ajay Naidu)
El Burrito
Sugar Daddy (Feat. John Leguizamo & Les Nubians With Celia Cruz)
La Vida La Life
Belly Dancer (feat. Fulanito & Members Of Gogol Bordello)
La Candela (Prendela) - A Tribute To Juan Formell Y Los Van Van Feat. Orishas)
Corazon Bandolero (Feat. Diego "El Cigala")
Bilingual Girl (Feat. Joe Bataan)
Fever (feat. M1 From Dead Prez)
Bla Bla Bla
No No No
Dr. Aneub Arbrey's Island Blues Cures: Part II - Accent Elimination
Cityzen Citysoy
Te Estoy Amando Locamente (Feat. Rossy De Palma, Montse Cortes And "El Niño" Josele)
El Burrito (Saboreando) - (feat. Peret And Ile Aiye)
Dr. Aneub Abrey's Island Blues Cures: Part III - Farewell
Musicians include:
Andres Levin Electric guitars, keyboards
Cucu Diamantes Vocals
Pedro Martinez Vocals, percussion
Xiomara Laugart Vocals
El Chino Vocals
Sebastian "El Tren" Steinberg Bass
Skoota Warner Drums
Terreon Gully Drums
Gilmar Gomes Pandeiros
Rashawn Ross Trumpet
Edmar Castañeda Cuatro
Special Guests: Pamela Thurstin Theremin
Conrad Herwig Trombone
Celia Cruz Voz
John Leguizamo As "The Sugar Daddy"
Neko Guira
Alfredo De La Fe Violin
Leo Nocentelli Electric guitar
Sergey Ryabtsev Violin
Brian Lynch Trumpet...plus many other musicicans!
Category: Pop/Other => Pop Latin

I was gonna catch up on a bunch of cds at the beach and barely listened to any of them for the whole week.

Eddie Palmieri was interviewed on NPR's Morning Edition. I only heard part of it, and it wasn't too profound. I may have to check out the whole thing on their website though.

Jon Pareles reviewed Yerba Buena and the Norteca Collective in the NY Times the other day. He generally liked Yerba Buena, though he said sometimes they seemed too much like an eclectic mixtape. I keep missing them when they come to DC. They're playing here in August on a night when i can't make it.

I hope they aren't doomed to being a model of unfulfilled potential. Given the people involved, these projects should be good, but maybe the various threads never quite pull together. (Oddly, when I read the NYT online I always forget to check the music reviews.)

Aramis Galindo
Tiempos Que Cambian
CD (Universal/Pimienta) 2005
Red hot salsa-timba-Cubana from vocalist Aramis Galindo -- his first release in four years! Review to follow shortly. (BP, 26-Jul-05)

I'm not sure what the point of linking to these is, since still photos of social salsa dancing generally don't look like much of anything.

Oh, another one too: More Yomo Toro. I was just thinking about him lately. It would be nice to have more instrumental Latin music (but not Latin jazz) on hand.

(New Daddy Yankee too: one is live, and I'm not sure if the other one is really his new studio album which I thought hadn't come out yet, or if it's some old material getting reissued now. I thought that already happened earlier this year, but maybe descarga.com is just picking it up now.)

As the foxtrot drums of 'Adivinador' smooch with squelching synth lines, and all the fizz and pop of an Usher track is contained within 'Barbaridad', the music feels like archive material yet is undoubtedly the basis of today's commercial rhythms and avant-garde arrangements.

"Foxtrot drums"? I don't know what that means, but I doubt the reviewer did either. The track doesn't feel like a fox trot to me (and it's labeled a "timba guaguanco"). "Adivinador" sounds like contemporary Cuban music. It is pretty instantaneously recognizable as timba, and I doubt that anything like it would have been recorded prior to the 90s. (The other track mentioned also has timba elements.)

Step Forward is not middle-class soirée fodder or Santana-esque novelty cash-in, but an essential trip into the fundamental structures of rhythm, harmony and soul.

