Rolling Salsa Thread 2006

I am not into this as a spectator. I'd rather dance at my own limited level than watch a salsa dance troupe with some stupid Mummersesque theme. Salsa dance performances on stage remind me of the criticism made of rock videos (boys playing their guitars on a mountain top, boys playing their guitars in the shower. . .), except instead of boys playing guitars, it's: salsa dancers dressed as mice, salsa dancers dressed as kung-fu masters. These dance troupes usually feel the need to supplement the dancing with some theatrical theme, and yet it's rarely very interesting. Caveat: I haven't actually seen many salsa dance troupe performances, but then that's largely because the ones I've seen haven't been too inspiring. Also, I admit I enjoyed some of the salsa-based performances choreographed by my former teacher's husband, but there are a couple big differences in that case: he danced professionally for a number years with a prominent local jazz dance troupe, and he was choreographing for dance students learning dance in general (not just salsa). It was salsa-flavored jazz/modern dance (at a professional level), rather than pretentious salsa dance.

That H20 club in D.C. that Willie Colon is at tonight always starts shows after midnight and parking is a pain, but I really should go even if I can't dance that well and the gf can't go.

I haven't seen the new Latin Beat yet (not that I pay close attention to it), but should check it out tomorrow once I get back to work.

I know I didn't say anything about your Willie Colon post, but there's nothing there for me to really bounce off of.

Or was it Sonido Isleño which is a New York Latin jazz band that previously put out some stuff I almost liked (on Tres is the Place).

More big name salsa is coming to DC in February--Tito Nieves on Saturday 2/11 and N'Klabe and a bunch of other groups the following Saturday the 18th.

http://www.libertadrecords.com/home.html

I will probably pick up an honest copy of this later on.

(Oh right, duh, "I wonder which track Pappo Lucca is on?" Maybe the one where they call out his name?)

Isidro Infante
Dancemania Con Isidro Infante
CD (P&I Music 373), Released 2006;
Editor's Pick:
Explosive, long awaited, new salsa release by master pianist, producer and arranger Isidro Infante. This project features a stellar cast of singers including Herman Olivera, Domingo Quiñones, Johnny Rivera, José Alberto (El Canario), Johnny Ventura, Sergio Vargas, Paquito Guzmán, Tito Allen, Wichy Camacho, and members of La Corporación Latina. Also features Johnny Torres, Carlos Henriquez, Luisito Quintero, Piro Rodriguez, Angie Machado, Elias Lópes, Nelson Gonzalez and others.

http://www.descarga.com/cgi-bin/db/21615.10?evCLPBX8;;517

This Envidia compilation looks pretty good, too, as an overview of their take on current Cuban music:

Various Artists
Cuba Tonight: 60 Éxitos Del Programa Con Más Audiencia En La Radio Musical Cubana - 3-CD Set
CD (Envidia) 2006
Quite an outstanding compilation, a 3-CD set, of material culled from the Envidia label. Features 60 (yes, 60) tracks from the likes of Pedrito Calvo, Felix Valoy Jr., Somos Amigos, Jesus & Havana City, Charanga Forever, Chappottin Y Sus Estrellas, Arnaldo Y La Cosmopolita and many, many others. It's huge. Envidia has arguably become the Fania of Cuban dance music, with a current catalog of over 170 titles. And growing.

http://www.descarga.com/cgi-bin/db/21611.10?evCLPBX8;;532

"I Love Salsa Show" with N'Klabe, Voltio, Ismael Miranda, Brenda K.
Starr, Cheo Feliciano, Rey Ruiz, Luisito Carrion, & Moncho Rivera at the Hyatt Capitol Hill, 400 New Jersey Ave. NW in DC

Ismael Miranda is a Fania era veteran, and he still has his voice, but he doesn't actually do that much for me.

I haven't heard anything good by Brenda K. Starr, and I don't think I've ever come across anyone who takes her seriously at all.

Cheo Feliciano is probably my favorite sonero evah, but most based on 60-early 80s recordings. He hasn't sounded so good in recent years. I would probably go see him just for the sake of seeing him, since I think he is truly great.

Rey Ruiz is okay. From what little I saw of him this fall, Luisito Carrion is great live, though I fear some of it is cocaine fueled. (I don't actually know this, but there's something a little unnatural about his energy.) He hasn't put out much in the way of solo recordings, but he's been appearing with a lot of Puerto Rican supergroups (Protaginstas de la Salsa, Puerto Rican Masters, Willie Sotelo Y La Mundial De La Salsa), as well as some other projects (Ivan Cáceres Y Su Bongolandia). I think he's overdue to release something solo. On the down side, he has a rather mucousy sound, which can be a bit gross. I don't know what that's all about.

