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FEBRUARY 2012 ISSUE
FROM THE EDITOR
Bio Ritmo
La Muralla
Streaming Music
Louie Cruz Beltran
Paint the Rhythm
Windows Media
Quicktime
Cintron Band Live
Human Nature
Windows Media
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Welcome to our first issue of the year - Volume 21, Number 1, February 2012. We are pleased
to feature the Richmond, Virginia-based salsa group "Bio Ritmo" ("Bio"-English for life and
"Ritmo" - Spanish for rhythm) who are currently celebrating their 20th anniversary and the
release of their latest full-length production "La Verdad". Known for their unorthodox approach to
making salsa music, this original independent ensemble is perhaps an alternative to the future of
the salsa movement, which has experienced very little exposure for some time now for many
reasons. While many bands and artists claim to be making "salsa dura" (hardcore salsa), the
reality is that the industry is experiencing an influx of watered-down compositions and recycled
choices by groups that do not measure up to the caliber of the early pioneers. That's why
experimental bands and artists constantly reshape Latin music and make it more appealing to
new audiences and future fans. Open your mind and most likely your heart will follow.
Also in this issue you can enjoy "A Night of Jazz and Latin Jazz Music" at Lehman Center for the
Arts reviewed by contributing writer Chico Alvarez. Our East Coast contributing photographer
Allen Spatz was also very busy covering "The 2nd New York Latin Music Pioneros Awards,
"Eddie Palmieri's 75th Birthday Celebration at The Copa," and "Homage to Gilberto "Pulpo"
Colón" by the Bronx Music Heritage Center and Hostos Center for the Arts & Culture. In the
West Coast, Latin Beat Magazine covered the annual 2012 NAMM Show from Anaheim,
California. Specialty columns, reviews, hit parades, and music news complete your Latin Beat
Magazine Online (LBMO) experience.
We dedicate this issue to Ruth Fernández, who passed away on 01/16/12 after an iconic
existence of 92 years, "el alma de Puerto Rico hecha canción." —Rudy and Yvette Mangual
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Quicktime
Vanelis
Como Lo Extraño
Windows Media
Quicktime
Nayibe
Borinquen
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Quicktime
Luis González
Spain
Windows Media
Quicktime
Rolando Sanchez
Vamonos De Fiesta
Windows Media
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Steve Pouchie
Watch Ur Wallet
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Somos Son
Bilongo
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The Estrada Brothers
Mr. Ray
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Manny Silvera
Bassed in America
BEAT MAIL
Dear Latin Beat Magazine,
Thank you for maintaining the good stories and information in relation to Latin music from the
jazz, son and some Caribbean perspective. I notice that Latin music today is more like
reggaetón, rock in spanish, bachata, cumbia and all the different Mexican music. I was reading
the Oscar Hernández experience at the Copa in New York. This seems to be a tendency with the
new crop of promoters who are pushing a melting pot of music labeled as "Latin Music". But it's
not what we are used to. These music promoters are lined up with the radio and the music
industry. They are pushing stuff like the pop acts from different countries that will be popular with
the young and present generation who will purchase this music. For example, we have a lot of
the young boys similar to Justin Bieber or Rakim and Ken y types. They are played to death in
the radio. Recently, I was in New York City and happened to be listening to Salsa Con Polito on
a Sunday. The Show was more club, bachata and reggaetón than anything else. The only salsa
played was a Jerry Rivera song and many commercials of the latest dance at Joes bar on 110
and Lenox Avenue. On another occasion I heard the College radio station in Philly on Saturday
night playing salsa music from South America dating back to the 1950s that sounded terrible
because of the audio or software mix. The DJ was playing old LPs digitalized to another format.
On both stations, the listener was not being considered. The DJ is playing what he likes.
All the good music that you cover dating back years is not being played on the radio. This is by
design because many of the power brokers in LATIN MUSIC do not want it played because it's
old and not hip to them. Lady Gaga imitators have a better chance.
But why can the Mexican promoters push their authentic original national music on a local FM
station in New York and we cannot even hear the latest Spanish Harlem Orch. or Johnny
Polanco on our so-called tropical stations. The same goes with the Dominican community. You
can hear tons of bachata or their country music on a commercial station but again, the latest
from Isacc Delgado or Luis Enrique will never be played. Not to mention Truco y Zaperocko or
La Sonora Ponceña. They have recent productions. Never mind that the local groups from New
York or Philadelphia never get any airplay in their market radio programs. W hy is this? It might
be money or that the music is not the new Latin music as defined by the powerbrokers. In 2010,
a new station Roomba 1480 came to the airwaves in Philly with a total salsa programming 24
hours a day. While I like the style that is much the same as La Zeta and Salsoul from Puerto
Rico, we don't hear the new music you guys promote. In Philly you have Piro Rivera, Foto y
Charanga La Unica, Orq. La Paz, Banakumbi, Edgar Joel, Tony Maldonado, Zarza Ardiente,
Lucena, Piro Romero, with new recent productions. There are many others but no airplay on any
of the radion stations. So this is a national tendency to wipe out an entire genre of music. This is
where you guys come in. If it wasn't for your magazine we would be in the dark. Also, thanks to
the salseros on a world level who support our music. Mr. Hernández is right when he mentioned
that we have taken our music for granted. Thank you for your efforts in keeping this music on the
map. I know that the music was sensational back in the 1960s, '70s, and '80s. But los rumberos
de ahora tambien are good and deserve to be in the limelight just like Adventura or Los Tigres
del Norte.
Kind regards, Orlando Bermudez, Vineland, NJ
2/29/2012 9:15 PM
Windows Media
Quicktime
Bobby Matos
Cuchy Frito Man
Windows Media
Quicktime
Orlando, Thank you for your kind words and your very wise perspective on the current Latin
music industry!
