Afro-Latin Music Thread 2010: La Resurrección (salsa, merengue, bachata, reggaeton, cumbia, etc.)

Since I have nothing new to say at the moment, I thought I'd just start the thread with something old and classic.

https://www.youtube.com/watch?v=rPtXEtS6vYw

Best Latin albums submitted by contributors to the Village Voice jazz poll. I know some of ya think Latin-jazz is boring or dead, but I figured I'd post this anyway...

1. Miguel Zenón, Esta Plena (Marsalis Music) 23

2. Dafnis Prieto Si O Si Quartet, Live at Jazz Standard NYC (Dafnison) 5

3. Bobby Sanabria, Kenya Revisited Live!!! (Jazzheads) 5

4. Mark Levine & the Latin Tinge, Off & On: The Music of Moacir Santos (Left Coast Clave) 4

5. Arturo O'Farrill, Risa Negra (Zoho) 4

For Best Vocal, Debut, and Latin albums, critics were asked to name one album apiece, with no point system.

http://www.villagevoice.com/2009-12-29/music/2009-voice-jazz-critics-poll-the-results

Re. Choco Otra....

https://www.youtube.com/watch?v=EjEPjU2eY5k

I had the LA-33 CD on over Christmas and I like it. The bass still has that rockero feel to it which is a shame, on Vanidad Sergio proves he can play on clave. But they do write some great tunes, some of the piano hooks are inspired and they have a punk attitude I like. I was at the Cargo concert last year and the energy was amazing.

I reviewed that O'Farrill disc for AMG; it's pretty good stuff.

I've enjoyed O'Farrill's group the times I have seen them live but haven't heard the disc. Someone who knows Latin-jazz better than me will have to make the case to skeptics how this is still relevant or is innovative or whatever (although some might say the same about salsa or any genre really for that matter). I think on that Latin-jazz thread there were blog citations of mentions of youngish Latin-jazz players to show that the music ain't dead yet.

Just for general info. I will post this here: I started the new year by somehow ending up with a whole bunch of trojans on my PC, including Waledac, so I may not be posting too much for a bit (maybe a couple weeks), since despite running numerous anti-virus programs, I have still not gotten to the root problem(s). (Sending this from work.)

http://latinmusic.about.com/od/cdtoppicks/tp/Top2009SalsaTimba.htm

Rudi has pointed out numerous times various bothersome or factually incorrect items from this blogger but I see she has endorsed his fave Philly band!

Wayne weighs in with a long post with links about the state of reggaeton. I have not read it yet.

http://wayneandwax.com/?p=2759

Think Bobby Sanabria was at the FB lounge last night with his big band, probably playing theKenya stuff, but I couldn't make it.

re: birdseed naming reggaeton as genre of the year in the wayne post

maybe it's been mentioned already but it's kind of ridiculous (as much as i'd love for it to be true)... and then he goes on to use omar's _terrible_ idon as the case making it? argh.

I find it hard to care about a lot of the political analysis of reggaeton and its audience and all that sort of thing. There are so many bigger, more pressing issues I feel like I need to work to understand. Others are welcome to it, but my interest in it is pretty weak.

Home PC still fucked up, but I hope to get it cleaned up this weekend.

curmudgeon, I had mentioned Tijana Ilich's earlier positive review of Bannakumbi somewhere in last year's thread. I'm thinking I might need to check out that Tiempo Libre Bach CD. I had originally thought it was just Bach covers, but now I am under the impression they start with Bach and then build into songs. Still feeling timba very little, however.

I got around to buying Colombian jazz pianist Ricardo Gallo's Urdimbres Y Marañas (from 2007). As expected, I like it. The rhythms are not quite the typical son clave or Brazilian rhythms you hear in most (I think it's fair to say most) Latin jazz, which immediately adds some interest. Occasionally Gallo gets into dissonant terrain with his piano playing. On other tracks, he pulls out an electric organ. I'll try to say a little more later, on more careful listening.

https://www.youtube.com/watch?v=v6oAiEZZ0I8

Sometimes I'm easy to please. I like multiple Latin-Jazz styles and accept that some may not seem as "new" as others, but still find them ok to listen to.

I would hardly posit reggaeton as the genre of the year (a, the concept alone is absurd, and b, I'm too attached to metal) but I do like the whole reggaeton/electro/New Wave thing that's been going on recently. And yes, that includes iDon, an album I actually like quite a bit.

Not sure why I like the Gallo as much as I do. It's not that different, but I find enough hooks scattered throughout to draw me in. I like the dissonant harmonic edge, though it would probably be too tame for, say, unperson. The youtube performance I linked to seems a little too stiff to me. I think I prefer the album version of the same composition. "Ventanas" has a distinctive blend of Rhodes piano and subtle metalic percussion. I could see this seguing well with something like Sun Ra's Lanquidity.

And to shift gears, Nina sent me links for this Dominican merenguera (?) but without a lot of context (okay, without any context):

https://www.youtube.com/watch?v=3LaYZGbZ2cI

https://www.youtube.com/watch?v=qejJoLG7QOE

https://www.youtube.com/watch?v=DK2DIz2ugsQ

I think I have a crush on Juliana already.

I could see this seguing well with something like Sun Ra's Lanquidity.

Or maybe Soft Machine's Third is closer to the mark.

Oops, meant to italicize "I could see this. . ." since I was quoting myself. Anyway, I am not talking about Juliana there, obviously.

Here's where all the Latin albums I voted for in the 2009 Pazz & Jop poll landed...

Bebe - #1384 (I was the only vote)
Graciela Beltran - #1207 (me on my own again)
Bomba Estereo - #501 (one other person voted for them)
Don Omar - #1387 (alone again, naturally)
Girl In A Coma - #645 (one person with me on this one)
Natalia Lafourcade - #180 (THREE other voters!)
Paulina Rubio - #1093 (just me)
V/A - Si, Para Usted: The Funky Beats Of Revolutionary Cuba Vol. 2 - #654 (two votes)
Los Tigres del Norte - #599 (two votes)
Wisin y Yandel - #616 (two votes)

Oh, it's out? I saw the thread revive, but I didn't know it was actually out.

http://www.nydailynews.com/entertainment/music/2010/01/20/2010-01-20_aventura_hits_lady_gaga_out_of_the_park_headlining_4_msg_shows__who_are_they.html

Even I didn't know they were playing. But, you know, I hate bachata, especially the pop variety. Still, four nights? That's impressive as hell.

apparently (or as of a day or two ago) feb the 10th is still available. kind of want to go for the experience of people going nuts in msg (never having been... on the other hand realize it'd probably get old after the first half-hour

I like how every article about Aventura now has this "and you've probably never heard of them" theme going.

yeah i got stuck on the "- who are they?" in the title for a few minutes

When I reviewed them live for the W. Post several years ago at a 6,000 (?) seat arena I was pleasantly surprised how their bachata came across live. Slightly less syrupy but still pop catchy and the females in the crowd especially loved them.

marc anthony showed up and did aguanile at last night's concert. they also announced a $50k contribution to haiti relief efforts.