Moncho Rivera I don't know, but have a feeling I should.

Overall it doesn't sound like as good or interesting a line-up as the one for the "For the Love of Salsa" mega-show Phiadelphia hosted back in the fall, but it's not bad.

N'Klabe

http://cubanflavor.tripod.com/JPEG/voltio.jpg

Voltio

http://www.salsa-pictures-suisse.ch/site/IMG/jpg/IsmaelMiranda.jpg

Ismael Rivera

http://www.justsalsa.com/music/brendakstarr/brenda.jpg

Brenda K. Starr

http://www.radiorabel.com/salseros/cheo01.jpg

Jose "Cheo" Feliciano

http://www.canal13.com.co/programas/chimenea/img/rey.jpg

Rey Ruiz

http://www.laboriqua.com/images/gallery/2003/LuisitoCarrion@TheHotHouse/1(5).JPG

Luisito Carrion

http://perso.wanadoo.fr/majani/img/moncho2.jpg

Moncho Rivera (I hope that's the right one, but I think it is)

Willy Chirino: Son del Alma

I'm not sure exactly who his fanbase is (other than the obvious: some of the Latino community in Miami and maybe Cuban immigrants in general, though I'm not even so sure about that). His win isn't being greeted with much enthusiasm in either the Cuban music or salsa discussion groups I read. I don't think I've ever heard anything by him that's made much impression. As far as I know, I've never come across any fans of his.

It probably should have gone to Mayito Rivera for Llego la Hora.

I'm happy to see Eddie Palmieri get another Grammy, though I was not into Listen Here!. (Also, off topic, that Dave Holland Band album that one seems like it would be really good for the type of thing it is, from what I've heard of it.)

And it has a reggaeton-flavored track, there's an idea.

"Second Sunday Salsa at Zanzibar begins March 12 at 6:00 pm. Eileen delivers the salsa history presentation, Origins & Development of Salsa featuring video clips from the 40s and 50s of Machito, Tito Puente, Tito Rodriguez, Perez Prado, Rafael Cortijo with Ismael Rivera Orq. De La Luz, and more. This is a must for music fans. DJ Bruno “El Unico and Mike “El Sonero” play until 11 pm. RELAXED DRESS CODE. Cover $10."

The new Michael Stuart looks more promising (and I know he's capable of goood things, since I've seen him perform live, even if I've never heard any recordings by him that I've liked):

MICHAEL STUART
Album Title: Back to Da' Barrio
Producer(s): Guillermo Calderón, Michael Stuart
Genre: LATIN
Label/Catalog Number: Machete Music
Source: Billboard Magazine
Originally Reviewed: March 18, 2006

The norm of late in Latin music is albums with reggaetón versions of pop or salsa tracks. Here, the reverse is true. On his first album with Machete after a stint with Universal Music Latino, Stuart delivers salsa versions of reggaetón hits like "Mayor Que Yo" and "Pobre Diabla." As much as this is a ploy, we have to admit it works. These are essentially dance tracks and putting them into another dance format is rhythmically natural as well as catchy for the listener who already knows the songs. It also helps that Stuart's salsa is old-school aggressive, the percussion is in your face, and there is a total absence of sappiness. "Ella y Yo," performed here as a soneo-laden duet with Tito Rojas, is a throwback to an earlier, less slick sound that is most welcome for this sanitized genre. —Leila Cobo

Salsa Con Reggaeton

Andy Montañez has already collaborated with some reggaeton figures (including Daddy Yankee, I think, but also others). I think he has the capacity to work within a salsaton framework without dumbing down his singing and without coming off as ridiculous.

Líneas Paralelas - Andy Montañez & Pablo Milanes

Descarga.com says: Highly anticipated collaborative project by two giants: Puerto Rico's Andy Montañez and Cuba's Pablo Milanes. Rich salsa and lush ballads too. It's Milanes's first shot at salsa - and he gets high marks here. This pair prove to be perfect partners in harmony. I loved the tres-driven son-salsa number "Alllá En La Altura" and the title track, "Líneas Paralelas" — with Papo Lucca on piano — will be an eventual classic.