I really loved your recent "Percussion issues" and "Top Ten CDs" of the year, selected by your
writers. Please consider special issues for alternative, Latin music artists, and a girl power issue
and Latin Christian acts. You guys are awesome!
Marianne Z., Portland, OR
Marianne, thanks for your letter to LBMO. W e will be considering your request. As for the "girl
power" issue, we have published many "ladies/female" issues throughout the years. Check out
our list of 19 years of back issues available from our online shopping store. Thanks again for
your comments and suggestions.
BIO RITMO: U.S.A.'s Original Indie Salsa Band
By Rudy Mangual
Celebrating its 20th anniversary and enjoying its seventh and latest production titled “La Verdad,”
this salsa band from Richmond, Virginia, is at the top of its game. Initially developed by a few
Puerto Rican friends after a drum jam conducted twenty years ago, this experimental salsa band
was inspired by the love of classic salsa. Baptized “Bio Ritmo” as a throwback to the 1970s pop
science known as “Biorhythm” (concept which predicts various aspects of a person’s life through
simple mathematical cycles), the band is comprised of a mixed cast of Anglo and Latino players
who aim to honor the sounds of the pioneers of the 1970s salsa movement with its own unique
interpretations. As a result of not sounding much like traditional salsa bands, Bio Ritmo has often
encountered resistance from the Latin music establishment through its professional journey.
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Hardcore salseros find them too eclectic, while Latin alternative audiences think they are too
traditional. At the end of the day, Bio Ritmo fans have one thing in common: they are
open-minded listeners. In recent years, Bio Ritmo has opened for La Sonora Ponceña in Central
Park (New York City), rocked the popular S.O.B.’s nightclub (also in the Big Apple), performed at
the prestigious Festival Toros y Salsa in Dax, France, and appeared live on Puerto Rican
television. A vinyl 45-RPM single from Bio Ritmo’s latest production “La Verdad” (which is also
available as a 12” vinyl LP and CD) has become a hot collector’s item in Cali, Colombia. The
following is an interview with Bio Ritmo’s founding member Rei Álvarez (who fronts the band as
lead vocalist/composer), and Marlysse Simmons (keyboardist/composer), who joined the band in
2002.
Rudy Mangual: Let's start at the beginning. How did this group come together?
Rei Alvarez: I was working at the Science Museum in Richmond, Virginia, while playing with
some rock/reggae groups, and one day I was contracted by the museum to put together a Latin
percussion group to play at a movie premiere. We had so much fun, playing at this event, and
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wanted to continue playing Latin rhythms in an experimental format. At first we didn't know much
about the rhythms or the Latin music traditions, but we learned as we played.
RM: Why was Richmond the city of preference?
RA: Richmond has always had a strong art and music scene, mostly rock and jazz, and
musicians from different genres pretty much know each other so it was easy, we were all here.
Bio Ritmo was the name we gave the group after we played at that museum event. Bio was short
for biological, and since the band was half Latino, the name Ritmo (rhythm) seemed a good fit.
We started out just doing grooves and worked our way into compositions.
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RM: What was the first album and what were your influences? RA: "Qué Siga La Musica,"
issued in 1995. We released a 45 rpm and then a CD. From the beginning, we considered
ourselves a salsa band because that's what we were playing, but it wasn't until after the year
2000 that we developed an individual style influenced by the Puerto Rican bomba and plena and
by the Nuyorican-style salsa.
I left the band for a few years in 1996; René Herrera took over the direction and the
compositions took on more of a Cuban style for the next two albums. Eventually, the band broke
up, and when I returned at the end of 2000, Bio Ritmo had gone back to the experimental stage. I
became involved with the group again and returned to the Nuyorican style of salsa that was the
original vision and influence of the group. So the next album was self-titled as a nod to our new
beginnings.
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RM: Talk about the band.
RA: The size of the band has ranged through the times from 8 to 10 members, at first with only
one sax and now with a proper, complete horn section. Giustino "Justin" Ricci and I have shared
musical direction and creative duties throughout, and I have been composing and arranging more
and more. When I returned to the band in 2000, the creative direction became a collective effort,
we all contributed arrangements. We've never fit into the commercial niche, too Latin for the rock
crowd and not Latin enough for the Latino crowds, since we all came from either a rock or jazz
background. We never had a manager or an agent or anyone that would say, "okay, this is what
you are and this is where I can take you." We've just forged ahead, learning as we go and as
much as we've wanted, up to this point, to belong to the salsa world, we've been categorized as
a "Latin swing," "world music" or "Latin jazz" band, we've never felt that we were accepted in the
"salsa" world. We are different, but we are a Latin music band that has always done exactly what
we wanted to do, with no restrictions.
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RM: Let’s talk a little about your only female member, Marlysse Simmons.
RA: When Marlysse joined the band as a keyboardist, we truly became a unit. She contributed
aesthetically to the arrangements and compositions. Prior to her integration into the band, we
composed 1970s-style salsa, but half of the band wasn’t into it, they just played it. When she
came along, she really shared our love for the classic salsa of the 1970s era, the golden age of
music for us.
RM: Talk about your CD cover’s vejigante art.
RA: It’s my work post-2000. We’ve never wanted to do the usual band photo on the cover with a
palm tree. That’s fine for others, but we wanted to be different. It’s always been about the salsa
music for us, so that the listener could apply his or her own experience to our music. I hearkened
back to the 1970s album covers and wanted to apply that wonderful energy and artistic craziness
to Bio Ritmo’s cover art by adding an original visual dimension to the music, and therefore, spark
the imagination of the listener. On the green self-titled album, I wanted to evoke a mood of a
dimly lit club atmosphere and I made a very simple cover. After that, I evolved to the vejigante
theme that I’ve maintained since then. It’s a nod to Puerto Rico, but also because the vejigante
is mysterious and beautiful and meaningful, a mask that hides truth. For the cover of “La Verdad”,
I designed a vejigante that was vulnerable and spilling creativity.