Just some Friday evening merengue:

https://www.youtube.com/watch?v=ix4JCa24wUo

More: http://arrozconbeans.com/?p=2510

Hi all

A few top 10 2009 lists from Latin Beat magazine

2009 TOP TEN CDS

By Vicki Solá

1. Dave Santiago & Latin Affair/Rumbeando En El Solar/Dave Santiago & Latin Affair
2. Jimmy Bosch/A Millon!/JRGR Records
3. Annette A. Aguilar/The Day Waits For Nobody/Eagle Seeks Salmon Productions
4. Bobby Sanabria & TMSMO/Kenya Revisited Live/Jazzheads
5. Conjunto Imagen/Afinando/Muziq Records
6. La Excelencia/Mi Tumbao Social/Handle with Care Productions
7. Chembo Corniel/Things I Wanted to Do/Chemboro Records
8. Pablo Mayor & Folklore Urbano/Corazón/Chonta Records
9. Choco Orta/Ahora Mismo/Camínalo Records
10. Maña/Estamos Gozando, Vol. 2/Cookita Productions

By Luis Tamargo

1. The Cuban Masters Ensemble/Del Pasado al Presente/Obaniké
2. Mark Levine & the Latin Tinge/Off & On/Left Coast Clave
3. Paquito D'Rivera & WDR Big Band/Improvise-One/Connector
4. Orestes Vilató/It's About Time/Rafca
5. Paquito Hechavarría/Frankly/Calle 54
6. Bebo & Chucho Valdés/Juntos Para Siempre/Calle 54
7. Anacaona/The Buenavista Sisters' Social Club/Pa'ti Pa'mi
8. Various Artists/Samba Meets Boogie Woogie/Adventure Music
9. Andy Narell & Relator/University of Calypso/Heads-Up
10. Perico Hernández/Cuento en Clave/Guarapo

By Rudy Mangual
1. Mario Ortiz All Stars Band/Tributo 45 Aniversario/Zamora Music
2. José Lugo Orchestra/Guasabara/Norte
3. La Excelencia/Mi Tumbao Social/Handle With Care Productions
4. Rubén Blades/Cantares del Subdesarrollo/Rubén Blades Productions
5. Miguel Zenón/Esta Plena/Marsalis Music
6. Latin Giants of Jazz/Ven Baila Conmigo/Gigante
7. Chembo Corniel/Things I Wanted to Do/Chemboro Records
8. Pitingo/Souleria/Universal
9. Choco Orta/Ahora Mismo/Camínalo Records
10. Maña/Estamos Gozando Vol.2/Cookita Productions

By Nelson Rodríguéz
1. Latin Giants of Jazz/Ven Baila Conmigo/Gigante
2. Mario Ortiz All Star Band/Tributo 45 Aniversario/Zamora Music
3. Orquesta America/Siempre a Punto/Lujuria
4. José Lugo Orchestra/Guasabara/Norte
5. Bobby Sanabria & TMSMO/Kenya Revisited/Jazzheads
6. Rigo y su Obra Maestra/Latin Feeling/Obra Maestra
7. Poncho Sánchez/Psychedelic Blues/Concord Picante
8. Jimmy Bosch/A Millon/JRGR
9. Manny Silvera & Origen/Bassed In America/Origen
10. Orestes Vilató/It's About Time/RAF CA

By Elmer González
1. Miguel Zenón/Esta Plena/Marsalis Music
2. Rubén Blades/Cantares del Subdesarrollo/Rubén Blades Productions
3. Mario Ortiz All Stars Band/Tributo 45 Aniversario/Zamora Music
4. Truco y Zaperoko/En Plena Rumba/Lujuria
5. Charlie Sepúlveda/Sepúlveda Blvd./Turnaround
6. Chembo Corniel/Things I Wanted to Do/Chemboro
7. Choco Orta/Ahora Mismo/Caminalo Records
8. Cachete Maldonado/Rumba Boricua Campesina/Bata Records
9. Yan Carlos & Mario Hernández/Recuerdos Que Lleva el Viento/Y.C.Artime
10. Edwin Clemente/Aqui Traigo La Rumba/Lujuria

By Chico Alvarez
1. Mark Weinstein & Omar Sosa/Tales From The Earth/Ota
2. Bobby Sanabria & TMSMO/Kenya Revisited/Jazzheads
3. Henry Brun & The Latin Playerz/Rhythms and Reeds/Pulsar
4. Mimi Jones/A New Day/Hot Tone Music
5. Palo/This is Afro-Cuban Funk/Rolling Pin Music
6. Chembo Corniel/Things I Wanted to Do/Chemboro
7. Mark Levine & The Latin Tinge/Off and On/Left Coast Clave
8. Rolando y Sus Cha-Chamucos/Cha Cha Cheando/RMP
9. Venissa Santi/Bienvenida/Sunnyside
10. Cuban Masters Ensemble/Homenaje a Tata Güines/Obanike

By Jesse "Chuy" Varela
1. Poncho Sánchez/Psychedelic Blues/Concord Picante
2. Brian Lynch Afro-Cuban Jazz Orchestra/Bolero Nights for Billie Holiday/Venus Records
3. Miguel Zenón/Esta Plena/Marsalis Music
4. Orestes Vilató/It's About Time/Rafca
5. Mark Levine & The Latin Tinge/Off & On/Left Coast Clave
6. Avance/Intocable/Mona Records
7. Various Artists/Jelly's Club Havana Compilation/Jelly's
8. Wayne Wallace/Bien Bien/Patois Records
9. Bobi Cespedes/Patakin/BC
10. Anna Estrada/Obsesion/Feral Flight Productions

By Guido Herrera
1. José Lugo Orchestra/Guasabara/Caminalo Records
2. Latin Giants of Jazz/Ven Baila Conmigo/Gigante Records
3. Bobby Sanabria & TMSM/Kenya Revisited/Jazzheads
4. Mario Ortiz Jr. All Star Band/Tributo 45 Aniversario/ZMG
5. Bebo and Chucho Valdés/Juntos Para SIempre/Calle 54
6. Orestes Vilató/It's About Time/Rafca
7. Tiempo Libre/Bach in Havana/Sony
8. The Cuban Masters Ensemble/Del Pasado al Presente/Obanike Music
9. Chembo Corniel/Things I Wanted to Do/Chemboro Records
10. Perico Hernández/Cuento en Clave/Guarapo Records

We had a great show from La Excelencia and The Big 3 Palladium Orchestra at the Barbican Centre in London on Sunday night. It's a great venue for classical music, not so good for salsa but these two bands rocked the house, the energy from both bands was incredible.

The concert was recorded by the BBC and will be shown alongside the Latin Music USA series the next two Friday nights.... BBC have something called iPlayer on their website so I would guess these concerts might be available to watch there once they've aired. With that in mind I won't spoil things for you, a few highlights to watch for though;

Charlie La Excelencia - the greatest cowbell solo but nearly dropped his stick when he was showboating

American Sueno La Excelencia - highlight of the show

Big 3 doing a great La Cartera & Arsenio con Larry Harlow and Jimmy Bosch

Good review of the "Animals of Cuban Music" dvd here

http://www.timba.com/user_pages/665

I got sent a copy before Christmas, I need to make time to watch it now

Goood for the BBC for broadcasting some live current salsa footage alongside Latin Music USA.

Speaking of Cuban music, I like the first rumba-tinged song here, "Manana," from this Cuban-led timba band in Sweden:

http://www.myspace.com/richardortegaylajugada

The other two I don't care for (okay, I kind of hate the beginning of "No Entiendo"), though they have some good things going for them. The trombone sound is curiously similar to what I associate with Willie Colon, but from what I understand, that's not an intentional resemblance. (Anyway, it's atypical from a timba band, from what I've heard.)

http://www.miamiherald.com/entertainment/music/latin-world/story/1439969.html

Los Van Van to play Miami. Atmosphere is expected to be less heated and political than for their '90s visit.

bachata, el musical (spanish page) february 20 + 21 in jackson heights, nyc

Bachata is everywhere. I think that Prince Royce guy who does the bachata version of "Stand by Me" is coming to the DC area on Feb. 5 (Majestic in Falls Church, VA)

they have a punk attitude I like

I'm really ambivalent about the talk of La 33's attitude. I agree that salsa needs an approach less cloying than Gilberto Santa Rosa or Victor Manuelle's, but I don't think I am up for salsa with a punk attitude. I like the fact that the bar for technical competence in this genre is set fairly high. (Admittedly, all that technical competence has been leading to disappointing results for a while now. Maybe opening the genre up to more hands would at least lead to something fresher.)

To me all the emphasis on attitude in rock has become detrimental to that genre.

If you were at the Cargo London concert you'd understand, it was probably one of those "you had to be there" moments never to be repeated. I think Maslow calls it the point of self-actualisation.

More Juliana, this one hyper-speedy:

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=1787799

This song sounds so middle eastern or at least eastern:

https://www.youtube.com/watch?v=ujHtmJJndbM

https://www.youtube.com/watch?v=_7f5sdw8DAM

Pretty bonkers.

http://www.nytimes.com/2010/01/28/arts/music/28sobs.html?ref=music

I wonder if Unperson saw this Natalie Lafourcade gig?