I get a little tired of the gratuitous Santana-bashing. Lots of Afro-Latin music enthusiasts appreciate at least some of Santana's work, including Juan de Marcos himself, as the interview excerpt below indicates (unless I'm misreading what de Marcos is implying):

Is it my imagination, or is there a bit of influence of the Grupo de Experimentación Sonora and Leo Brouwer in one or two of the tracks on Step Forward?

I haven’t noticed it, but it’s very likely. The two things which pushed me to abandon rock as a form of expression were the Grupo de Experimentaciòn with Brouwer, Silvio Rodríguez, etc and the albums of Carlos Santana which fused Cuban elements with sixties and seventies rock. The Grupo de Experimentaciòn established a very innovative way of interpreting the Cuban music of its time. Leo Brouwer, in particular, is a Mozart of this era.--http://www.fly.co.uk/fly/archives/2005/06/juan_de_marcos_gonzalez_-_stepping_forward_and_setting_the_record_straight.html

(Why was I reading a review of a Cuban CD at planbmag.com to begin with, you may wonder? I have been trying to find out who sings on what songs, and this review is now one of the first hits Google brings up.)

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I wish a New Yorker would report here on the 30th New York Salsa Festival that took place Saturday night Sept. 10th at Madison Square Garden with Victor Manuelle, India, Tito Rojas,Oscar D'leon, La Sonora Poncena, and N'Klabe...

Delayed response: Interesting. One of my stand-out memories of the William Cepeda Grupo Afro-Boricua (or something like that) show was Cepeda's playing a conch shell.

Also, re: "I Love Salsa!", it looks like Victor Manuelle wrote that song, so now he's had success as a singer, writer, and producer. It's a funny in a way, a goofy (and perfectly obvious) attempt at creating pro-salsa propaganda (in the form of a salsa song, no less) to retain a younger Latino audience--with results that are actually pretty catchy and danceable (although widely frowned on by hardcore salseros).

Correction: it's their first Latin album, not their first album.

For established ILXors only, no random googlers.

I guess this means Grupo Gale is vastly more obscure than Fruko y Sus Tesos. Hahaha.

I'm hoping to see them in Philadelphia on Saturday, along with a bunch of other people. Kind of glad I don't have tickets already, since I'm not feeling well, and there's not guarantee I'll be ready to go out on Saturday. I hope I can get tickets at the last minute.

(I don't know what happened to the cool little announcement I was given about it.)

For the Love of Salsa

WORLD’S BEST SALSALEROS BRING “THE LOVE OF SALSA” TO LIACOURAS CENTER ON SATURDAY OCTOBER 22

(Philadelphia, PA--------September 7, 2005) The world’s most famous salsa musicians bring their brand of the wildly popular world music to the Liacouras Center stage on Saturday, October 22 at 8 p.m. Fans will have the opportunity to not just enjoy the sounds and sights of this musical phenomenon, but be able to hit the dance floor to show off their best moves.

Headlining the evening will be Columbian super-group Grupo Niche. Grupo Niche is comprised of lead singer Jairo Varela, joined by pianist Nicolas Cristanelo, bassist Francisco García, sax player Alí Garcés, trombonist Alexis Lozano, percussionist Luis Pacheco, singers Jorge Bassam, and Héctor Viveros. Fans can expect to hear a healthy blend of salsa, Latin pop and tropical musical stylings.

Co-headlining will be Ismael Miranda who is no stranger to the international sensation of salsa music. Known as the “Pretty Boy” of salsa, Miranda is a veteran of the music business, who started performing in his native Puerto Rico at the age of 12. Miranda has played such landmark venues as the Copacabana Nightclub in New York City and national events like the Jerry Lewis Telethon.

The evening will also include performances by such noted salsa musicians as Adalberto Santiago, Herman Oliveras, Yolanda Rivera, Paquito Guzman, Michael Stuart and many, many more.