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RM: Since we are on the subject, tell us about the direction of this latest CD, "La Verdad."
RA: The only direction was to integrate more of Bio Ritmo's style, stuff that we like, with strong
compositions and arrangements; pretty much the most truthful style that we've created and
cultivated throughout the years. Back when we started, we attempted to sound like an old-school
salsa band, a retro band with original material. Now we create what we love with a strong
stylistic core.
RM: What's left for Bio Ritmo?
RA: Keep cultivating this original Latin music with this perfect combination of musicians that we
have right now, in this town of Richmond, which is very particular about its art scene. A lot of us
are visual artists as well as musicians; it's a beautiful thing. The last four albums led us in the
right direction of mixing it up musically, and certainly, the last two albums are indicative of the
path we are on and want to continue, get together, jam, give cool live shows and record more
music. We love playing with each other, and there are other musicians (such as the brass
players) who love sitting in with us.
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Rudy Mangual: Please tell our readers a little bit about yourself, Marlysse.
Marlysse Simmons: My mom is a Chilean pianist, so I grew up listening to Latin American
music, mostly Brazilian music and boleros. I studied classical piano and I played with some
Brazilian groups. One day I received a call to sit in with a salsa band in Washington, D.C., and
that's where I fell in love with this music and learned how to play the salsa-style piano.
RM: I hear organ and synthesizer in Bio Ritmo's music, does this come from you?
MS: It comes from me and from Bob Miller, the trumpet player in the band. He plays synth in the
live gigs. During gigs and also during recordings I'll put down some organ sounds (like Farfisa)
and Rhodes simulators, etc. I'm such a piano purist that's it's funny that I got into all these other
sounds, I think that when I began listening to old Charlie Palmieri records, I realized that he was
playing all kinds of weird and wonderful keyboards, it was inspiring. You never get to play a real
piano when you play with a salsa band, so it was frustrating to play a live gig on an electric
keyboard, which led me to create and infuse different keyboard sounds.
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RM: Let's talk about Bio Ritmo and "La Verdad," your latest recording.
MS: Bio Ritmo has been around 20 years, founded by two Puerto Ricans, but the last 10 years
have propelled the band towards the unique style it currently has. I joined the band in 2002, and
Rei, Justin, and I started working on songs together. That first album, which I was a part of, back
in 2003, was mostly comprised of Rei's songs and a couple of Justin's. So what we have here in
"La Verdad" is a culmination of all the work the core group has been doing for the last 10 years.
The "La Verdad" cut is 100% Rei, even though we all work together. Rei has perfect pitch, can
sing anything but doesn't write charts, so Tobias, Justin and I write what's in Rei's head and then
we also compose our own songs.
"Lola's Dilemma" is actually a remake of a song from our first album, but better.
Other songs such as "La Muralla" and "La Verguenza" were composed by our trombonist, Tobias
Whitaker.
On this album, we're all over the place. It's who we are, but the core of it comes from our love of
salsa music. Rei and Justin have an amazing vinyl collection that we sit around and listen to and
then this album is what comes out of it. We are inspired by the music of that era.
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RM: Does it bother you to be considered an indie salsa band?
MS: We get so many "labels" placed on Bio Ritmo and even when we write press releases, we
feel the pressure to place our music in a certain box. Is it indie salsa, alternative salsa, or
post-salsa? There are indie salsa bands out there now but they seem to concentrate mostly on
covers, and we are mostly about creating original music.
Richmond plays a big role in our band's success; even though there are other salsa bands here,
we never felt any qualms about writing our own salsa and doing our own thing, no expectations
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or pressure to play covers and become a tribute band.
You consider us to be the "first independent salsa band" so we'll go with that, and we're proud of
it.
Bio Ritmo is; Rei Alvarez (lead vocals/minor percussion), Giustino "Justin" Ricci (timbal),
Marlysee Simmons (piano/keyboards), Bob Miller (trumpet/synth), Mike Montañez (percussion),
Edward Prendergast (bass), Héctor "Coco" Barez (percussion), Tobias W hitaker (trombone),
Mark Ingraham (trumpet), and John Lilley (sax).
Discography:
Qué Siga La Mùsica
Shameless Records
1996
Salsa Galáctica
Permanent Records
1997
Rumba, Baby, Rumba Triloka Records
1998
Bio Ritmo
Locutor Records
2004
Salsa System
Locutor Records
2006
Biónico
Locutor Records
2008
La Verdad
Electric Cowbell Records 2011
The 110th Annual NAMM Show 2012
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There was an electricity in the air as the doors opened for the National Association of Music
Merchants (NAMM) 110th exhibition / trade show at the Anaheim Convention Center in
California, held January 19 through January 22, 2012.
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This event is the most amazing candy store of musical goods and music-makers in the world, a
place to meet old friends, make new friends, and try to catch up on the latest innovations while
running from stage to stage to watch performers of every genre in existence: jazz, pop, rock and
the groovy Latin. At the end of the evening, your feet hurt and your heart is happy!
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On closing day, NAMM reported 95,709 registered attendees to this year's event, marking a new
record for the 110 year-old show. NAMM is the largest and longest-running musical instruments
and products trade show in the United States. The association also reported 236 new exhibitors
to the show this year, for a grand total of 1,441 exhibitors throughout the Anaheim Convention
Center.