Unfortunately, no. I didn't find out about it until the morning of, and the idea of an acoustic gig didn't appeal to me much. Had she brought her full band I'd probably have made the effort.

I don't think I am up for salsa with a punk attitude. I like the fact that the bar for technical competence in this genre is set fairly high.

I would be if it meant something that sounded like the very early Willie Colón/Héctor Lavoe albums from '69/'70, or the early stuff by Fruko y sus Tesos. Those were instrumentally pretty raw, and sonically primitive, but they've got awesome levels of energy.

Agreed. I do like the early Willie Colón stuff, even though he was still pretty raw as you say, and Fruko. Maybe if we speak in terms of energy rather than attitude, I am more sympathetic to what marcosmarcos was saying (as if "energy" and "attitude" aren't both pretty vague). On the other hand, I'm not necessarily going to be excted by an imitation of those earlier sounds.

To go back to the Juliana videos that nobody has commented on whatsoever, on repeated listens "Estupido" sounds a lot less average to me than it did at first. There's a lot packed into the vocal lines, some twists and turns in the melody. (I swear it sounds Greek at one point.) I also like the way the vocal line grows unexpectedly longer and longer (half-spoken) at certain points. And I think her voice and singing are excellent. I do realize that this sort of merengue can be an acquired taste. (The highly mannered backing vocals can be annoying at times, but I'm mostly used to them at this point; though I still don't get why they sound that way.)

I'm listening to La 33 now and...it's okay. I don't hate it, but I don't hear anything revolutionary or "punk" about what they do. The production's not overly slick, which is nice, but it's gonna take a couple of listens for me to decide whether there's anything special about them.

Hopefully this will work outside the UK

http://www.bbc.co.uk/iplayer/episode/b00qbzxv/The_Big_3_Palladium_Orchestra_at_the_Barbican/

But I can't believe the cut out Arsenio.....

La Excelencia will be up this time next week

Nope, that's UK only.

But maybe someone will put it on youtube sooner or later.

Also if these Colombian bands want to do a boogaloo re-hash ("Heeeeey"), they better be really exceptional, because I'm just not that into boogaloo, though it can have its moments. (And yes, I like some Fruko y Sus Tesos boogaloo covers from the last ten or fifteen years, but they really are exceptional, still. Or at least they have been within the last fifteen years.)

Which reminds me I had been planning on starting the new year with a best salsa albums of the last decade post, but Marco's mix reminded me of how much stuff I haven't heard lately; but I might do it anyway just to potentially start a conversation or inspire people to check some things out.

I'm trying to pretend there are actual debates on this thread.

For the benefit of those who have not checked out Bannakumbi, or have only checked out what's on their myspace, here's a song they didn't include in there (which I never linked to on last year's rolling thread):

https://www.youtube.com/watch?v=9TEbpw1SG7g

Still far and away my favorite recent young salsa band (even if maybe it's unfair to compare since they have veteran percussionist Luisito Quintero performing with them on Un Nuevo Dia), with my favorite salsa album of the last decade.

Warning: whoever posted it added an annoying introduction identifying his channel or whatever.

More on Los Van Van in Miami

http://www.miamiherald.com/news/miami-dade/v-print/story/1456425.html

Posted on Sun, Jan. 31, 2010
More fans than foes come for Van Van
BY CHRISTINA VEIGA AND JORDAN LEVIN
cve✧✧✧@MiamiHer✧✧✧.c✧✧

Popular Cuban dance band Los Van Van returned to Miami on
Sunday, greeted by enthusiastic fans and angry protesters.

The last time Los Van Van performed in Miami in 1999, protesters
outnumbered concertgoers, and rocks and bottles flew.

This time, 350 to 400 showed up to demonstrate, and almost 4,000
showed up for the show at the James L. Knight Center in downtown Miami. The
only things hurled were a few insults. There were no arrests, Miami police
said.
Protesters, who associate the band with the Castro regime,
crammed together on the sidewalks, waving flags, holding signs and screaming
into megaphones as cars full of concertgoers streamed past.

``We're hurt, so we cry out,'' said Juan Antunez, 66, of
Kendall, who said he came to Florida in 1961 and served in the U.S. Army
during the Cuban Missile Crisis the next year.

``If these were Jewish people, they would be outraged if someone
from the Nazi regime came here to do art,'' he said. ``There is no art in a
communist regime.''

Concertgoers opened their car windows, smiling mockingly and
shouting at the demonstrators. Some blasted Los Van Van music from their car
stereos.

Outside, Ivan Sanchez, 68, held up a white poster board with a
message condemning local officials for allowing Los Van Van to perform at
the Knight Center, which is a public venue. He made a case against the
argument that the performance would facilitate cultural exchange.
``They say it's a cultural exchange, but who's going to Cuba?''
asked Sanchez, who lives in Miami. ``It's a one-sided exchange.''

Magda Miranda, who came to Miami from Cuba five years ago,
strode past the signs declaring her a ``traitor'' and ``communist.'' As she
headed toward the concert hall, she pumped her fists in the air.

``I'm for Van Van,'' she said. ``I don't care about Fidel. I
don't care about anyone. ``Viva Van Van.''

Inside the Knight Center, the close to 4,000 concertgoers were
as excited as music-lovers at any other show.

Mike Barry, 33, a Cuban émigré who also attended the 1999 show,
shrugged at the difference between then and now. ``It's not like last
time.'' he said. ``I think the community has changed a lot.''

His friend Joe Rose, 44, a U.S.-born Cuban American, said he was
purely a fan of Van Van's music.

``It's great music,'' he said. ``I respect the way [the
protesters] think, but they've got to respect the way I think, too. I bet
the people out there have Van Van CDs, too. Their music is that good.''
Debbie Ohanian, who produced the 1999 Van Van concert, said she
was not disturbed by the sight of the 350 to 400 protesters this time, as
opposed to 3,000 at the first show. ``In 10 years there'll be 30
protesters,'' she said.

Just the same, police maintained a vigilant presence outside the
Knight Center. It took concertgoers about 15 minutes to make their way
through security.

The band took the stage at 7:30 p.m. They made no speeches, and
launched directly into their first song, their latest hit, Arrazando.

Los Van Van was to return to Cuba from Miami after its two-show
Florida tour; they played in Key West on Thursday. A more-extensive U.S.
tour is planned for this spring.

Salsa band Sonora Carruseles are coming to DC (Maryland actually-El Boqueron II in Rockville), opening for a vallenato singer Felipe Pelaez. Any of you folks know more about these folks than I do (I read Wiki entries and stuff)? If Wiki is to be believed, Sonora is a Columbian band now based in Miami.

They are a very well-know Colombian salsa band. Kind of uneven, probably worth going to see. I have never seen them live myself, but I'd be interested in checking them out. I'd bet they put on a good show. I'm sure you've heard some of their songs. Like you may recognize this Pete Rodriguez cover:

https://www.youtube.com/watch?v=W7gb5KiRl8Y

Or "Ave Maria Lola" (click on play button at top of search results):

http://www.google.com/#hl=en&source=hp&q=ave+maria+lola+sonora+carruseles&aq=0&aqi=g1&oq=ave+maria+lola+sono&fp=bf9afa9aa437c51f

I didn't know they were in Miami.

Got the new Fania Joe Cuba compilation last night. Two CDs, 34 tracks, really beautifully remastered.

x-post

I like their "En Buenaventura" a lot as well.

That sounds good. I doubt I need a complete collection of Joe Cuba albums, so that might work for me, although I want pretty much anything Cheo Feliciano sang on.

I like their "En Buenaventura" a lot as well

which is not the usual light boogaloo stuff they do and has a sound closer to classic (but late) Fruko y Sus Tesos or Joe Arroyo, I would say.

I can't really emphasize how ubiquitous "Micaela" and "Ave Maria Lola" were in clubs and maybe even more so in dance classes (or free lessons in clubs).

in the late 90s and maybe the first couple years of the last decade

That Joe Cuba comp might work for me. Meanwhile in the pop world Aventura is still on top of the Latin singles chart:

http://www.billboard.com/charts/hot-100#/charts/latin-songs

I'm torn between "I should really obviously get this" since it looks like it could be the archival salsa release of the year (on the hand) and "I should really obviously not be spending any money on CDs since I'm kind of on the broke side and the economy is about as unstable as its ever been in my lifetime (not to mention that I have eight CDs on the way alredy)."