A portion of the proceeds from “For The Love Of Salsa” will be donated to ASPIRA, the only national nonprofit organization devoted solely to the education and leadership development of Puerto Rican and other Latino youth. ASPIRA takes its name from the Spanish verb aspirar, "aspire."

The Liacouras Center, a 10,060 seat multipurpose entertainment facility located on the main campus of Temple University, hosts concerts, family shows, trade shows, lecture series, sporting events and the Temple University’s men’s and women’s basketball teams. For more information call 215-204-2400 or online visit www.liacourascenter.com.

Global Spectrum, the fastest growing firm in the public assembly facility management field with more than 40 facilities throughout the United States and Canada, manages the Liacouras Center. The Philadelphia-based company is part of one of the world’s largest sports and entertainment firm Comcast-Spectacor, which also owns the Wachovia Center and Wachovia Spectrum, the Philadelphia Flyers of the National Hockey League, the Philadelphia 76ers of the National Basketball Association, the Philadelphia Phantoms of the American Hockey League, Flyers Skate Zone, a series of community ice skating rinks, Comcast SportsNet, a regional sports programming network, Ovations Food Services, a food and beverage services provider, and New Era Tickets, a full-service ticketing and marketing product for public assembly facilities. Comcast-Spectacor owns three minor league baseball teams - the Bowie Baysox, the Delmarva Shorebirds and the Frederick Keys - all affiliates of the Baltimore Orioles.

When:
Saturday, October 22, 2005


Where:
Liacouras Center

Ticket Information:
$50, $60 and $100 Tickets for the October 22nd performance are on sale now. Tickets start at $50 for general admission, $60 for concert and access to the dance floor, and a limited number of $100 VIP ticket packages are still available. Tickets can be purchased at the Liacouras Center box office (cash only), and ticket outlets Centro Musical, Pachanga Records, Luis Records, Selcto Musical, Disco Hit, House of Music, Manilo Video, Listo Envio, all Ticketmaster locations, charge by phone at 215-336-2000 or on-line at www.ticketmaster.com.

I ended up not dancing (with partners anyway) very much, mostly because I wanted to watch the performers, since I'd never seen any of them before, and I may not have the opportunity to see some of the older ones again.

Highlights. . .

Grupo Niche were tight and had a strong stage presence. They played: "Cali Pachanguero," "Etnia," "Una Aventura," "Culebra," "La Negra No Quiere," and a couple others I didn't recognize. There were some (pleasantly) rowdy Colombians down toward the front, near me, (before the beginning of the VIP area, which was actually closer to the stage).

I'm really glad I got to see former Sonora Poncena singer Yolanda Rivera. Her voice is not so hot, but she was utterly convincing as the embodiment of a Puerto Rican rumbera. She also threw in an impressive timbale solo. I hadn't realized that she played percussion, but I'm not surprised considering the level of rhythmic mastery Sonora Poncena generally displays. (She performed "Ahora Si" among other songs.)

Violinist Alfredo de la Fe looks a lot older than he did in the most recent pictures I had seen. I would like to have heard more of him. (He started playing with his back toward the audience, a la Miles Davis, and someone else on stage walked over and turned him to face the audience. A bit later, he turned away again. I don't know if that's a running schtick or not.)

The biggest surprise for me was Michael Stuart. When he came on, I sat down, to rest my feet, since I didn't think I'd miss anything by not paying attention to him. He started off with a boring hit that I recognized. However, as he continued to sing, it began to dawn on me that he was actually a very good sonero. As he moved away from his hit material and got into something more hardcore, he was getting better and better. Apparently he has a reputation for being very different as a live performer than he is on studio recordings. (So far there have been no official live recordings, as far as I know.)

Luisitio Carrion came on last, sang one song himself, and then brought most of the other singers back on stage for an extended numbmer. He's a live-wire, and his vocal twitchiness made more sense to me, seeing him in person.