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"Once again the NAMM Show served as the crossroads for musical instruments and live sound
products manufacturers, retailers and their guests from all over the world," said NAMM President
and CEO Joe Lamond. "We are extremely grateful to all of the NAMM Members, music
educators, artists, partners and media who made this 110th NAMM Show a resounding success
for the industry and a great start to 2012."
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Latin Beat Magazine has been covering the NAMM Show for the past 20 years, every year
pleased with the experience and the enthusiasm of an industry full of optimism and hope for its
future. The majestic diversity of attendees, musical instruments, products and musical styles and
forms make this the ultimate music paradise for musicians and aficionados. NAMM is a not-forprofit association that unifies, leads and strengthens the $17 billion global musical instruments
and products industry. Its activities and programs are designed to promote music making to
people of all ages and from all corners of the planet. Latin Beat Magazine thanks the entire
NAMM Organization and Jeanne O'Keefe of the Lippin Group. —Rudy Mangual
Top three photos courtesy of the Lippin Group (lippingroup.com). Last two LB layouts by
Orlando Ramos.
Music Education Matters:
A Night of Jazz and Latin Jazz
By Ernesto "Chico" Alvarez
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THE EVENT
On November 11, 2011, Lehman Center for the Performing Arts in the Bronx presented a Benefit
Concert for Music Education that featured the Dominican-born pianist Wesley Reynoso and his
all-star Afro-Latin Jazz Orchestra. The concert was co-produced by Reynoso and The Grace
School of Music, headquartered at Grace Baptist Church in Mount Vernon, New York. This
institution has been providing music education for children and adults for many years. It was my
honor not only to host the event, but also to spotlight such talented guests as jazz vocalist Kim
Burrell, flautist Dave Valentín and trombonist Luis Bonilla. The orchestral roster itself was a
who's who of the music world. Imagine such notables as Matt Hong, Bob Franceschini, Jason
Curry, Julio Botti and Javier Olivencia on reeds; a brass section consisting of John Walsh, Raúl
Agraz, Nick Marcione and Mike Rodríguez; the aforementioned Luis Bonilla, along with Doug
Beavers, Tokunori Kajiwara and Randy Andos in the trombone section. And (if you can), just
picture the awesome rhythm section of bassist Rubén Rodríguez, guitarist Pancho Lelo De
Larrera and trap drummer Vince Cherico, plus percussionists Luisito Quintero and Roberto
Quintero on timbal and conga drums, respectively. Now that's a band!
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THE GOAL
This was by no means your run-of-the-mill everyday concert organized for mere profit. The main
purpose for which Reynoso brought all this talent together was to raise funds for the school,
whose mission has always been to inspire, educate, and build the next generation of exceptional
jazz musicians. As a teacher himself, Reynoso places a specific emphasis on attracting more
Afro-American and Latino students into the program, thus ensuring greater demographic access
to music education. His belief is that a formal education is a necessary part of a musician’s
holistic development and that a disadvantaged socioeconomic status is not a valid reason to
prohibit anyone from having access to that or any other curriculum.
The initial Lehman Center Benefit Concert for Music Education was a resounding success,
largely due to the concerted effort of the school organizers and the musicians who participated.
On this evening, we all gathered as a collective to say "yes, we stand together on this issue."
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Music education inequality is a social injustice that everyone wants to do something about.
Musical training is an essential element of a child’s development, as it provides him/her with
benefits and opportunities that are not easily accessible in our society. Studies have shown that
music education increases a student’s social opportunities, while enhancing his/her scholastic
and intellectual development. With Reynoso at the helm, the Grace School has launched its very
special “Music Education Matters!” campaign. And with such a worthy goal in mind, they can't
lose.
THE MUSIC
From my vantage point, it seemed that there was a very good turn-out, and I could clearly see
that a rainbow of people had come to support the program. From what I could hear from the
wings, the crowd simply loved the music, but hey, who wouldn't love this group, especially if they
were doing justice to such classics as Sonny Rollin's "Airegin," which just happened to be their
opening selection. Right off the bat, Reynoso, Franceschini and Curry dazzled the audience with
their brilliant solos. Tito Puente's "Oye Como Va" was next, with Dave Valentín, Luis Bonilla and
Mike Rodríguez offering some great solos. "Count Bubba's Revenge" featured some more great
solos by Reynoso, Franceschini and Bonilla. No doubt about it, there was magic in the air. The
audience was then treated to the sweet and soulful voice of Kim Burrell as she literally took
possession of the Gershwin Brothers' classic "Summertime." Don Sebesky's "Madly" rounded out
the orchestra's first set with solos by Bonilla, Hong and Rodríguez on the horns. Also featured on
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this composition were Vince Cherico and bassist Rubén Rodríguez. By this time, all of us
standing in the wings could see that they had the crowd roaring.
The band took a break (not that they needed one) while Michelle Bullock, the co-founder of the
Grace School of Music, made a brief video presentation, reiterating what Dr. W. Franklyn
Richardson (the Senior Pastor of the Grace Baptist Church) had stated previously, that the
audience would now have an enormous opportunity to be a great force for change. She also
mentioned that the concert was only the first step in that direction and thanked everyone for
joining them and for helping them spread the word that "Music Education Matters."
I brought out the band once again and introduced Dave Valentín, who was the featured soloist on
Mongo Santamaría's "Afro Blue." In addition to Dave, there was fine trumpet work from John
Walsh, as well as tasty solos from Bonilla and Reynoso, each of whom put in some beautiful
lines. The world of Latin jazz and straight-ahead jazz seemed to have come together seamlessly
in this second set. Kim Burrel continued her love affair with the Gershwins, by offering the
audience "Someone to W atch Over Me." Then the band got hot again, as they revisited Dizzy
Gillespie's classic "Night In Tunisia." Matt Hong and Mike Rodríguez were both shooting sparks
on this one. The third and final number by Kim Burrell was "Seeing Over." Simply lovely.
