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

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."

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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:

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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?

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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).