I have to admit though, my enthusiasm for Andy Montañez is based more on the one time I saw him live. On recordings, he doesn't all hit my ear right. I am almost sure the problem is with me though, because he was so great live (and because he recorded for a while with El Gran Combo, and probably must be on some of their songs that I like).

Also, there's a new Yuri Buenaventura CD, but I consider him very uneven. However, it sounds like there might be at least a couple strong tracks on it.

1. Se Le Ve - (featuring Daddy Yankee)
2. Tan Bella - (featuring Cheka)
3. En Mi Puertorro - (featuring Voltio)
4. Con Fuego - (featuring John Eric)
5. Sacude La Mata
6. Cuando No Es Juan, Es Juana
7. Parece Lluvia
8. Salsaton - (featuring John Eric/La Sister)
9. Yo No Quiero Que Seas Celosa
10. Cafe Colao - (featuring Crooked Stilo)

http://www.cduniverse.com/productinfo.asp?pid=7060153&style=music&cart=323496047&BAB=M

:)

I was going to give up on him after Travesia--but an Eddie Palmieri guest spot! So I might be buying this one after all.

Unrelated thought--I took my gf to see the Celia Cruz exhibit at the Smithsonian(it's been extended through September). Wow, that footage of her in the 70s with the Fania band is awesome. The rhythms are just so powerful, and she is so skillful and enthusiastic.

1. Perdedor, El
2. Nuestro Amor Se Ha Vuelto Ayer
3. Vamos De Nuevo - (with Hector)
4. Puerto Rico 2006 - (with Eddie Palmieri)
5. Maldita Suerte
6. Nunca Habia Llorado Asi - (with Don Omar)
7. Dos Generaciones - (with Eddie Palmieri)
8. A Que Te Supo
9. Cenizas
10. Hazme Sentir
11. Nuestro Amor Se Ha Vuelto Ayer

The Gringo Guide to Salsa

The worst thing there is probably that Celia Cruz song, which is inexplicably popular. (I actually prefer the Cesar Pedroso version.)

The second song credited to Oscar D'Leon is apparently actually by Jose Alberto. (Maybe D'Leon pops up in it at some point? I'm not really familiar, but it sounds good.) Extra points for including the fantastic "Fuego a la Jicotea."

The track order could be improved. I wouldn't start with something as sweet as "Bailando" because I think it might turn some people off (and then following it up with the boring Celia Cruz song makes it even worse). But it still seems to me to be a good overall collection. It's cool that it has Puerto Rican salseros like Marvin Santiago and Willie Rosario who are sometimes overlooked on this type of collection. Not that they are exactly obscure figures, but they don't appear on this type of compilation as often as they should.

Andy Montanez: "Salsaton, Salsa con Reggaeton"

http://www.nypost.com/tempo/64366.htm

So I was wrong about the new La India cd, Eddie Palmieri is not on it. But in keeping with the theme of that NY Post article, the title track "Soy Differente" comes in salsaton and reggaeton versions. I think you said you don't like her--I'm guessing that like some other folks, you are bugged by her often over-the-top, non-subtle tone. The cd has some of that, but it also has cuts where she doesn't over-embellish like she's on some tv talent show. I also saw (and reviewed) her live the other night and she kept those tics in check a bit. Wow, the women like her alot--they were jammed up front singing along. She's a feminist icon. This gig was just her and an 11 piece band, no Victor Manuelle.

Mostly I don't. Not categorically across the board, but mostly. Really the only tracks I like are the ones from her album with Eddie Palmieri, and that's more thanks to him than thanks to her.

--I'm guessing that like some other folks, you are bugged by her often over-the-top, non-subtle tone.

I guess. I like some pretty over-the-top singers though. I don't think she knows how to use it.

I have heard the CD. If anything, the salsaton aspect of it is what I like best.

Wow, the women like her alot--they were jammed up front singing along. She's a feminist icon.

From what I've read, this new album has a lot of songs focused on calling men out on the things they do to women, so it makes sense.

But you can hardly hear Eddie Palmieri on most of the two cuts where he appears (except for his solos).

I like the reggaeton guest spots, even though the two tracks could both be better. Don Omar reminds me of Tito Nieves when he attempts to sing here.

I think it would be better if VM would write a whole lots less of his material, because some of his ideas are really really played out.

The coro made up of veteran soneros is definitely a strong point (Cheo Feliciano, Tito Allen, and Adalberto Santiago).

steve, I'm pretty sure you will like this.