THE ENCORE
The big finale (isn't there always one of those?) came with "Fantasy," a hard driving tune that
was originally recorded by Earth, Wind and Fire. Now the entire band seemed to be on fire. And
as if that wasn't enough, there was a craving for some icing on the cake. When the smoke had
finally cleared and the roar of the crowd was still in the air, Reynoso quickly jumped into a
montuno (isn't there always one of those at the coda?). A montuno is just one of those things
that no one seems to have an explanation for, but which ultimately gets the whole theatre
rocking. Even myself, I grabbed the first güiro I could find (isn't there always one of those
around?) and dove right into the frenzy of it all.
What a night! When the concert was finally over, the musicians all gathered and took photos,
hugged each other and commented on how they felt great because they were doing something
for the youth. Even Dr. W . Franklyn Richardson was feeling ecstatic, and he asked me what was
"that thing" I was playing. I said it was "guido", and he laughed when I said it wasn't from Italy.
You see, rhythm can be found anywhere, in anything; it's a contagious and joyous thing. Latin
jazz, in its own way, is a righteous music, often intellectual and soothing, but the montuno, well
that is something else altogether. Montuno is like a hypnotic groove that invariably eliminates
any and all inhibitions that we humans may have, and what better way to end such a night!
The 2nd New York Latin Music "PIONERO Awards"
Biographies compiled by Mario A. Torres
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Photos ©by Allen Spatz
A gala concert honoring legendary Latin artists
Mario A. Torres Productions, in collaboration with Hostos Center for the Arts and Culture, hosted
an awards concert on December 10, 2011 to recognize and honor various legendary musicians.
The event was a resounding success, and the band featured Grammy Award winners Reynaldo
Jorge and Eddie Montalvo, although Héctor "Bomberito" Zarzuela was unable to attend.
In alphabetical order:
Benny Bonilla
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original member of Orquesta Novel, Benny Bonilla has played conga and bongó with many bands
on countless songs, including the original version of "I Like it Like That." He performed in New
York City from the "rhumba" era through the mambo years, and made his stamp during the
boogaloo craze with Pete Rodríguez, the pioneer of this hybrid movement that got dancers up on
their feet.
Reynaldo Jorge
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Trombonist Reynaldo Jorge is a well-respected studio musician who has appeared on Grammy
Award-winning albums with Tito Puente and Rubén Blades. He has also toured and recorded with
other Latin giants, such as Eddie Palmieri, Larry Harlow, Fania All-Stars, Bobby Valentín and
Cortijo y su Combo.
Karen Joseph
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This Brooklyn native was taught to play the piano at the age of three by her father and then
studied the flute while attending the High School of Performing Arts and the Philadelphia Musical
Academy. Joseph is also a distinguished educator who has played Afro-Cuban and Latin jazz
with such notables as Charanga 76, Charanga América, Charlie Rodríguez, Johnny Pacheco,
Siglo XX, Johnny Almendra & Los Jóvenes del Barrio, Nelson González and Eddie Palmieri.
Carmen Laboy
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In addition to functioning for 20 years as the inspirational Music Director at Christopher
Columbus High School in the Bronx, Puerto Rican saxophonist Carmen Laboy has served as
Associate Director of New York's All-City Marching Band. Laboy freelances with Latin bands in
NYC and around the world, and has performed with the Tito Puente Orchestra, Tito Rodríguez Jr.
and the Machito Orchestra.
Félix "Pupi" Legarreta
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The Philadelphia-based violinist/flutist/singer/arranger/pianist Pupi Legarreta was born in Cuba in
1940, but moved in the late 1950s to Chicago, where he formed Orquesta Nuevo Ritmo de
Cuba. This masterful multi-instrumentalist is a founding member of the Fania All-Stars, as well as
co-founder of Siglo XX.
Jorge Maldonado
A native of Rio Piedras, Puerto Rico, Jorge Maldonado has served as a recording artist and
performer on the New York City salsa scene for more than 40 years. Singing alongside Celia
Cruz provided him with the opportunities to record as vocalist with some of the best in the
business, such as Louie Ramírez, Roberto Torres, Orquesta Broadway, Johnny Pacheco and
Sonora Matancera.
Edy Martínez
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Born in Paso, Colombia, Edy Martínez left his native country in 1960 for the Dutch Antilles, then
New Orleans, Miami, and finally New York, where he has worked as a pianist and arranger for
such legends as Tito Puente, Ray Barretto, Mongo Santamaría, Ron Carter, Bobby Watson,
Gato Barbieri and Paquito D'Rivera.
Prof. Joe Torres
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Manhattan-born Joe Torres was raised in the Bronx by a grandmother who insisted he and his
sister not only learn how to play the piano but also how to read music. He was nicknamed
"Professor" because he wore thick-framed glasses. At the age of 15, he organized his first group
-"Professor Joe and the Students of Latin Jazz". He later served as musical director for Willie
Colón and Héctor Lavoe, among many others.
Héctor "Bomberito" Zarzuela
Born in the Dominican Republic, Bomberito Zarzuela has enjoyed a career as a trumpeter for
over 40 years and has played with such greats as Tito Puente, Celia Cruz, Héctor Lavoe, Ray
Barretto, and Johnny Pacheco. He was a founding member of the Fania All-Stars.
Eddy Zervigón
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After arriving in Miami from his native Cuba in 1962, Eddy Zervigón decided to move to the Big
Apple and never looked back. Shortly after his arrival in NYC, Zervigón played his wooden flute
with Johnny Pacheco, Lou Pérez, Alfredito Valdés Sr. and Arsenio Rodríguez. For the past 50
years, Zervigón's band (Orquesta Broadway) has been at the forefront of the New York Latin
music scene and the Cuban charanga tradition.
