Salsa From The Cloud-Free Download lnkd.in/dmpyhpX Salsa: The Untold Story 30:00 Minutes Also streaming on: https://plus.google/u/0/+LuisChaluisandoctoral Featuring Segments with: La Lupe and Tito Puente New York Los Dos Y Companeros: Munich Germany Rafaelo Parejas Orq Espada: Hartford Ct. Tony Gonzalez Orquesta SCC: New York City Jose Jose Vazquez-Cofresi Ron Renaissance Jesse A. Alfonso La Gran Orquesta El Extreme Luis Chaluisan Albany, NY Triptofin: Tucson, Arizona Directed by: Maria Hernandez Written by: Luis Chaluisan Narrated by: L.F. Chaluisan A WEPAwebTV - New Edge Theater- WEPAwebTV Roughrican Productions News Documentary Salsamagazine 2014 Recognition Awards Also streaming on: https://plus.google/u/0/+LuisChaluisandoctoral The common theory is that SALSA was coined by a South American Disc Jokey to describe the new swing in Latin Music being created by NYC Puerto Rican musicians in 1966 but in our research for SALSA: The Untold Story we have discovered that the initiation of the term is a bit more organic. During the late 30’s while the Hispanic community was sprouting in Spanish Harlem, Gabriel Oller, proprietor of Tatay’s Spanish Music Center on the corner of 110th Street and 5th Avenue remembers shouts of “échale pique, caliéntalo, menealo que se empelota…” used to describe the thrilling Afro-Cuban dance rhythms of rumbas and guarachas. Salsa remained dormant until 1962. Eddie Palmieri and Ismael Quintana use the term during 4 opening choruses in the song RITMO CALIENTE to describe the rhythm La Perfecta is playing on Palmieris first Alegre release in 1962 Produced by Al Santiago. In 1963 Alegre Records released Charlie Palmieri’s charanga LP Salsa Na Ma. In the Heny Alvarez tune Salsa Na Ma, the chorus of Victor Velasquez and Willie Torres suggest that when they dance with their partners it is Salsa na ma…Que cosa rica (a joy).” Al Santiago’s liner notes described the music as salsa when he wrote “La Duboney (Palmieri’s band) is a musical aggregation that functions as an individual unit and possesses that all important ‘sauce’ necessary for satisfying the most demanding of musical tastes. It is for this reason that this LP album offering is titled Salsa Na Ma. When Eddie Palmieri made La perfecta, his first solo record, in 1962, hed spent years paying dues in New Yorks finest mambo big bands, serving the needs of discerning dancers. The pianist and composer borrowed ideas from those bands, added dashes of jazz irreverence, and convinced an unflappable young singer (Ismael Quintana) and a bunch of precision-minded instrumentalists to join what he envisioned as a highenergy combo. The group quickly evolved into a perfectly proportioned rhythmic juggernaut; its aptly titled debut endures as one of the most exciting in the history of Latin music. Its also one of the most influential. Palmieris terse arrangements feature trombones as often as trumpets, frequently with a flute on top. That alignment, which makes the seven-piece horn section seem as robust as a big band, was borrowed by countless salsa stars of the late 60s and 70s, among them Willie Colón and Héctor Lavoe). As often as its been copied, theres lots about La Perfecta that remains untouchable. The ensemble executes everything with unsurpassed unity, and when one musician steps out for a solo—in addition to electrifying turns from Palmieri, this album contains swaggering hall-of-fame ad-libs by trombonist Barry Rogers—the others provide assured, steadying support. No tune here lasts more than three minutes, and as a result, the solos are usually abbreviated. That doesnt mean theyre not potent: Cue up Conmigo or Ritmo caliente to hear Palmieri, the jazz daredevil, dispensing jolting, syncopated chords as though hes trying to give dancers conniptions. On later records, Palmieri would elaborate at much greater length; the solos here offer thrills and spills in short, super-concentrated bursts. SALSA A 62 CREATION Salsa at its height of popularity is nothing more than a 1959 Havana playlist or as one Staten Island percussionist says, an Afro Cuban beat with a freaking New York swing. Traditional tripe for the masses. Eddie Palmieri and Ismael Quintana use the term during 4 opening choruses in the song RITMO CALIENTE to describe the rhythm La Perfecta is playing on Palmieris first Alegre release in 1962 Produced by Al Santiago.Palmieris terse arrangements feature trombones as often as trumpets, frequently with a flute on top. That alignment, which makes the seven-piece horn section seem as robust as a big band, was borrowed by countless salsa stars of the late 60s and 70s, among them Willie Colón and Héctor Lavoe).In Jimmy Sabater’s 1962 tune Salsa y Bembé, vocalist Cheo Feliciano wants his main squeeze to add salsa to the bembé (dance) when she dances. The lyrics suggest that there is a request for the dancer to liven up or spice up her performance. “When I wrote this tune,” said Sabater, “I was labeling the music as salsa…you know exciting. When musicians were asked to spice up the music there were shouts of “guataca”. When the band executed the mambo part, I heard shouts of “wapachosa”. These were labels which never caught on. My use of salsa was to describe the music, not the food. Salsa is basically derived from a 1962 Bronx playlist at the Tritons Nightclub featuring upcoming tunes from Eddie Palmieris first LP with La Perfecta. Salsa is a Puerto Rican musicians creation combined with musical theories by a Polish Jew who comes to New York City via London and is raised in Spanish Harlem. The ideas pianist Eddie Palmieri and trombonist Barry Rogers unleash in 1962 with La Perfecta on Alegre Records reverberate till today. Front and center in their creative process is Alegre Producer Al Santiago who hires future MR SALSA Izzy Sanabria as Art Director for Alegre. The musicians, the producer and the marketing hustler - collaborating at first just to make some money and not realizing they had just embarked on the World Wide Salsa Explosion Palmieris terse arrangements feature trombones as often as trumpets, frequently with a flute on top. This alignment, which makes the seven-piece horn section seem as robust as a big band, is borrowed by countless salsa stars of the late 60s and 70s and is still in use today. Santiago and Sanabrias understanding of promotion (his own best customer in Sanabrias case) help package and stamp the product as Salsa visually, musically and culturally by 1963. Others file in to exploit this new found gold. And what a vein of gold it is! La Gran Orquesta El Extreme (Planet Lovetron) reverbnation/luischaluisan Federico Chaluisan Salsamagazine 2014 Recognition Awards Mayaguez Rocker Roller Rican
Posted on: Tue, 01 Apr 2014 03:34:05 +0000
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