So, N'klabe are doing a poorly publicized late-night show in DC tonight, but I do not think I will attend.

I was listening to a Los Van Van collection out now as part of a "Cuba essentials" series which includes only tracks recorded at Egram. For some reason I am underwhelmed despite my memories of having liked the vinyl album of theirs that I have, and having liked them live. Maybe I need to listen to it again.

I also have been listening to some Kip Hanrahan Latin-jazz/spoken word/funk whatever efforts that are now getting released here. Pretty uneven--some impressive bits but other cliched avante-jazz with poetry stuff that is not for me.

I'm gonna be busy with the relatives over Thanksgiving weekend and will miss Spanish Harlem Orchestra with El Canario and someone else in D.C. This has been advertised in one Spanish-language paper, and maybe on Spanish-language radio.

I owe you some music in exchange for that great mix of yours.

Peruchín - "Guaguanco Callejero"

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(See latest www.descarga.com editor's picks for recent examples. I can't find a site for Sacodisc itself. It all seems pretty obscure.)

On the one or on the 2? If I won the lottery I would use some of my time to learn Spanish and take dance lessons(and practice practice).

The new Grupo Niche is pretty good and sounds (not too surprisingly) like a continuation of what they did on their last album. My favorite song so far is "Que Viva Puerto Rico."

http://images.barnesandnoble.com/images/10320000/10322204.gif

Palmieri con Víctor Manuelle

Martes, 8 de noviembre de 2005

Por Jaime Torres Torres

“Tener la oportunidad de colaborar con el maestro Eddie Palmieri es una de
las satisfacciones más grandes de mi carrera. Desde que comenzó mi
admiración por la música tropical él ha sido uno de mis ídolos. Estoy bien
emocionado con las posibilidades de esta colaboración”, dijo Víctor a El
Nuevo Día, dejando entrever que podrían colaborar, incluso, en futuros
conciertos.

La orquesta la integran Ronny Cuber, Johnny Rodríguez, José Clausel, Nelson
Jaime, Johnny Torres, Papo Vázquez, Johnny Rivero y otros músicos que
trabajan con Palmieri.

“Ese joven es muy talentoso, humilde y escribe muy bien. Me siento
satisfecho. Grabamos en vivo, en un estudio de Nueva York, de un cantazo. El
me llamó para decirme que deseaba tenerme en su disco y lo complací”, señaló
Palmieri.

La salsa necesita de iniciativas como la de Víctor Manuelle, quien es el
puente entre la presente generación de salseros y la del futuro.

Por si fuera poco, pronto lo escucharemos cantando con Gilberto Santa Rosa
el explosivo número Dos soneros, un masacote de swing y sabor que será la
punta de lanza del cd homónimo grabado hace dos años durante el concierto
que presentaron en el Coliseo Roberto Clemente.

Inexplicablemente, fue pirateado, pero el bono realizado en el estudio de
José Lugo con el Caballero de la Salsa justifica la adquisición del álbum
oficial.

I didn't especially like his La Perfecta II albums.

To return to the Victor Manuelle collaborations: as I've said ad nauseum, I don't think anyone except Marc Anthony is more commercially successful than Manuelle as a salsa singer (at least for the market that's covered by Billboard--maybe a more international measure of success would throw Oscar D'Leon into second place). But he also happens to be a great singer, who is commonly praised for his voice and singing, but gets criticized for the material/arrangements/production. Put him together with Palmieri and I think you're going to get a product that is much more solid. At the same time, it's been a while since Palmieri has worked with a vocalist who has a strong vocal personality as strong as Manuelle's. (I like Herman Olivera, but I do get a little tired of hearing him all over the place.) I am having a hard time even imagining what the two would sound like together. (On the other hand, if Palmieri is really just being pulled in to play piano and that's it, then it might not make that much difference, but it surely will be a nice change from hearing Sergio George all the time.) I am looking forward to this new Victor Manuelle album in a way I haven't looked forward to an album since I've been posting to ILM.