Eddie Palmieri's 75th Birthday Celebration at
NYC's Copacabana/Dec. 10, 2011
Photos by Allen Spatz
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Salsa: Latin Dance Music for the Entire World
By Nelson Rodríguez
In a recent article for this magazine I wrote about rare vinyl 12” albums from the collections of
radio hosts and club DJ and documented how their rare character was derived from limited
production runs. It was only one of many articles that I have written about classic and rare
recordings. What I didn’t mention was that the limited production runs resulted from the artists’
lack of success and support outside their local market.
I have also confirmed how many recordings, now available on CD, have also become
hard-to-find since the mid-1980s. During the 1960s and ‘70s, there were more record labels
supporting the music, mostly due to the bands’ popularity. Over 90% of today’s recordings are
produced independently; the artists pay for every facet of their recordings with their own
hard-earned money or backing from a small grass-roots label, very much like they did during the
1960s and ‘70s. It’s basically ‘déjà vu’ again, forty years later!
As a member of Yahoo’s Salsacollective.com e-group (celebrating its 10th year) I recall a call to
support active bands became an issue brought to light a few months ago, when El Lápiz posted a
small list of bands. Various members from different localities (New York, Los Angeles, Puerto
Rico, Europe) began to add to that list.
While the original call was to support established, active bands that played at clubs, concerts
and festivals, the list escalated to acts that had recorded CDs but did not have an active working
band.
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To demonstrate to naysayers that salsa has not died, I took this a step further by doing some
research that supports the theory that there are as many bands today as 40 years ago.
My criteria for this new list was two-fold: an actual active band that performs even if the activity
is not on a regular basis, and bands with recordings (full or EP-4 to 5 tracks) or at least a few
recorded tracks (on website or social pages).
Due to lack of responses or outdated sites, I’m sure I missed many bands, but I made as many
contacts as I could to make my determinations. I listened to music, viewed Youtube videos,
visited websites, etc.
For this article, I omitted Latin jazz acts and I also excluded solo vocalists who don’t belong to an
active group.
What became evident was that some of these indie recordings lacked quality musicianship,
production, and recording, realizing that cost is a major factor. Forty years ago, many acts also
had these limitations. A common denominator for indie recordings is their role as marketing tools
to promoters, event coordinators and club owners.
From my research, I also determined that bands need to make stronger efforts in providing
biographical information and proper credits (musicians, arrangers, composers) on their product.
Website information is not enough!
Another trend has been the salsa orchestra that can also be a quintet, quartet or trio, under one
name or as various different acts. The veterans do have a problem with that, but I understand
that in changing times, musicians need to diversify.
Salsa bands can be found in all corners of the world, as exemplified by the existence of Salsa
Céltica and Rumba Caliente (Scotland), Cubismo (Croatia), Dislocados (Ukraine), Sever Combo
and Rumba Jazz (Russia), Africando (Senegal), Chukale (Australia), Mandarina China Band
(China), Mango Duende (Bulgaria), Buena Risca Social Club (W ales), Calle Sol (Poland), Israel
Salsa Band and Kimbombó (Israel), Aroma Curibe (Greece), Sabor Cubano, Havana Son, Tony
Oscar and Kuban Orishas (Ireland), Mambo Compañeros (Norway), Salsa Swingoza (Japan),
Mango Molas (Slovakia), Caché, Tanga, Moda Eterna, and the Jazzmen of Salsa (Canada).
Europe
I was surprised with the amount of bands that France has produced over the past five years. DJ
El Chino and other sources helped to provide a list of bands that includes Deldongo, Ocho y
Media, Guarachando, Bailongo, Setenta, Tempo Forte, Calle Facción, Yemayá La Banda,
Diablosón, Son Ocho, Tumbao y Trombón, Tumbaito, La Nueva Edición, Andy Rey & La
Cadencia, Yerba Mala, Tupinamdo, Chévere Que Son, Chala Cubana, Chamacos, Mundo Salsa,
Orquesta Egüe, Tambor y Son, Sauce Picante, Orquesta D’Layé, Chamacos, Afincao, Conjunto
Massalia, Descarga Total, Mezclando Orchestra, Escala Caliente, Salsa 4U, La Esquina Latina,
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Secreto Cubano, Conga Libre, Reynier Silegas, Tierra Sabrosa, Bailongo, Mestica, Más Bajo,
La Presión, La Banda del Ocho, Orkesta Paname, Salsa Ilegal, La Contrabanda, Orquesta
Ceiba and two of my favorites, Sonando and Grupo Salsafón.
The United Kingdom has enjoyed a rich and long salsa and Latin jazz history; while Holland,
Finland, Germany, Denmark and Sweden are home to relocated Cuban and South American
musicians.
One UK act that has stood out in the past decade is pianist Alex Wilson, who has produced eight
recordings since 1999, each one better than the last. Another of my favorites is Carlos Peña y
su Salsa Swing. The UK is also home to Robin del Castillo, Son Veneno, Víctor Hugo, Charanga
del Norte, Bacalao, La Gran Descarga, Salsa Como Loco, Mezcla de Londres, Bourbon y
Tequila, Calarca Latin Band, Calavera, Bombelé, Palenke, Salseology, Manteca, Chacón y su
Timba, and Diáspora.