My other batch of Latin CDs is in limbo because I put down the wrong zip code on my order.

HEY Mayor Que yo is a plena. Wow, its kinda heavy to start. Hey, this shit is on fire. I miss the weight of the percussion from the reggaeton version. But this is good. Maybe he has found his niche? Oh wow, he sounds fuckin good, I have NEVER heard MS sound that good. Funny that he sounds more OLD school than ever on this.

Michael Stuart's "Back to da Barrio" (Universal Machete) is the most compelling of the three, because it doesn't attempt a merger between salsa and reggaetón (sometimes called salsatón), but takes some of the funk, R&B, and hip-hop feel of reggaetón and fuses it with salsa. The result is one of the freshest-sounding pop salsa albums in years. Songs such as "Mayor Que Yo" (Older Than Me) and "Callejero" (Street Guy) ring true, and there's even a nod to the island's folkloric movement with bomba and "jala jala" arrangements.

I haven't actually heard it, but from the samples I've heard, and based on everything I've read about it, the Gilberto Santa Rosa is just more of the same, except with one reggaetonish track. It doesn't have anything to do with the Michael Stuart or Andy Montanez projects. It's probably lumped in because of when it came out more than anything else. (The album by India had more of an overall reggaeton-inspired feel than the GSR.) I think the two approaches Montanez and Stuart are taking are both fine. The Michael Stuart is maybe more interesting because it's harder to pin down exactly why it sounds so fresh. Maybe it's partly simply that the reggaeton songs being covered were actually good songs after all.

It doesn't help win me over either. I wanted to like the last Jimmy Bosch CD, but I could not get into it at all. I don't personally (virtually) know anyone who was enthusiastic about it.

I'm really glad there aren't any Spanish Harlem Orchestra spinoffs to sit through this year, too. (I kind of lump Bosch in with that stuff, although that's not really what he is.)

(Incidentally, if I were as purist about salsa as some people might think I am, I would have to prefer SHO and Bosch to the new Michael Stuart CD, but I don't. Though I think that the MS might be closer in energy to really classic salsa from the past.)

listening, interested, just not much to say...

(Maybe some of these songs really simply were written as plenas or bombas. I'm not sure if Nina meant "it's been interpreted as a plena" or "It was a plena all along.")

Sonora Ponceña's Papo Lucca. . . violinist Alfredo de la Fe

http://www.youtube.com/watch?v=YmKOOTOWZ04&search=michael%20stuart

2006 - Michael Stuart - Back to da Barrio
2005 - Mayito Rivera - Llego la Hora [this is barely even salsa! why am I forced to list it]
2004 - Sonora Ponceña - Back To The Road
2003 - Celia Cruz - Regalo del Alma [not happy with this choice but I'm not convinced anything else was better]
2002 - El Gran Combo de Puerto Rico - 40 Aniversario en Vivo
2001 - El Gran Combo de Puerto Rico - Nuevo Milenio - El Mismo Sabor [a weak album really, though with some very strong tracks and little competition]
2000 - Fruko y Sus Tesos - Power Salsa
1999 - Willie Rosario - Back to the Future
1998 - Victor Manuelle - Ironias
1997 - Victor Manuelle - A Pesar de Todo
1996 - Victor Manuelle - Victor Manuelle

That was even more meaningless than I'd expected.

http://www.youtube.com/watch?v=KYEX0Pxo82Q&search=hector%20lavoe

There's an intentional (tight) looseness about many of the songs.

Anyway, when have they ever regularly released good albums? It's usually a good track here and there, often a very very good track here and there. Imagincaion is the most consistent whole album I've heard by Grupo Niche, although it's possible that some of their much earlier releases were better. Alive seems more like a return to automatic pilot.

Uhm. I love the non-native speaker sound of that, but "ready" should have gotten edited out.

Tito Rojas: Mejor Que Siempre

http://www.youtube.com/watch?v=mVQOt1ECjH8

http://www.vinilemania.net/vPEQUENOJOHNNY.htm

A bunch of Chicago-based Spanish language acts will be playing for free in DC at the Smithsonian Folklife Festival starting next weekend(plus some of the groups will also be playing for free at the K. Ctr.)
I need to find time to check this out also.

