nice tour morocco / Amarillo+TX+Texas mobile site  / Both vocally and rhythmically they created a “sauce” of Caribbean music

Both vocally and rhythmically they created a “sauce” of Caribbean music

Both vocally and rhythmically they created a “sauce” of Caribbean music

Puerto Rico had unique heritage of “bomba” and “plena”, that percussionist Rafael Cortijo, frontrunner of a conjunto since 1954, had extra trumpets and saxophones (El Bombon De Elena). His conjunto with his husky vocalist Ismael Rivera (El Nazareno, Quitate de la through Perico), notorious when it datingmentor.org local hookup Amarillo TX comes down to improvised call-and-response vocals of “sonero” practice, harked back to the African root of Caribbean sounds with no difference between styles. El Gran Combo, formed by pianist Rafael Ithier, continued Cortijo’s objective in a lighter vein, with Los Angeles Muerte (1962) and Ojos Chinos (1964).

In Puerto Rico salsa is also usually “guaguanco”, an expression that at first described a kind of rumba dancing

Within the 1960s, the bomba-son crossbreed reached the Puertorican nest in ny. Right here, the son used the format on the large group, like in Jimmy Sabater’s Salsa y Bembe (1962) and vibraphonist Cal Tjader’s Salsa del Alma (1964).

The Cuban expatriates that relocated in nyc led greatly for the absorption of the genre in United states community: vocalist Celia Cruz (Burundanaga, 1956; Yerbero Moderno, 1956), flutist Jose-Antonio Fajardo (Los Angeles Charanga), flashy congueros Candido Camero and Ramon “Mongo” Santamaria (Mazacote, 1958; Afro Blue, 1959; Herbie Hancock’s Watermelon guy, 1963), violinist Felix “Pupi” Legarreta, exactly who fused charanga and jazz on Salsa aria, just who found its way to nyc in 1950, paid tribute to his Cuban root on Yambu (1958) and Mongo (1959), that were done together with other Latin percussionists.

The advancement of daughter continuous in ny via Dominican flutist Johnny Pacheco, leader of quintessential charanga (featuring performer Pete “El Conde” Rodriguez) but furthermore the commander in the “Africanization” of the charanga (arrangements restricted to trumpets, keyboard and percussion), ny’s pianist Charlie Palmieri, which created in 1959 the influential charanga Duboney (four violins and Pacheco on flute), ny’s pianist Eddie Palmieri, who in 1962 pioneered “trombanga”, a sound predicated on two trombones and a flute (in substitute for the charanga sounds), ny’s percussionist Ernesto “Tito” Puente (Oye Como Va, 1962), nyc’s drummer Ray Barretto, exactly who attempted beat’n’blues and jazz, Puertorican bongo pro Roberto Roena (Mi Desengano, 1976). All of them crossed over into jazz and rhythm’n’blues. Notable records include Puente’s party Mania (1958), Pablo “Tito” Rodriguez’s western Side Beat (1961), Bobby Valentin’s Ritmo Pa Goza (1966), Eddie Palmieri’s Lo los cuales Traigo parece Sabroso (1964) and Superimposition (1969), Barretto’s Acid (1967) and also the content (1972), Cortijo’s Maquina de Tiempo (1974). Latin ny furthermore released the boogaloo, a fusion of black heart music in addition to Cuban mambo, as with Eddie Palmieri’s Ay Qye Rico (1968). New York-born Willie Colon, initially a trombonist, was 1st big Puertorican star, his orchestra and his awesome artist Hector Lavoe capable of albums instance El Malo (1967) and El Bueno, El Malo y El Feo (1975), aside from the classics Che Che Cole (1969) and Gitana (1984).

An integral event in 1967 was the appointment between Puertorican vocalist Ismael Miranda (after that nevertheless a teen) as well as the orchestra of New York’s pianist Larry Harlow, well reported on Abran Paso (1970). They revitalized the CUban sound when it comes down to market of rock music.


In 1973 the North-American boy was actually renamed “salsa” for a television unique (by Izzy Sanabria of Fania Records, the equivalent of Motown for Latin audio). Larry Harlow’s orchestra rediscovered the fusion of charanga violins and conjunto trumpets (by the addition of electric products) on his milestone tracking Salsa (1974) with vocalist Junior Gonzalez. The 1976 show “Salsa” prepared in New York because of the label Fania launched the trend nation-wide. During the 70s, the key locations for salsa happened to be New York, Miami, and Colombia.

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