However, let's at least eyeball this:

http://www.descarga.com/cgi-bin/db/23559.10?oAS4EmQN;;463

Another consideration in favor of buying it is how ridiculously the Fania catalog is now going in and out of easy availability. I never expended copies of all those remasters to dry up so quickly at major sites like cduniverse.

I don't remember hearing Ismael Quintana (who is probably best known for his work with Eddie Palmieri, especially on the original La Perfecta recordings*) with the Fania All Stars, but maybe I've just missed it.

*I know this will not be news to some of you. Just throwing it out for those who don't know or who have forgotten.

Yeah, I'll second that recommendation. That disc is pretty hot.

BTW, physical CDs may be hard to come by, but a huge proportion of the Fania catalog is available digitally from Fania.com.

The San Juan concert is a great recording, one of the highlights is the heavy 3 minute percussion work out at the start of Ponte Duro (a track which is strangely missing from the Descarga write up).

There's another new young band making a stir out of Spain hot on the heels of La Sucrusal SA. Bloque 53's CD La Ruta De La Salsa is very tasty, it has a New Swing Sextet feel to it.

https://www.youtube.com/watch?v=fWwPBbJFiG4

BTW, physical CDs may be hard to come by, but a huge proportion of the Fania catalog is available digitally from Fania.com.

I just have a mental block about paying for downloads. It still bugs me, in principle, that I have to provide my own physical storage if I do that.

Bloque 53 sounds okay (I did check their myspace as well). I still wish that more of these bands were doing something a bit newer sounding. I think I'm just fussier these days because I haven't been going out dancing, so simply having some new music that is good enough to dance to isn't enough to satisfy me.

Ned Sublette has written about a March event New Yorkers may be interested in:

you can also play in a charanga in the music department at UNC Chapel Hill. After singing my brains out at Regulator, I got to have a beer with David García, who leads the aforementioned charanga (something all music departments should have) and is the author of Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Somebody should have done a biography of Arsenio long ago, but it’s not too late to praise the guy who finally did it, so I got to toast David’s achievement on the occasion of our first-ever meeting. He'll be in New York to participate in a panel attached to what should be a splendid concert: "Arsenio Rodríguez in the Bronx," by the re-energized Grupo Folklórico y Experimental Nuevayorquino, March 20 at Hostos Community College.

And in DC Saturday Feb. 27th:

WPFW dj Jim Byers leads a panel discussion with music from 2 to 4 at the Smithsonian Anacostia Museum on the history of DC Latin music clubs and the interaction between African-American and Hispanic musicians –they will retrace the history of diversity in Latin dance nightlife in Washington, from WUST Radio Music Hall and The Casbah — D.C.'s home of the mambo on U Street — to the Zanzibar on the Waterfront. The band Verny Varela Project performs.

Can we include cumbia in this thread ?
There is quite a revival that has been happening at least over here in sf/la...
This band is excellent.

http://www.myspace.com/buyepongo

Meanwhile Miguel Zenon is melding latin-jazz with Puerto Rican Plena. There are some youtube videos and here's a recent interview. I like plena, have not made up my mind on Zenon's version

http://blog.washingtonpost.com/clicktrack/2010/02/miguel_zenon_on_perfecting_a_m.html

Can we include cumbia in this thread ?

Absolutely. It's in the title, it just doesn't get talked about because I guess nobody contributing here actually knows much about it (or if they do, they don't have much to say about it). But don't be discouraged if I don't respond to postings about nu-cumbia type stuff, because I'm not into what I've heard of it.

(Anyway, the first track on that myspace doesn't sound at all like what I mean by nu-cumbia.

And it's not that I'm against doing something new with cumbia, I just find some of that Club Zizek stuff loses the feel the very feeling that attracts me to cumbia to begin with.)

apparently the communist revolutionary armed forces of columbia paid $150K to artists in the dominican republic and elsewhere to record a professional propaganda cd of merengue

FARC spent http://colombiareports.com/colombia-news/news/8335-farc-produce-music-cd-to-allure-supporters.html50,000 recording catchy CD to improve image

EL BAILE DEL GUERRILLERO
https://www.youtube.com/watch?v=COKoE3Kw9xk

fixed link to article

Benefit at Zanzibar in DC tonight for salsa dance instructor and promoter Eileen Torres who badly broke her ankle in December and has lots of medical expenses from surgery and such. Virtually every local DC dj will be doing some spinning tonight and most of the area dance instructors will be hosting.

Because there ain't no other place to talk about it, I'm gonna come in here and mention that the new Maldita Vecindad album, Circular Colectivo (already out in many places, out next month in the U.S.), is awesome and pretty much picks up right where Circo left off. If you are an old fuck like me who loved the first generation of Latin alternative rock/ska/funk/punk/etc., you should get it.

May have to check that out.

I finally saw Richmond, Virginia's Bio Ritmo today. They were part of the free WPFW dj Jim Byers led program at the Smithsonian Anacostia Museum on the history of dancing to the mambo in DC--in particular--African-Americans in DC who discovered the sound way back when. Some cool old footage of dancers. I really need to take dance lessons. I tried but it wasn't exactly impressive. Bio Ritmo were excellent. The event was in a small room that only holds around 75 people. As the museum is in the poorest part of DC, and is not right on a Metro, very few uh, palefaced blue-eyed dancers or music fans were there (other than me, my friend and a few others). Their loss.

the new Maldita Vecindad album, Circular Colectivo (already out in many places, out next month in the U.S.), is awesome and pretty much picks up right where Circo left off

I never clicked with the original, though maybe I just heard it at the wrong time.

Bio Ritmo side project Miramar does nice boleros and such on the sampler I got.

van van documentary a hit

http://www.twominutenews.com/2010/world/us-world/baby-rasta-shot-and-seriosly-injured-4316.html

Police further informed that more than one hundred shots were fired since there were countless bullet casings discovered at the scene and the singer reportedly received bullets all over his body i.e. the abdomen, back, right leg and right arm.

So this wasn't just a random mugging or something. . .

New Grupo Fantasma album coming soon. Guests include Larry Harlow and x-Minute Puppets guitarist Curt Kirkwood (together for the first time?):

http://hangout.altsounds.com/news/115597-grupo-fantasma-to-release-el-existential-on-may-11th-2010-a.html

I still think Sonidos Gold was one of the best albums of 2008.

(2010 continues to seem like it's going to end up being an especially good year for music, not particular the music normally discussed on this thread, but music (or at least popular music) in general.)

I didn't really expect Grupo Fantasma to put anything out this year.

e-mail press release I received :

The LOS TRES TOUR features Marco Antonio Solis, Joan Sebastian and Alejandro Fernandez in one of the most exciting couplings of Latin music in years. The three superstars will be featured on the cover of an upcoming issue of People en Español.

Not my thing, I do not think. I know I do not like Solis, do the others do melodramatic ballads as well.

Yeah, none for me, thanks.

The new Grupo Fantasma tracks up on their myspace seem a bit weak. I'm sure they'd be fine in live performance and everything, but I don't hear much in the way of a song underlying them. Plus what happened to the guitar? Did they lose their guitarist, or is he just way back in the mix?

The percussion and horns are upfront for track "El Consejo" plus that little keyboard riff

It just sounds a bit lackluster to me, and I guess I specifically liked the combination of horns with electric guitar. You would think they would pick the strongest couple tracks from the forthcoming album to put up on their myspace, and if these are the strongest, I'm worried.

Bruce Polin's (I thought it was to l's) son's "fine art prints" that descarga.com is selling are embarrassingly awful: http://www.descarga.com/cgi-bin/db/23925.00?r3r5JotX;;391

I just noticed my typo: x-Minute Puppets. Haha, good name for an 80s punk revival band.

March 18, 2010 (SOLD OUT)
Gianmarco
The Salsa Room

Did not realize Peruvian Gian Marco was that popular. Not sure if he's someone I wanna hear though (based on his bio), although if someone thinks otherwise let me know.

I don't know him.