The Netherlands have contributed in a big way with names like Gerardo Rosales, Nils Fischer &
Timbazo, Cabo Cuba Jazz, and Marco Toro y su Ensemble. Since 1996, Rosales has released
over eight incredible recordings, while Toro has also released at least five CDs. Add to this
Dutch list FP La Banda, Timba y Tambó, Doble Jugada, Vidal Cruz Conde y Pan Con Timba,
Orquesta Bembé, Son Asi, and Charanga La Crisis. The list of Swedish salsa bands includes
Hatuey, Calle Real, La Tremenda, La Liga (Habanera), and Soneros All-Stars.
Germany is home to the popular Stefan Renz’s Salsa y Azúcar Orchestra, Ricardo Álvarez &
Cubanísimo, Katouz Band, Mi Solar, Grupo Síncopa, Las Mulas, Salsa Fuerte, Cuba Vista,
Bomba Limón, Olvido & HavanaSublime, and Raúl Gutierrez & Irazú.
Switzerland has Mercadonegro, Picasón, Son Alarde, Germán Silva, Chica Torpedo and El
Zorro.
Denmark has Grupo Dansón and Jorge Cordero y Los Gran Daneses (who have recorded seven
CDs since 1993, when they debuted with “Rompiendo el Hielo” as Los Gran Daneses de la
Salsa).
The leading salsa exponents in Spain are Bloque 53, La Surcusal SA, José Luis Morán, Amílcar
Suárez y su Salsa Matriz, La Salsa Express, Ray Callao, Caco Senante, La Golosina, Lava,
Batukeros de La Calle, Jóvenes Salseros, Lucrecia, and El Médico de la Salsa.
Belgium has Mucho Gusto, Para K Sepas, Tumbao Cubano and Contrabando.
Italy plays host to Croma Latina, Ciclón Cubano, Calle 39 Orchestra, Latin Sound Machine and
Combo Marianao.
Latin America
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Cuba has bands on every street corner but the ones we’re most familiar with are Manolito
Simonet y su Trabuco, Orquesta América, Maraca, Maykel Blanco y su Salsa Mayor, Azúcar
Negra, Bamboleo, Los Van Van, Orquesta Anacaona, Elio Revé Jr. y su Charangón, Pachito
Alonso y sus Kini Kini, Alexander Abreu y Havana D’Primera, Adalberto Álvarez, Cándido Fabré,
Maravillas de Florida, Septeto Santiaguero, Pedro Calvo & La Justicia, Septeto Nacional de
Ignacio Piñeiro, Juan de Marcos & Afro Cuban All-Stars, Orquesta Aragón, Yumurí y sus
Hermanos, Sierra Maestra, Charanga Forever, Havana Power Band, Tumbao Habana, David
Calzado y su Charanga Habanera, Ángeles de La Habana, Sur Caribe, Sello LA, Klimax, Paulo
FG, Pupi y Los Que Son Son, NG La Banda, Bamboleo, Pancho Amat, Suave Tumbao, El Indio,
Original de Manzanillo, Alain Daniel, Chispa y sus Cómplices, Dan Den, David Álvarez, Angel
Bonne, Mayito Rivera, Aderquis Revé, Haila Mompié, Los Reyes del 73, Tirso Duarte, and La
Combinación de La Habana.
The list of Venezuelan bands includes Saxomanía, Bailatino, Kongas Orquesta, Siguarajazz,
Andy Durán, Grupo Mango, Pibo Márquez y su Descarga Criolla, Orquesta Germán-Nell &
Koymbre, Bacalao Men, Alfredo Naranjo, Naty y su Orquesta, Magia Caribeña, Javier Plaza y su
Orquesta Son-Risa, Orquesta Salsaborysón, Orquesta Yambeque, Orquesta Salsa Espesa,
Orquesta Sinsayé, Vanguardia Latina, René Rodríguez, Elio Pacheco, Oscar Ledesma, Mundito
y su Orquesta Celestial, and several bands led by the great Oscar D’León. A new story is
developing with the hot Salsaneo label, which has issued some good releases by Jorge
Antillano, Gonzalo y Los Príncipes de la Salsa Gilberto Silmar, etc.
At the vanguard of the Colombian salsa bands is Grupo Niche, with Orquesta Guayacán and
Grupo Galé running a close second. You can add to this active list Fruko y sus Tesos, Sonora
Carruseles, La 33, La Cali Charanga, Alberto Barros, Calambuco, Son de Cali, Germán Villareal
y su Mambo Big Band, Alquimia, Adolescent’s, Palo Pa’Rumba, La Real Charanga, Los
Hermanos Purizaga, Orquesta Salsa Camaleón, ClandeEskina, Pelusa & La Banda Caramba,
Coco Blue Salsa Band, Orquesta Herencia Latina, and Orquesta Fusion Mambo.
The Peruvian scene has been revitalized with the arrival of various Cuban timba bands, such as
Barbarito Fines y su Mayimbe, Michel Meza and Danny Lozada.
The U.S.A. and Puerto Rico
Southern California has enjoyed a rich history of salsa bands since 1960s. Nowadays, Los
Angeles and the surrounding areas are home to Johnny Polanco & Conjunto Amistad, Susie
Hansen, La Palabra, Son Mayor, Charanga Cubana, Adonis Puentes, Lucky 7 Mambo, The Echo
Park Project, Chino Espinoza y Los Dueños del Son, Costazul, Yari Moré, Rumbankete, José
Rizo’s Mongorama, Fay Roberts & Orquesta Charangoa, Bayaló, Somos Son, Son y Clave, Opa
Opa, Orquesta Tabaco y Ron, Angel Lebrón y & Sabor Latino, Conjunto Oye, Ricardo Lemvo &
Makina Loca,, Octavio Figueroa/W illy Cadenas & La Combinación, Janeen Puente, Yamila
Guerra and Robert Incelli.