I find it interesting that Palmieri is quoted as saying that Manuelle is a good writer, in that article. He's definitely starting to wrack up some hits as a songwriter, but I'm surprised Palmieri would have that sort of respect for him.

Anthony Blea y Su Charanga

"Virgen de la Caridad"

(Rumba Jams)

Here's the surprise salsa release of the year, a first-rate
production coming not from New York or Havana but from the heart of
San Francisco's Mission District. Blea, a third-generation Mexican
American and a classically trained violinist, fronts an accomplished
band that displays as much fire as finesse. His charanga sound
(heavy on flutes and violins) is both smooth and smoldering, a smart
fusion of straight-ahead salsa with measured doses of aggressive
Cuban timba. Except for the title track, all the tunes were written
by Cuban brothers Yunior and Eladio Terry. The set includes two
lively and lovely instrumentals featuring guest spots by East Coast
veterans Jimmy Bosch (trombone) and Alfredo de la Fe (violin). While
New York is caught up in a '70s nostalgia wave, Blea and his West
Coast cohorts show how to keep the salsa hot and fresh.

"Salsa" (Salsa, Inc./Fania Records, 1976). Dir Jerry Masucci & Leon Gast. (80 min, 35mm)
Documentary and performance film centering around the historic 1973 Yankee Stadium concert by the Fania All Stars featuring Celia Cruz, Ray Barretto, Willie Colon, Larry Harlow, Johnny Pacheco, Mongo Santamaria, Ricardo Ray, Bobby Cruz, Billy Cobham, Manu Dibango, and various stars of the Latin music scene in New York and Puerto Rico.

Boleros in general: yes, that would be one way for me to go back into Afro-Latin music of the past.

But anyway, maybe I am getting ready to start listening to a little more English language music (see Kate Bush Aerial thread), and I'm feeling like I have a pretty good sense of what Latin music I do or don't like. I thought it would be a really good idea to turn to as much Latin music as possible to find instrumental music (partly the reason for the Peruchin and Yomo Toro purchases), but now I'm thinking: not everything needs to be related. Maybe I should turn to some modern classical lite things (like Lou Harrison, Terry Riley, etc.) that I might enjoy more. I had the idea that listening to stuff like Machito and Peruchin would deepen my appreciation for salsa, but it doesn't seem to give me any greater appreciation or understanding. (And why would I need to deepend my appreciation anyway? I am already positively floored by many of the salsa classics I've heard this year.)

http://www.sonymusicstore.com/coverimages/SME_2420_TRK_095615.70Q_200x200_72dpi_RGB.jpg

I don't know why I am not more anxious to buy it, except that I am already over-budget for the year.

And I somehow missed this, a Christmas CD with GSR and El Gran Combo, the first time I scrolled across it:

http://cover6.cduniverse.com/MuzeAudioArt/600/605211.jpg

This might be good, though I am unfamiliar with the artist:

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Welsare Y Su Orquesta Platino
...Mi Tierra

Import CD (Envidia 6348), Released 2005;
Editor's Pick: The record opens with the first slow Colombian salsa tune I’ve ever heard. It takes its time to take off, too. But Welsare, a singer from San Juan in Colombia, moves slowly, grooving his way through a baritone saxophone, trumpets, great gear-like piano figures, and a nice enough coro. This is serious late night salsa, unrushed, amazingly recorded, swinging, well sung, in tune. What gets me the most are its tempos, easy, relaxed, chilled-out without being sluggish. The band takes rhythm as art, the art of the medium slow burned groove, and I like it; it feels really, really good. Nothing like it out there, at all. Since when did dance music slow down?