A link to that 2004 Sonora Poncena album I liked, streamable at an Italian website:

http://www.vinilemania.net/vSONORAPONCENA.htm

http://www.youtube.com/watch?v=qKogCEN9q18&search=la%20india

(Incidentally, I decided I kind of do like India's "Soy Diferente" when I heard it yesterday. I think that when she does that sweet floaty harmony thing, especially with salsaton, it works okay. I don't think she has good chops as a sonera though, and she belts too much (to compensate?). But she's certainly a better than Brenda K. Starr.)

http://www.salsaforums.com/viewforum.php?f=6&sid=c8fba4c490f221da68ac3b1a37c29e16

Rafaelito Cortijo y Ismaelito Rivera: La Nueva Generacaion

Very good. Ismaelito, in addition to reminding me sometimes of his namesake also reminds me a bit of Marvin Santiago. (Of course, Marvin Santiago may have learned a thing or two from Ismael Rivera.) The overall sound is closer to Willie Rosario or to my faovrite Orquesta Mulenze material than to anything I've heard by the original Cortijo's band.

Benedict & the Magic Band: Swing Sabor 3

Good. Does seem like a minor band, although there are some interesting things here and there, including an odd original, "El Dueño De La Timba," which sounds a little like a 70s Willie Colon thing, but not entirely, and not any particular Colon song I can think of. I didn't listen all that closely the first time through, but I think the album improves after the first few tracks.

Little Johnny Rivero: Pasos Gigantes

Very good so far. I am going to have to give in and agree with lots of hardcore New York salseros on this one. Probably the best new salsa I've heard out of New York for a long time. (Once again, I think it helps that he had a long tenure with Puerto Rico's Sonora Poncena.) There are a few instances here where he also seems to me to be stealing timba ideas, or quirks, and incorporating them in a way I find palatable.

So yes, I hereby declare this the best year for salsa albums in probably a decade.

Carlos Go Go Gomez: Homenaje Al Asmatico

1. Mayor Que Yo (reggaeton - Baby Ranks, Wisin & Yandal, Tony Tun Tun & Daddy Yankee collaboration - I think I read Daddy Yankee wrote it)
2. Pobre Diabla (reggaeton - Don Omar)
3. No Soy Tu Marido (reggaeton - Nicky Jam)
4. Paga lo Que Debes (I think this is an original)
5. Ella y Yo (ditto)
6. Vengo Guapeando (definitely an original--MS's song introducing himself)
7. Ya lo Sé (reggaeton - Magnate y Valentino)
8. Soy Callejero (this started out as a salsa song, but someone in Willie Rosario's band)
9. Ven Báilalo (reggaeton - Kriz y Angel, possibly others).
10. Nadie Sabe (this was an MS original, but was later covered in a reggaeton version by Cheka, but featuring a cameo by MS)
11. Noche de Travesura (reggaeton - looks like this was Hector el Bambino)
12. Loco (reggaeton - looks like this was a Nicky Jam song)

So no impressions of the album?

Also, I don't think I like Benedict & the Magic Band much at all.

*

One noteworthy event this year (in salsa) is the fact that "En Mi Puertorro" charted fairly high as a single on the Tropical music charts. It's significant because the song is a reworking of the current Cuban band Manolito y Su Trabuco's "Locos Por Mi Habana." Since there is a de facto blackout of contemporary Cuban music on commercial US radio, an original recording out of Cuba wouldn't have a chance. I'm not sure a relatively pure timba track by a US-based timba band would either, although maybe Tiempo Libre will pull that off at some point. (The one song I heard from their new album doesn't sound too promising though. Bleah!)

When I heard "En Mi Puertorro" I didn't recognize that it was a reworking of a song I'd already heard. Only after I happened to listen to an online snippet of "Locos por mi Habana," after having heard "En Mi Puertorro," did I realize the connection. The liner notes for Andy Montañez's CD credit Manolito, but don't mention the title "Locos por mi Habana." Labeling the Andy Montañez song salsaton was a stroke of marketing genius. It fooled me, for one. When someone on a salsa newsgroup referred to it as timba, I thought they were just commenting on timba borrowings in it. I didn't realize it was a sort of cover of a timba song. (For one thing, in the AM version it becomes a song about Puerto Rico.)

Anyway, I went back and listened again to the Manolito original, which hadn't made a big impression on me. I like "En Mi Puertorro" much more. The rhythm in general is made bouncier (something I don't normally think of as a good thing in salsa, but hey, I like it here--I wouldn't actually dance too it in a bouncy way, but it's an invitation to a certain sort of looseness) and the heavy use of clapping lightens things up. Andy Montañez's vocals are way better than what's heard in the original. Plus Voltio's rapping totally kills the typically lame timba rapping in the original. (Yes, Cuban timba has incorporated rapping of a sort on a much larger scale than salsa has so far, but it's almost always been this really lame--well, you have to hear a few examples to understand what I'm talking about.)