Northern California has over 30 salsa bands (mostly based in the San Francisco Bay Area),
including Julio Bravo & Orquesta Salsabor, Orquesta La Verdad, Orquesta Borinquen,
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Saboriche, Montuno Swing Avance, La Nueva Fuerza, Fito Reinoso, La Familia Son, Edgardo &
Candela, Anthony Blea y su Charanga, Pepe & su Orquesta, Louis Romero & Mazacote, Grupo
Bakkán, El Pikete, Rumbaché (formerly Quimbombó), Orquesta Gitano, Charanga Nueva,
Cubanacán, Jesús Díaz & Qba, Pacific Mambo Orchestra, La Moderna Tradición, Azesú, Benny
Velarde’s Supercombo, and Ritmo y Alegría.
Seattle has developed a promising market for salsa with Steve Guasch & Nueva Era,
Guaschara, Orquesta Zarabanda, Cambalache, Salsariba, Picoso, Visión Latina, and Carlos
Cascante y su Tumbao.
Pórtland has Cubaneo, Dina y Los Rumberos, Afincando and Conjunto Alegre.
New York regained its strength in the 21st Century with acts such Wayne Gorbea & Salsa
Picante, Spanish Harlem Orchestra, Los Soneros del Barrio, Conjunto Imagen, Frankie Morales,
Son Sublime, Los Hermanos Lebrón, José Alberto, Willie Villegas & Entre Familia, Grupo Latin
Vibe, New Swing Sextet, David Cedeño, Son Café, Alex Torres, Johnny Ray’s Salsa Con Clase,
Chico Álvarez, 3D Ritmo de Vida, Maña, La Excelencia, Mambo Legends Orchestra, 8 y Mas,
Orquesta Dee Jay, Sammy González Jr., Blue Mambo, Willy Torres, Fajardo Jr., Quimbombó,
José Conde & Ola Fresca, Dave Santiago & Latin Affair, Conjunto Guantánamo, Papo Ortega &
Cubanosón, Lower East Salsa, Pete Pagán, Luisito Rey & La Dinámica, Bryan Vargas & ¡Ya
Está!, Aurora & Zon de Barrio, Nayibe, Williamsburg Salsa Orchestra, and Papo Pepín (who is
finishing his third solo recording). Many of these bands have been around for decades and it’s
great to see them still actively involved.
Massachusetts has Tentumbao, Sabor Picante, Son de Boston, Jesús Pagán, Héctor Cuevas
and the Boston Latin Band, Ed Trancredi & Bandón 33, and Edwin Pabón y su Orquesta. For
many decades, the Berkelee College of Music has encouraged many musicians to work in the
Boston area.
Florida has Tito Puente Jr., Luis Enrique, Fiesta Orchestra, Timbalive, Tiempo Libre, Issac
Delgado, Malena Burke. Albita, Hansel & Raúl, Carlos Manuel, Rey Ruiz, Los Guerreros de la
Salsa, Sonido Criminal, Expresión Latina, Willy Chirino, Los Sobrinos del Juez, and Orquesta
Inmensidad.
Texas is home to Havana NRG, Grupo Ka-ché, Angelucho y su Copacabana, Orquesta
Tropicante, Carabalí, and Orquesta Salmerum.
Chicago has Rica Obsesión, Salsa Chicago Mambo All-Stars, Angel Meléndez & 911 Mambo
Orchestra, Orquesta Ranura, Latin Dance Ensemble, Chévere de Chicago (Joe Rendón’s Salsa
Con Soul), Samuel del Real y su Orquesta, and Orquesta La Crema.
Salsa bands can be found in practically every other state of the union, including Colorado’s
Conjunto Flores; New Jersey’s Edgardo Cintrón; Ohio’s Orquesta Kandela, Sammy D’León,
Grupo Fuego, and Noel Quintana’s Latin Crew; Hawaii’s Rolando Sánchez; Montana’s Salsa
Loca; Virginia’s Bio Ritmo; Pennsylvania’s Guaracha & Azúcar, Luisito Rosario, and Piro Rivera
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con Bajo Cero; Wisconsin’s Naborí and Orquesta de Kaché; Michigan’s Grupo Ayé, North
Carolina’s Edwin Ortiz & Orquesta La Romana, and Charanga Carolina; and Georgia’s Havana
Son, Orquesta Brava, and Tito Ray & Grupo Melao. Not to mention a few salsa bands based in
Washington, D.C. —Salsaley, Sin Miedo, etc.
Puerto Rico is the home of many extraordinary bands, such as El Gran Combo, Gilberto Santa
Rosa, Tito Rojas, Pedro Conga, Cano Estremera, Andy Montañez, Víctor Manuelle, Costa
Brava, Puerto Rico Power, Ralphy Leavitt y La Selecta, Sonora Ponceña, Bobby Valentín, Willie
Rosario, La Solución, NG2, Siglo XXI, Julito Alvarado, Sammy García y El Poder de Puerto
Rico, N’Klabe, Estacion Candela, Randy Plaza, Mayagüez Big Band, Orquesta Clásica, Rafy
Santana & Homenaje, Orquesta El Macabeo, Villariny Salsa Project, Moncho Rivera, José Lugo
& Guasábara, Charanga Moderna, Orquesta Changüí, Ray Rodríguez & Swing Sabroso,
Orquesta Miramar, Orquesta Remembranzas, Don Perignón y La Puertorriqueña, Juan José
Hernández & San Juan-Habana, Conjunto La Perla and Conjunto Puerto Rico.
The listing in this article is just a sample from my research; the actual list is even longer. Every
musician should develop his/her own style signature, based on his/her unique talents, and
educational background. That is the only way this music moves forward, enabling the new young
stars to develop their own identity and become tomorrow’s musical leaders.
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