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The cover art is kind of like what Sonora Poncena usually puts on its covers. The tracks seem like a mix of the obvious, like the overanthologized "Lloraras" by Oscar D'Leon, and the somewhat unexpected (Eddie Palmieri "Cafe"). At a glance, I bet any of these would make a pretty good random sort of salsa sampler for music from the 80s through the end of the 90s.

http://s39.yousendit.com/d.aspx?id=1E4HP7JWGDGQN1B8JB2Q36WPU0

http://www.barriomulas.com/blog/archives/music/mp3s/index.shtml

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Could be good: Don Perignon: Con Sabor A Don Perignon. Includes a couple tracks featuring Victor Manuelle (though his song on Don Perignon's CD last year was a bit of a let-down to me) as well as guest appearances by pianist, and all-around legend, Papo Lucca.

Salsa/Merengue Album: "Son Del Alma," Willy Chirino; "Fabricando Fantasias," Tito Nieves; "Llego La Hora," Mayito Rivera; "Despues Del Silencio," Eddie Santiago; "Arroz Con Mango," Tiempo Libre.

Willy Chirino (isn't it Willie? maybe not)? Who exactly is listening to Willy Chirino? The Tito Nieves album was okay for a few weeks but I got burned out on it quickly. It's not terrible. I haven't heard the Mayito Rivera CD. Eddie Santiago? Best known for salsa romantica hits from about ten years ago, some of which I actually like, but I'd be really really surprised if he had come out with an album deserving a Grammy.

The big surprise here though is Tiempo Libre, an album on the Shanachie label by a timba band based in Miami, one that is not even all that famous in what is a fairly obscure niche to begin with. Maybe the fact that a lot of people are saying they are the first really convincing U.S. timba band to emerge (and they are in Miami) has a lot to do with it. It's still kind of a surprise. I thought it was a pretty good album, for a genre I mostly don't enjoy.

I don't keep track of release dates to know exactly what I'd suggest instead. 2005 hasn't been a good year for salsa albums at all, but 2004 was pretty good (measured against recent years).

Second track. Rhythmically this is really pretty solidly salsa. This kind of constant cowbell seems very atypical of contemporary Cuban stuff. (On the other hand, there are other rhythmic counter-patterns that seem very Cuban.)

I do get the sense that Cuba is kind of shifting around musically. Things seem restless in a good way. I have to admit that even all this changui/timba stuff, which I don't particularly like, seems very much alive.

I think I read somewhere that labels merely need to submit names of artists, and send in a bio to get them considered for nominations(and then a few folks have to agree). Is the ballot period from Sept. 1, 2004 to Sept. 30, 2005?

http://babymarquez.clarence.com/img/mario%20mayito%20rivera.jpg

Actually, it's just marginally acceptable.

Bimbo G: Ahora Me Toca A Mi!!! (Envidia) 2005

Eh, overrated. A lot of second-hand seeming dancehall style rapping over somewhat boring salsa, at least on limited listens.

Edwin Clemente Timbal Pa'l Bailador (E&E Records) 2005

This is actually seems like very strong dance-oriented salsa, as they say.

Juicy & Eric (José Juicy Jusino & Eric Vélez): Huracan (Diamond Records) 2005

Hardly any big deal. Just okay.

Pablo "Chino" Nuñez: It's SHO Time: Strictly Hardcore On 1 Or 2 - Tribute To The Dancers (Cookita Records) 2005

I would like to like this but it's basically more of the same Spanish Harlem Orchestra offshoot sound, and only one track really kind of grabs me.

Eddie Palmieri: Listen Here! (Concord) 2005

I didn't like this, but I like hardly any straight-ahead Latin jazz.

Cesar Pedroso "Pupy": Mi Timba Cerrá (Egrem) 2005

I really love one song on this, and like about three others, but there's some other material that annoys me a lot (like the title track that reminds me of the "World Cafe" theme music).

Mayito Rivera: Llego La Hora (Universal/Pimienta) 2005

As I've been saying, this is mostly really good. I had "Negrito Bailador" stuck in my head this morning. I also particularly like the bolero at the end. Definitely one of the few salsa CDs from this year that I could strongly recommend.