The question remains: is "En Mi Puertorro" timba? Despite some characteristic timba touches, it sure doesn't sound like any timba I've ever heard.

I don't think it's too ambiguous where my aesthetic loyalties lie. On the other hand, I have no problem with salsa artists with a Puerto Rican or US salsa sensibility borrowing this and that from timba. I think I'm also hearing timba stylings on Little Johnny Rivero's debut CD (along with lots of other musical ideas) and if that's really where they are coming from, I like the way they are being used. If this is the year when reggaeton is showing up in salsa in a prominent way, it may also be the year when salsa musicians quietly integrate timba borrowings (except I have to admit, it's probably already been done in the past more than I've recognized).

On a political level, I appreciate the fact that Andy Montañez has repeatedly stuck his neck out to bypass the embargo and create ties to Cuban musicians, for which he was snubbed by Celia Cruz at one point (which resulted in her being booed in Puerto Rico--PR must be a bit like Philadelphia in its capacity for booing).

(Maybe I should start a blog.)

*

I might go see Tiempo Libre, anyway, when they play in Philadelphia some time soon.

http://www.rosariosalsa.com.ar/discos/andy_montanez/salsaton.htm

(It's very good. So is "Se Le Ve.")

I meant "can't be" (obviously?).

http://musicstore.mymmode.com/album.do?albumID=8370766

To recapitulate, since the question sort of came up on another thread, my pick for top three salsa albums this year would be:

1. Michael Stuart: Back to da Barrio [obviously]
2. Andy Montanez: Salsaton
3. Guayacan Orquesta: Xtremo

http://www.albertocaicedo.com/new.html

It sounds to me like he's imitiating the Cuban Mayito Rivera a little bit, but maybe it's just a more generalized Cuban tinge. I wonder if that's primarily to please audiences in the Netherlands (where it wouldn't surprise me if timba is more popular than salsa), or if he likes the sound. Notice that this is yet another former member of Grupo Niche.

http://www.myspace.com/vinilemania

31ST NEW YORK SALSA FESTIVAL As the world wakes up to the greatness of the salsa singer Hector Lavoe in anticipation of the new Marc Anthony-Jennifer Lopez biopic, it seems an easy call for Ralph Mercado’s annual salsa festival to organize itself around salsa’s fallen martyr. Lavoe’s brilliant old collaborator Willie Colón will be there, as well as other figures from 70’s New York salsa like Cheo Feliciano, Ismael Miranda and Yomo Toro. Madison Square Garden. Sept. 16. (Ben Ratliff)

*I have more control in salsa, and I can do more moves. A lot of people can handle the cha cha cha basic, but have trouble following turns, beyond the most basic right turn. Also, in Philadelphia I run into lots of Puerto Rican women who are apparently used to dancing it on the 1 rather than on-2, so that can create confusion.

Puerto Rican Salsa God Victor Manuelle takes his audience by surprise with his 2006 release, Decision Unamine. Just when you thought that this guy couldn't get any better, the writing couldn't get catchier, the arrangements funkier, or Manuelle himself sound any stronger, a label change and one salsero's steely determination breaks all expectations. Covering wider musical territory than in past efforts, including rollicking samba breakdown sections and slinky Santana-esque Latin rock cha chas, there is a bit of the unexpected around every corner. His move from longtime label Sony Discos to Norte is a surprising shift, which may or may not have a relationship to Manuelle's seemingly renewed vigor and creativity. With some notable guests, including Eddie Palmieri, Domingo Quiñones, and Cheo Feliciano, Manuelle's place at the head of the salsa family's table has become clear. Not many artists get salsa legends to sing coro on their record. Decision Unamine is a bold statement both in its title and in the punch that it packs. This could be the year's finest commercial salsa release. The ballots are in, the votes have been counted and the decision is unanimous. ~ Evan C. Gutierrez, All Music Guide

Discography (possibly partial):

La nueva sensación musical de Puerto Rico (1965)

Jala-Jala y guaguancó (1966)

Fire Fire (1967)

A toda máquina (1968)

Cuero... salsa y sentimiento (1971)

Secuestro (1972)

Juntos de nuevo (1974)

Planté bandera (1975)