Ned Sublette, author of Cuba and Its Music, has these upcoming events (cut and pasted from his e-mail):

March 11-13, Los Angeles: UCLA "Ports of Call -- Cultures of Exchange"
conference. My talk is this Saturday (the 13th) at noon. I'll get to talk
about my longtime favorite subject, the dancing girls of Cádiz, in the
context of postmamboist Braudelianism. Conference schedule at
http://s1.webstarts.com/portsofcall/uploads/Ports_of_Call--Program2_copy.pdf
Looking forward to hanging in L.A. a bit -- it's been a long time.

March 18: I'll be moderating a seminar at Hostos Community College with
panelists David García and René López:
La Gente del Bronx:
Arsenio Rodríguez, a "People's Musician"
Thurs, March 18, 5:30 p.m. | Art Gallery, 450 Grand Concourse

This seminar takes its name and theme from one of Arsenio Rodríguez's most
beloved tunes which is an ode to the community - the South Bronx - where
Arsenio performed in working-class social clubs during the 40's and the 50's
for audience that rarely frequented downtown establishments. It will focus
on the típico and Afro-centric nature of Arsenio's music which contrasted
with the music of such contemporaries as Títo Puente and Títo Rodríguez.

This seminar is related to what promises to be a memorable concert:

March 20: "Yo nací del Africa" -- Grupo Folklórico y Experimental performing
the music of Arsenio Rodríguez.
http://www.hostos.cuny.edu/culturearts/events.html

An e-mail from afropop worldwide:

On air this weekend is “Reggaeton Roundup: New Moves in Latin Youth Music.” We travel to Puerto Rico, the birthplace of reggaeton, and talk to players from the music's early underground scene and then take the pulse of today's pan-Latin phenomenon. Frankly, a lot of people dismiss reaggaeton as boring but this show will give you a fresh listen. The show was produced by Marlon Bishop, who most recently cycled across Central America, recording music along the way, of course. Stay tuned for that audio adventure.

Sabado 20 de Marzo
VICTOR MANUELLE
"YO MISMO"
US TOUR 2010

GALAXY NIGHT CLUB
2031 University Blvd East
Hyatsville, Maryland
301.439.6666

Age(s): 21+
Dress to Impress

It's a rule, whenever he comes to the DC area, I am busy with my son or something. I'd like to see him (and I know or I think Rudipherous has some issues with him)

On first inadequate listen, J Alvarez's El Dueño Del Sistema (Special Edition) is not bad (I like it better than most other stuff I'm hearing along these lines anyway), and seems to continue in the vein of Casa de Leones. I assume it has some of the same people involved and maybe he himself was part of that, though I don't recognize his name.

I see via a Yahoo e-mail thread that one of Cuban singer Pupy's members somehow left for the US last year and he's now gonna do a one-show out in Oakland on March 19th

Pepito
Gómez
Bay Area Return!
Cubadisco
Winner José "Pepito" Gómez former Pupy Y Los Que Son Son Lead Singer with
Guest Musicians fromNYC!

featuring DJ WaltDigz
and Ariacne Trujillo on the piano-now famous in the bay :)
Club Anton is not that big

Wait, so has he defected? I knew he was leaving Pupy y Los Que Son Son. He was the guy I liked the most in the band. Last time I tried to listen to Pupy's last album (which still includes Pepito) I was not into it at all. The many little things which annoyed me originally just came back in force. I don't care for the other main vocalist on it, and not really into Pepito's part either at this point.

I feel a little sad saying it, but the further away I get from regularly going out Latin dancing, the less I feel a real burning need to keep up with this stuff; which is not to say it's only valuable in a dance context, but dancing sort of primes me for it. As a listener, I am pretty content at the moment to drift into eclecticism. This year I am discovering music from Great Britain. Did you know they had music in Great Britain? I thought they only had music in Puerto Rico and the Dominican Republic and Saudi Arabia and Iran.

This is not bad at all:

https://www.youtube.com/watch?v=rYXwkegTt70

I spent time last night listening to and reading up on Puerto Rican reggaeton duo Alexis y Fido who are appearing outside DC at Fast Eddie's in Alexandria tonight. I then drafted a quick blog post about it for the Washington City Paper (that will likely be their only local DC area English language media coverage). They're pals with Wisin y Yandel, and like W y Y, they now go for a straightforward danceclub reggaeton sound w/ touches of T-Pain style r'n'b, cumbia, and dancehall. It's ok but not awesome. Interestingly enough, like salsa, I bet this feels better booming in a club then at home over my computer's speakers.

They're pals with Wisin y Yandel, and like W y Y, they now go for a straightforward danceclub reggaeton sound

I'm not sure what this means (and the part I cut out doesn't help any). If Wisin y Yandel's style has changed any in recent years it's been to move away from a straightforward danceclub reggaeton sound to a straightforward danceclub house sound, but maybe that's sort of what you meant? I don't know how you can talk about how their sound has shifted lately without mentioning (very generic) house, however. (Not that I care a whole lot.)

Yes, as you guessed, I meant that their beats are now more generic house-inspired. And not soulful old-school Chicago house either.

Does anyone on ilx other than fauxmarc and me to an extent care about reggaeton in 2010? Unperson?

I wouldn't say I care that much, but I do listen to W&Y for pleasure, and I just reviewed a CD by another duo, Dyland & Lenny, who do the same thing only even softer and with occasional acoustic-guitar-driven ballads that straight-up suck (and which, rather inexplicably, have been the singles).

Rakim y Ken-y are coming through DC on Friday. I may try find time to research them further and blog about the show for the City Paper. Not sure they'll wow me.

I don't recall any of you folks raving about them, but their names keep popping up elsewhere

Changing gears....I wonder how the new Julieta Venegas album is?

Really good. Sort of a bridge between the more alt-rock stuff she did on her first two records and the poppier material of the last two. Still mostly upbeat and happy, but there's a hint of the moodiness of the early albums. I like it a lot.

Does anyone on ilx other than fauxmarc and me to an extent care about reggaeton in 2010?

Wait, I didn't say anything about caring about reggaeton in general, I meant specifically about W&Y and what they sound like.

But I had actually started to make a sweeping statement about reggaeton that I ended up deleting, which was to the effect that I expected to be drifting away from it. I'm still checking new reggaeton releases out, however. I'm finding it harder to ignore the whole hip-hop like ethos around reggaeton, which is starting to bug me more (but probably wouldn't be if the music coming out were as exciting to me as the stuff from a few years back). I'm tired of "yo my nigga" and shawty this and shawty that, and videos where hands are being waved in my face. I still like the rhythms.

Anyway, Rakim y Ken-y are not anyone I've ever cared about within reggaeton.

I did just say I liked last year's J Alvarez release El Dueño Del Sistema (Special Edition) a little.

I like the bachaton Que Lo Que. As usual, video not actually worth watching:

https://www.youtube.com/watch?v=l-i_ukCYJLw

"Ese Dolar " on the Bloque 53 CD is on repeat play right now, and the new Hansel & Rual CD "33" is really cool, nothing new but a good modern update of their classic tough charanga mixed with pop melodies and vocals.

What's really knocked me over is the new Dante Vargas CD "Mis Raices". This one is HOT. Excellent tough heavy production, great songs, inventive, sounds 2010 but keeps the old sound we love alive. I'm not sure if anyone here enjoyed the Bannakumbi CD but IMHO this will hit the same spot, maybe better.

I'm not sure if anyone here enjoyed the Bannakumbi CD but IMHO this will hit the same spot, maybe better.

The first part is sarcasm (or you just can't keep track of who likes what at the various sites you post to)? As for the second part: no way. This Dante Vargas album is going for much more of a retro mambo sound, regardless of the standard-issue Colombian salsa style rapping (at least that's what I've heard so far). This is much more formulaic and doesn't do the unusual things Bannakumbi does by creating vocal layers which are all different. Bannakumbi also doesn't tend to default to the same familiar melodic moves, IMO. In terms of sheer voice power, the lead vocalists on this are probably stronger than Bannakumbi. But wow, does a lot of this stuff sound really familiar already; lots of reshuffling of familiar tropes going on here. And the Colombian salsa approach to rapping tends to get almost as corny as timba. Anyway, I don't see much basis for comparing it to Bannakumbi.