Soneros All Star: ¡Dime Nagüe! (Universal/Pimienta) 2005

Again, this is a genre (changui) that is not my cup of tea, but there seems to be a lot of energy here.

Willie Sotelo Y La Mundial De La Salsa: Hijos De La Salsa Gorda (Envidia) 2005

I would have chosen the Puerto Rican Masters tribute to Marvin Santiago over this. They share some of the same personnel. This is okay, but I'm kind of thinking of it as the Puerto Rican equivalent of the SHO/Soneros del Barrio cover/tribute -oriented, self-consciously old-school model. I think Luisito Carrion has the potential to become a leading sonero. (Maybe he already is.) I wish he would clear his throat or something. The mucous-y sound can get kind of disgusting at certain points. He was very entertaining when I saw him live, I hope he's not a coke-fiend, because his energy-level seemed a little unnatural.

Welsare Y Su Orquesta Platino: ...Mi Tierra (Envidia) 2005

Too bright and slow, or something like that.

Various Artists - La Rumba Soy Yo II: Con Sentimiento Mañana (BIS) 2005

A mix of rumba and modern Cuban popular music. I didn't like this too much.

I'm very interested in that Sos Lazaga CD, but I'm a little leery of Envidia, which puts out a lot of material, much of which comes close to being good but doesn't quite make it.

You can start the 2006 thread (if you haven't already--I haven't seen it in my quick search).

So I just discovered that Willie Colon is performing late tonight in DC. Is he still worth seeing?

I just discovered late last night that salsa legend Willie Colon is in town tonight Friday 1-6 (Alas, the gf is working and I'm not sure who else will want to go):

Contact Christopher@latinvip.com to obtain a no line no cover pass for the performance tonight by Salsa legend Willie Colon. You must be in the doors by 11:00pm.

H2O is located at 800 Water St SW in WDC.

DC Welcomes Philly Salseros-Special Sunday Salsa With DJ Panel & Performances for Martin Luther King Holiday

Join us for a very special event at Zanzibar on Sunday, January 15, 2006 the day before the Martin Luther King holiday. DC will welcome Philly Salseros and feature DJ Jose & DJ Broadway with dance performances by Art in Motion form Philadelphia, along with Melao, Azucar Moreno, Manuel & Maddie, CC Villalobos & partner Nackapan, Tumbando (invited) and more. In addition all are encouraged to attend the DJ Panel from 8-9 pm. Learn about the music, selections made by your favorite DJs, their favorite groups, songs, music philosophies and more. The audience will also have the opportunity to ask questions. A special hand out will be provided to the first 50 to attend. Dancing begins at 9 pm until 2:00 am. The dress code is relaxed for this event and jeans are welcome. The list of participating DJs will be announced next week.

Quite honestly I'm not very interested in watching salsa dance performances. I don't find that a particularly positive trend. I like to watch good salsa dancing at clubs or parties, but the on-stage stuff tends to be too stagey, and if I'm going to watch a stage performance, I don't see why it should be limited to salsa dancing (i.e., I'd rather just watch an open-ended "jazz dance" sort of thing).

I'm also not terribly interested in salsa DJs. Do these guys really think they are stars? Elaborate mixing is neither required nor desired by most salseros. Most local DJs all play the same songs. Some DJs in Philadelphia have been putting themselves in the spotlight more, during club nights, with results I find embarrassing and annoying. What am I going to learn about la musica from these panels that I can't learn by reading salsa news groups, downloading, etc.?

If I go out Sunday night, I will probably go dancing. Oh wait, I just realized my rant is somewhat pointless, since there will be dancing and it starts early enough. Never mind. I'm still not really into the whole dance-troupe oriented atmosphere, but that seems to be the direction things are going in.

I would go see Willie Colon, but I've never seen him perform live (except for a brief part of a free outdoor concert I caught well before I was particularly interested in salsa).