Introducing Lalo Rodríguez and Simón Pérez (1976)

El Negro Chombo (1977)

La Primerísima (1978)

Sweet Trumpet-Hot Salsa (1978)

Tommy Olivencia y su orquesta con Paquito Guzmán & Gilberto Santa
Rosa (1979)

Un triángulo de triunfo (1981)

Tommy Olivencia y su orquesta con Frankie Ruiz & Carlos Alexis
(1983)

Celebrando otro aniversario (1984)

Ayer, hoy, mañana y siempre (1985)

30 Aniversario (1987)

El Jeque (1990)

Enamorado... ¡y qué! (1991)

Vive la leyenda (1998)

Olivencia is survived by his wife, Paquita, and four children.

http://www.sun-sentinel.com/news/local/caribbean/sfl-0924puertoricosalsa,0,1329666,print.story

Among those to have belonged to the band at one time or another were: Chamaco Ramirez, Sammy "El Rolo" González, Simon Perez, Paquito Guzman, Ubaldo "Lalo" Rodriguez, Gilberto Santa Rosa, Marvin Santiago, Frankie Ruiz, Hector Tricoche, Carlos Alexis, Hector "Pichie" Perez, Paquito "Junior" Acosta and Mel Martínez.

http://en.wikipedia.org/wiki/Tommy_Olivencia

Anyway, great ultra-catchy club salsa song, "Beso a Beso" sung by. . . Luisito Carrion! That means I have liked him practically the whole time I've been dancing, without knowing his name for much of that time. The song used to get played a lot when I first started dancing, but then it disappeared. It turns out the song was already about five years old at the time, so it probably wasn't being played because it was still so popular, but because a certain DJ kept playing it (and I do associate it with a particular club, whose DJ tends to really repeat himself). Oh man, so good.

Beso a beso
Beso a beso
mmmmwwwwwaaaaaahhhhhh

Beso a beso!
mmmmmmmuuuuuuuuuaaaaaaaaahhhhhhhhh!

http://music.barnesandnoble.com/search/product.asp?z=y&EAN=828768909829&itm=1

http://waxpoetics.com/issues/issue_19/

Wax Poetics has put out a Latin Music/NYC issue. I bought it. It's not essential, but it's nicely put together and has some great photography. If you are into Bataan, then it might be worth getting since it's a pretty good interview, I think. (I don't know that much about his career though, so I might be easily impressed.) There's also an article on salsa in Colombia (mainly 70s bands), which mostly repeats things that can be found in Lise Waxer's book on Colombian salsa (which the article's author mentions). And there are some other salsa and Brazilian related things.

http://www.descarga.com/cgi-bin/db/archives/Article22?4QN3Pc4x;;146

The fact that there's so much emphasis in the article on the need to find appropriate material to cover is a reflection of the fairly weak salsa songwriting of late, and the tendency for self-consiously "salsa dura" bands to do a lot of pointless third-rate covers of classics everyone already knows. (I think Michael Stuart's Back to da Barrio proves that reggaeton songs are a surprisingly fertile source of material that can be transformed into salsa. I'm sure the authors would disagree with me.)

More performance dancing. Plus, who's DJ Broadway?

My attention was divided between eating lunch and posting.

(That should be Dime not Dile up there in my last post.)

http://www.youtube.com/watch?v=d-iCb40RvfE

(This is probably from 1999/2000, although I don't remember exactly when the female was in the group. Anyway, it's not the current line-up.)

This is a good song too:

http://www.youtube.com/watch?v=i9Vp53edAPk&mode=related&search=

http://www.youtube.com/watch?v=22ZQ_XnL2gA

(She played one timbale solo when I saw her last fall too.)

Universal Motown / Coalition Music Group Presents ''Los Cocorocos''
Wednesday November 15, 2:51 pm ET
The Union of Salsa & Reggaeton

MIAMI--(BUSINESS WIRE)--"LOS COCOROCOS" is the first release to be launched by indie CMG (Coalition Music Group) distributed by Universal/MOTOWN. A young label with a clear vision of the required elements needed in today's Latin music industry, CMG, braves the new waters with projects that will certainly feed the ambitions of a market hungry for new options. As Lou Navarro, President/CEO for CMG comments - "We want to take Latin music and boost it by injecting new elements that will make it more appealing to a broader market".
Source: Universal Motown Records

· Coalition Music Group/Universal Motown release Los Cocorocos (Photo: Business Wire). View Multimedia Gallery

"LOS COCOROCOS" is born from the idea to relive the famed 70's clubs that thrived nightly throughout the Caribbean specifically in San Juan, Puerto Rico. There, loyal fans met their musical icons greeting the morning-after till the wee hours of the day with continuous dancing and singing.