That said, I'm willing to say it's better than the recent average and I might get to like it. I'd probably be more forgiving of this (and lots of other recent salsa) if I actually heard it on the dance floor.

I was eyeing that Hansel & Raul CD, but whenever I buy charanga it tends to sit of my shelf. But if I were going to buy a recent charanga CD, that would be the one.

The (sung) vocals on this Dante Vargas thing are more satisfying than the horn parts which seem really slack and typical, like basically the sort of thing you could hear on any Gilberto Santa Rosa release, or any GSR-involved super group project, etc.

(Remind me to compare some new CD to Bannakumbi's Un Nueva Dia = not the best way to get me to give it a chance. I don't really get why people make that type of rhetorical move to begin with. I remember someone I worked with who knew I liked Steve Reich and wanted me to check out some Arvo Pärt, so he's all "Well, I think you'll find that Pärt has much more substantial musical ideas than Reich," or whatever.)

(Of course that assumes that you care enough about persuading me that you can be bothered to think in terms of rhetoric, which is pretty unlikely. I generally find it more satisfying to just throw my opinions out there without trying to think of how best to convince people of anything (especially when it comes to something of marginal importance like music).)

I thought one of those Dante Vargas singers sound like a former Niche-ite, and it turns out Charlie Cardona was indeed in Grupo Niche (and may be back?), which I should have memorized, but at any rate I recognize the voice, and its a powerful one. (I'm still not sold on the band's overall sound throughout the album.)

I know next to nothing about vallenato, but this LA vallenato band, Very Be Careful, sounds good to me:

http://barbesrecords.com/VBC.html

On the Dante Vargas album, I'd say "Soy La Luz" (with Charlie Cardona), "La Guarapachanga" (with Issac Delgado), and "Los Ratones Forman Fiesta" (not sure who this is singing) are all pretty strong. Maybe "Mirame."

New El Gran Combo album coming out shortly, and here's one of the cuts:

http://soundcloud.com/dj-ramirez/el-gran-combo-sin-salsa-no-hay-paraiso

Now I'm not going to say this sounds particularly new, but it sounds good to me.

http://www.amazon.com/gp/product/images/B0032Y8XKA/ref=dp_image_z_0?ie=UTF8&n=5174&s=music

The Very Be Careful cover is worth hotlinking to:

http://barbesrecords.com/images/VBC_EscapeRoom.coverweb.jpg

Uh. . .

http://barbesrecords.com/images/VBC_EscapeRoom.coverweb.jpg

Will have to listen to the above soon. Just thought I'd mention for anyone in NYC the following reminder from Ned Sublette's e-mail:

i'll be moderating a panel at 5:30 today at hostos community college in the
bronx, about arsenio rodríguez, whose music will be featured in the grupo
folklórico y experimental nuevayorquino concert this saturday at hostos.
the panel will feature rené lópez and david garcía, along with four
musicians who worked with arsenio. highly recommended, and don't miss the
concert on saturday if you're in town.

* * *
HOSTOS CENTER FOR THE ARTS & CULTURE presents GRUPO FOLKLORICO y
EXPERIMENTAL NUEVAYORQUINO PERFORMING THE MUSIC OF THE LEGENDARY ARSENIO
RODRIGUEZ

Hostos Center for the Arts & Culture will present, by popular demand, the
return of one of Latin music’s most important alliances, the groundbreaking
GRUPO FOLKLORICO y EXPERIMENTAL NUEVAYORQUINO, on Saturday, March 20, 2010
at 7:30pm in a gala concert paying homage to a true musical genius, the
legendary ARSENIO RODRIGUEZ, considered by many musicologists to be the
greatest composer/musician of Afro-Cuban music of the 20th century

This descarga.com description of an earlier Dante Vargas CD unintentionally throws up a lot of warning signals:

http://www.descarga.com/cgi-bin/db/22900.10

The sound is something like what was happening in New York in the 40s and 50s at venues like the Palladium, but with the speed, crispness and humor of Fruko and Carruseles, and a little bit of the musical Grease and even some tango and Broadway flash thrown in for good measure.

Not saying that's exactly what all of this new album sounds like, but there's still a strong whiff of retro about the whole thing.

I can't really listen to that Very Be Careful stuff. The accordion is too much of a downer. (I don't necessarily mind accordion but find it dull here.)

This is from last year. Just checking the album out now. I mostly like Sixto Llorenete ("El Indio") as a vocalist, and the album this is from hardly sounds Cuban at all to me. Sounds more like straight up Puerto Rican salsa. I think I'm getting to like the title track:

https://www.youtube.com/watch?v=7W8xRxVVdWU

Don't worry about the old Dante Vargas being any representation of the new, they're miles apart. That's one reason I was so shocked when I heard this new CD. You're right about the horns, they could be stronger, but that's really the only fault I could find. The vocals are tough throughout.

I was being a touch flippant mentioning Bannakumbi but I really enjoyed this as much if not more. I also think it's a fair comparison, Dante Vargas is trying something new with what they do though maybe with not as much innovation as Bannakumbi. Sorry if it sounded like I was trying to force you to check it out. Two great CDs but IMO the tunes on Dante Vargas are better, and that's probably the deal breaker for me.

this is not salsa:

https://www.youtube.com/watch?v=eR4X8VCk_jU

marco, it's okay. To me, the Dante Vargas album sounds much more standard-issue than Bannakumbi's from last year. Bannakumbi's incorporation of rapping seems more subtle and more integrated than what I'm hearing on the Dante Vargas songs (which reminds me of the same sort of splash of dance hallish rapping that's been turning up in Colombian salsa for many years now). I don't agree about Vargas having better tunes, but I think it's probably too subjective to fruitfully argue the point. I will say that I can see how the Dante Vargas album would be more useful for a club DJ, since a lot of the Bannakumbi songs aren't really "must get up and dance" material.

haha, i know everyone hates it but i love watagatapitusberry. despite del patio being from the bronx i don't hear too much of it in around nyc (although i don't listen radio). a few weeks back mtv debuted the video for the "remix" they did with pitbull.

along the same youth culture lines - the jerk + dem bow = jerkbow - ley del rap's "yaba daba du"

https://www.youtube.com/watch?v=vTOOeA8gQAo

I like it and was not posting it ironically. I saw Wayne Marshall post it and discuss its history

https://www.youtube.com/watch?v=vzHkPBix9to

That one has a bunch of political stuff going on it, but I'm not sure how serious it is. I heard clips from the rest of the Aguakate album that appears on, and they sounded okay. Might possibly pick that up if not much else drops this year.

Someone sent me a link to this song by a Cuban band. Once you get past the wimpy, and wimpy in an uber-Cuban way, introduction, it starts to cook:

https://www.youtube.com/watch?v=WxEX__tdk1c

Ruben Blades is talking (but not performing) with a Smithsonian museum curator for free on Saturday afternoon, and the third Metro Mambo (with old-time DC musicians talking and Rumba Club playing) takes place at a different DC Smithsonian museum on Sunday afternoon. I think I might go to one or both

This is great! I dont think Bio Ritmo can ever be accused of playing safe.

http://bioritmo.bandcamp.com/

I've never really been into Bio Ritmo (I did kind of like the EP they released a few years back, but then I was disappointed with what I heard of the full album that followed it), but I like this track. I assume you are talking more about the approach they are taking to downloading and supporting their band financially?

Yeah, they actually sound very tight here, in a good way, especially the horn section. Maybe they will finally put out the great album they have been threatening to put out for a while now?

Could happen. Some of the members were working on that Mirimar side-project I mentioned upthread where they do covers of '50s and '60 Puerto Rican boleros with women vocalists (some of which remind me of some of Omara Portuando's ballads with Buena Vista Social Club a bit), but I think a new Bio Ritmo album is next.

From Miramar's myspace: Miramar's music evokes images and emotions of a distant lifetime - long gone, but never forgotten. Many of the songs featured are by the singer/songwriter Sylvia Rexach, known in Puerto Rico as one of the most famous and prolific composers of boleros but never duly recognized for her accomplishments abroad.

I don't recognize the name "Sylvia Rexach" at all, very interesting.

Some of this sounds quite good to me. Of course, those of you who aren't into boleros will find nothing out of the ordinary to hook you in, but I like the sound of some of these recordings:

http://www.myspace.com/miramarrva

I had never heard of Sylvia either but I have since read the Wiki page on her and someone's blog post. Wow, she died young--age 39--in 1961

http://eduardotosado.wordpress.com/2009/05/14/journal-19-the-true-love-of-sylvia-rexach/

In a way, it makes me really happy to be reminded of how superficial my familiarity with Latin music is. There's so much more to hear from the past! (Even if the present frequently disappoints.)

I was at a party at a Brazilian restaurant a few weeks back and this guy introduces me to some Brazilian and Hispanic folks saying how much I know about music. I was embarrassed and quickly said I really don't know that much but I am interested in alot.

As for the Latin present--I was driving home tonight listening to Latin club mixes on the radio(El Zol 99.1). I liked some of it.

Wow. New Yorkers have some nice Wednesday nights coming up.

Julia De Burgos Cultural Center
1680 Lexington Ave bet 105st & 106st
NY NY, 10029
212 831 4333

April 7 Salsa Wednesdays - Grupo Latin Vibe
doors open 5:30PM

April 14 - Soneros de Oriente

April 21 - Charanguendo con Tipica 73 & Adalberto Santiago.
Featuring Sonny Bravo, Johnny Dandy Rodriguez, Nicky Marrero, Alfredo De la Fe, & Jose Grajales.

April 28 - Jimmy Delgado & Orch with Renzo Padilla

May 5 - Mambo Legends 21 piece Orch featuring Frankie Vasquez & Cita Rodriguez
Former All Stars of the Tito Puente Orch.

May 12 - Manny Oquendo's Libre

May 19 - Orch Broadway

May 26 - Hector Lavoe All Stars Band
Featuring Renzo Padilla, Jose Mangual Jr., Prof Joe Torres, Reynaldo Jorge & Danny Rosado.

I've been listening to Jim Byers play tunes from Easter Day 1946 on WPFW, the DC pacifica station for the last 2 hours!

While doing other stuff around my place

Extremely bored?

Kinda, but I learned even more about the Palladium and its role in NY Latino sounds circa the late 40s

La Lupe reissue from 1960. Judging by these clips, it has much more of an old jazz/R&B/early rock sound to it than other things I've heard by her:

http://www.descarga.com/cgi-bin/db/2578.10?y8AzbuLj;;423

Also, I think I will like this one:

http://www.descarga.com/cgi-bin/db/23953.10?y8AzbuLj;;402

It sounds like something that could have been made 25 years ago or so, but also sounds pretty good.

And I somehow missed it at first, but it has Luisito Carrion on timbales, which is generally a good thing (though not good enough to rescue the Spanish Harlem Orchestra's last album). Good for him for playing with less than famous bands from Pennsylvania anyway. (I kind of feel nostalgic thinking about little Bethlehem, PA. Is there much of a Puerto Rican population there now? Sort of mind-blowing to think of Puerto Rican salsa in a town known for its Moravian roots, but hey the Moravians were pretty musical themselves. I have family roots in that area.)

Listening to my pandora.com salsa station this evening and feeling once again that this genre has my vote for best ever. Not hard to embrace the idea when being pummeled by so much classic material. "En Barranquilla Me Quedo" never disappoints: cowbell vibrations directly hitting pineal gland sending one into a parallel universe.

I mean(t) Luisito Quintero not Luisito Carrion. I do that with Ismael Miranda and Ismael Rivera too. I damn well know them apart, but somehow the wrong name comes out.

afro-cuban music pioneer graciela perez grillo has died in nyc at age 94

Here's another obit for her

http://www.nydailynews.com/entertainment/music/2010/04/07/2010-04-07_graciela_perezgrillo_the_legendary_afrocuban_jazz_singer_dies_at_age_94.html?print=1&page=all

Graciela Perez-Grillo, legendary Afro-Cuban jazz singer, dies at age
94
BY David Hinckley
DAILY NEWS STAFF WRITER

Originally Published:Wednesday, April 7th 2010, 4:17 PM
Updated: Wednesday, April 7th 2010, 4:17 PM

Graciela Perez-Gutierrez, the legendary Afro-Cuban jazz singer who blazed
the trail for Hispanic pop stars like Jennifer Lopez and Shakira, died
Wednesday after being hospitalized in New York for several weeks. She was
94.

Graciela, or "Gracie" to her friends, "was where it all started," said Bobby
Sanabria, who played on three of her records. "Without her, there is no
Celia Cruz or La Lupe or any of the stars today."

Born in Havana, Perez-Gutierrez began performing with the all-female
Orquestra Anacaona, where she played bass and sang. In 1942, she became the
first woman to front a major tropical band when she moved to New York to
sing with the Afro-Cuban orchestra led by her stepbrother Machito. She
performed primarily with Machito and her brother-in-law Mario Bauza for
decades.

"She had a beautiful voice," said radio host Paco. "She could sing anything,
boleros to salsa, and as soon as she started to sing, you knew just who it
was."

She leaves no immediate family but is survived by longtime assistants and
friends Avenol Franco and Maria (Mappi) Torres.

Issac Delgado tribute to Nat King Cole in the works, or something like that:

https://www.youtube.com/watch?v=Y8QzbJJ-OS0

Just back from dancing; however, I didn't dance all that much. I was having cold feet and the arrangement in the venue wasn't good for asking people to dance. (I think my favorite sort of space is a big dance floor with people lined up around a wall all around it. It's easy to scope out potential victims.)

The DJ was so-so, but I did get to hear a couple cuts from the new El Gran Combo album: Achilipú, Colombia Tierra Querida (a cover), both quite good (those guys are pretty amazing). I would like to have danced to the former. The second one was pretty tricky with lots of switch-ups between cumbia and salsa, but I would dance it with a familiar partner, or if I were feeling bold, etc.

This is the first time I've been out dancing since July or August last summer, so I'm just getting my feet back in. The good news is that even though I'm rusty, there's a certain amount of technique and feel that seems to be almost permanently imprinted in me.

The rest is cowbell.

https://www.youtube.com/watch?v=sq81ZbxrH-E

There's a good article on Calle 13 in today's Times. The last time I talked to them, Residente was studying to improve his English so he'd be able to write English lyrics at the same level he could in Spanish; I guess he's getting closer to that goal.

Nice article. Interesting to see how each of them contributes to the group.

Willie Colon and Ruben Blades, best buddies forever:

http://www.newsroompanama.com/music/1062-ruben-blades-facing-breach-of-contract-trial.html

Columbus?

la india's performing at el morocco's gay night in harlem this sunday.

http://images.socialplan.com/e53ba2b2a69e4cf2_a460a29611fc2b1b_o.jpg

The new El Gran Combo album is sounding really good on first listen. I don't think there's anything on there up to their best tracks from the last decade, but I get the sense it might be more consistent than any of their albums from the last decade or so. I still can't figure out what older Gran Combo song "Sin Salsa No Hay Paraíso" sounds like, or at least I don't know the title. If I skim through a couple of my best of compilations I should be able to be specific.

Some of the horn parts on this new version of "Achilipú" are frighteningly good. I only wish they'd stick with them a little longer. On the other hand, I'm not totally happy with the more romantica numbers, "Es La Mjuer" in particular.

"Sin Salsa No Hay Paraíso"

this is funny because i didn't realize gustavo bolivar was (i guess) referring to it when he named his book "sin tetas no hay paraiso".

I didn't know about Gustavo Bolivar so I can't tell exactly which part of your comment is a joke (if any), but I think the whole "Sin x no hay y" construction is pretty common in Spanish. (Mostly an impression from song titles in Spanish.)

I think I might have been overboard in saying that this album is better than their previous one, but it's still good.

oh, k. not joking.

Ivy Queen is on Machete now, which could improve the quality of her next CD. I hope so anyway.

Interviewed Julieta Venegas for a Texas paper, but when the editor found out her tour wasn't open to the public (it's promoted by Jack Daniel's and you have to register on their site to see the shows), he killed the piece. So I put it on my blog.

http://bit.ly/9uT5xr

I gotta get her new cd. Interesting how she uses effects on the accordion

Yeah, after she told me about that, I tipped her to Motion Trio, who recorded a whole album, Play-Station, of video game soundtracks played entirely on accordion.