"LOS COCOROCOS" is the ideal CD of the true salsa fan - the type who idolizes the classic sounds yet allows it to easily weave and breed new sounds such as urban reggaeton as it happily cohabitates with a younger, more hip crowd. It's a release that will pass from a hit...to a sure classic, to a collector's most ambitious masterpiece. It's concept; the content and the exponents only happen because of the dire need to participate in this historical gathering. It's a production that must be danced, felt and inspire as it unites generations with generations; grandparents, siblings and grandkids.

- "To say COCOROCO -is to justify that my grandfather was a fan of Daniel Santos, Tito Lara, Bobby Capo and Beny More; It's to say that he fell in love with my grandmother on a magical night as both of them closely danced...very "apanchangao" a exquisite bolero by Tito Rodriguez...".- Gallego -

"LOS COCOROCOS" is history in the making. A release full of original tracks interlaced with salsa classics. It's composed of 13 songs masterfully interpreted by solo artists, duos or trios joining to perform the best of the best: "Los Hombres Tienen La Culpa", by Gilberto Santa Rosa & Don Omar, "Che Che Cole" by Tego Calderon & Victor Manuelle, "Dos Jueyes" by Zion and Domingo Quinones, "Perdona Viejo" by Papo Rosario of the legendary Gran Combo and his son Aniel Rosario; "Claro de Luna" by Voltio, and "Los Gorditos" by Tito Nieves, Pedro Brull y John Eric, just to mention a few. This production has musical arrangements by Charlie Donato, Domingo Quinones, Jose Lugo and Willie Sotello

INTRODUCCION - Written by Gallego

The CD starts with a spoken declaration by Gallego accompanied by the "tumbao" of the congas as he narrates the story, the essence, the respect, the pride and the life of the "COCOROCO", recorded at Estudios V.I and mixed by Junito.

-"To say COCOROCO, is to say that Hector Lavoe and Willy Colon were present in my mom's graduation and that the Americans had landed in the moon but had still not mastered how to dance salsa-

-"To say COCOROCO .- ".is to bow to "guasibiri", "tribili", "mamo amalga"..."-

-"To say COCOROCO is to say that rap and reggaeton are the continuation of the endless need to communicate what is happening in the streets and how our lives are influenced by the music we hear...it's to say that the" old" salsa is first blood cousin to rap and reggaeton" -

"LOS HOMBRES TIENEN LA CULPA - Gilberto Santa Rosa & Don Omar.

Is the debut single of this release and an original by producer Charlie Donato. Recorded at "Major League Music Studios", with Corey Hill as sound engineer and mixed by Marioso. Masterfully interpreted by the "Caballero of Salsa", Gilbert Santa Rosa and the Don of reggae ton, DON OMAR, the single has found its' way rapidly up the charts in the US and Puerto Rico.

OTHER TRACKS....

"DOS JUEYES" - Zion & Domingo Quinones.
"CHE CHE COLE" -Tego Calderon & Victor Manuelle
"MAL AGUERO" - Domingo Quinones & La Sista
"PERDONA VIEJO"- Papo Rosario del Gran Combo and son ARIEL Rosario
"LOS GORDITOS" - Pedro Brull, John Eric & Tito Nieves
"AHI VIENE MISTA" - Mista
"MULATA RUMBERA" - Junior Gonzalez y Plaza
"ESA NENA" - Jaking y Maximo
"MAFO CREW" - Mafo Crew
"LA WASA" - La Symphonia
"CLARO DE LUNA" - VOLTIO

However doubtful I am that most of this will be any good, I'll probably have to get it. I'm really sick of Gilberto Santa Rosa, Victor Manuelle, and Tito Nieves at this point, and I don't especially like Pedro Brull.

I literally just yesterday dropped my ranking of this in my list of 2006 CDs. :( (Plus the way things are shaping up, there are some promising November/December releases that haven't come out yet, or that I haven't heard.) The Michael Stuart album is still far and away the best, but it's not salsaton.

Maybe I can send you my end of the year mix to make up for this.

What are they saying about it on the yahoo e-mail list, or other chatboards? I've been listening to mostly Brazilian stuff lately, not salsa.