From Tom Hull's blog:

Miguel Zenón: Awake (2007 [2008], Marsalis Music): Year before last's album, so long in float because I respect him much more than I like what may be his most conventionally postbop album. In any case, it is almost certainly not up to last year's more Afro-Cuban Esta Plena, which they didn't send me and I haven't tracked down, except to catch a taste on Rhapsody. B+(**)

http://www.tomhull.com/blog/categories/1-Music

I admit I did not actually hear all of Esta Plena, so I am on slightly shaky ground, but isn't it obvious that Zenón is making a point of working out of Afro-Rican/Afro-Boricua traditions, as the album title underscores. It makes a difference. Puerto Rico is not Cuba. It has some of its own home-grown traditions in addition to what it's borrowed from elsewhere. Is it too much to ask that plena-jazz fusion is not described as Afro-Cuban? Plena and bomba are not Cuban.

Unfortunately, I find Zenón's jazz side a big snooze.

On a related note, Los Pleneros de la 21 are coming to Albuquerque in a month or so, for a free outdoor concert. I hope to be there, sinuses-permitting.

It's one thing when Tuomas does it, but I demand more of Tom Hull.

Re your related note--I have seen Los Pleneros de la 21 live and they were great. Prior to the gig I for some reason assumed plena=academic and dull,formulaic traditional, I was very wrong.

Was curious about this Colombian movie that's showing tonight at the DC international Filmfest though this Washington City Paper review is kinda negative:

The Wind Journeys
In this Colombian film, Ignacio, an accordion virtuoso who has just lost his wife, treks across the continent to the Caribbean coast in order to return his instrument to his teacher. A teenage boy eager to become a musician himself joins Ignacio along the way, and the two bond while competing in musical duels. Though “it’s a beautifully shot film with a certain allure,” according to Aaron Wiener, “the music won’t sustain interest beyond the halfway mark.”
8:45 p.m. at E Street Cinema

Pretty good new Daddy Yankee single, though judging by audio snipplets from the new album, I am not too optimistic about it.

https://www.youtube.com/watch?v=Y8esl2MdtW0

The ten seconds of trumpet from 2:33-2:43 (roughly) on El Gran Combo's new "Achilipu": perfection.

More impressions of Sin Salsa No Hay Paraiso.

(1) I found the earlier song that the first track reminds me of. I guess it's mostly just the beginning of it. Compare:

https://www.youtube.com/watch?v=hfmVs4pRXf0
https://www.youtube.com/watch?v=k2wey5o2yBc

(2)"El Problema Esta En La Coca." This also reminds me a lot of at least one other song (possibly theirs again), but I haven't been able to get more specific.

(3) "El Comejen." Slows the pace down, somewhat along the lines of "Arroz Con Habichuela" but not as smoldering.

(4) "La Espuma y La Ola." This one impressed me when I came back to this album tonight after not having listened to it for at least a few days.

(5) "A Mi Me Gusta Mi Pueblo." I think this is too cheerful for me at the moment.

(6) "Es La Mujer." If not exactly salsa romantica, pretty close. Really can't get into this, but it's tolerable.

(7) "Alguien Que Me Quite Tu Amor." Romatnically-themed, but sticks more to the usual EGC approach. I think this groove is going to make excellent dance-floor material.

(8) "Achilipu." Great new recording of one of their earlier tunes. Probably the high point of the album for me.

(9) "Colombia Tierra Querida." Salsa tribute built on an old familiar cumbia classic (one version linked to below):

https://www.youtube.com/watch?v=8bzXJPA5V4g

Very nicely done. A little discombobulating for dance-floor purposes, at least to me.

(10) "La Receta de Amor." Sorry, but I'm not really feeling the two more salsa romantic tunes on the album, so this is a weak closer for me.

The one thing this album is missing for me is a stand-out, fresh-sounding, entirely newly written song of the sort they have been able to include on ever album they've put out over the last decade or so (for example, the songs "Que Me Lo Den," "Me Libere," "Viva Puente," "El Matrimonio," and "Arroz con Habichuela," a list that could probably be supplemented by at least a couple more album tracks). It's still a pretty strong release, and I could see myself getting more attached to these songs on the basis of repeated club/party exposure.

Lots of autotune on the new Daddy Yankee. It's moderately interesting to hear how DY + autotune sounds compared to others using it in reggaeton, but I'm not really into the sound, or the "futuristic"/generic house keyboard sounds. These are just first impressions though. One thing I like is the cover, which is surprisingly tasteful (but I guess DY's album covers tend to be low-key in general):

http://www.netweed.com/prohiphop/graf2/daddy-yankee-mundial.jpg

I think I might prefer the direction the album takes in the middle with "Daria" and "Rumba y Candela" (no, not remotely a salsaton track).

I think it's a little better than most of the reggaeton albums (definitely including the big name ones) that have been coming out over the last few years. I'll take this over the last couple W&Y for sure.

Ha, yeah, I'm surprised by how much I like this. It will take a few more listens to feel confident of it though.

Read somewhere that there was perico ripiao on the new DY album but I missed it the first time through. "Mintiendo con la Verdad" manages to combine it with autotune and house:

https://www.youtube.com/watch?v=RzsdvPREIw0

Which is followed up by some hip-hop track with, I guess chopped and screwed type vocals, which is followed by a nearly Ricky Martin type soccer anthem. And I think the attempt to vary things is pretty successful.

Next day (or next daylight anyway): this album has some really good songs on it. I'm not sure what I think about it overall, because although I think this probably has the best futuristic autotune reggaeton I've heard so far, I still can't get too excited by that style. Not that anyone else here appears to have any interest in a new Daddy Yankee album.

Yeah, he annoys me for some reason.

Oh well. I think this album will work pretty well as a comeback, although I can't claim to have much idea of what Latino kids like or will like. One thing that's striking to me with this album is that it's not overly bloated and the tracks all establish distinct identities after two or three listens, if not immediately. There is a more extended i-tunes version that has some extra tracks I haven't heard, so maybe that longer version ends up being bloated.

I think this is my favorite track:

https://www.youtube.com/watch?v=6vTy76jaLPk

I think I've listened to it 15 times in the last 24 hours.

We resume with Mundial. I haven't mentioned "Vida En La Noche" yet. Odd song. Techno pop with a rapped reference to Guns and Roses and some English thrown in. I probably should hate this, but I do not.

The rhythms of the lyrics and the tone and mood remind me of Proyecto Uno's "El Tiburon" at one point, although overall this track has fuck-all to do with "Afro-Latin." Is he trying to be edgy and Residente with the pop culture references? I might be more inclined to think that if the overall sound weren't so utterly commercial. (Anyway, I'm looking at this without being able to actually understand the lyrics, a big handicap.)

I mean, this really half belongs on a rolling pop thread.

Sounds good to me based on a quick listen on a laptop while watching baseball on tv. Not amazing but it works

I assume you mean the whole album and not just "Vida En La Noche." I think it improves on a few listens. There are details you can miss the first time through. The whole thing feels exceptionally crisply produced (for recent reggaeton), to me. I wouldn't go so far as to call it amazing, but it's good. If nothing else, "La Señal" is amazing.

i'll always be excited about new dy but for the most part not into this - dig the couple of bounce tracks and the dancehall but for the most part it's bottle service club material.

Started listening to it last night. I'm liking it a lot more than I expected to. I like club-reggaeton; I loved Don Omar's last album and the last two Wisin y Yandel discs. But Daddy Yankee's voice and persona have always rubbed me the wrong way. This time out, though, I'm liking it/him.

dig the couple of bounce tracks and the dancehall

Actually the dancehall track is one of the ones I feel most inclined to skip.

And by the way, this album is suddenly almost exactly what I need at the moment. God, life can just suck and suck and suck in new and ever-changing ways. Just when you start to see some light, you get fucked over again.

diplo wrote up a pretty good account of his and switch's trip to cuba (invited by calle 13)

Wow.

And uh sorry Rudi...

Hi all, glad to see the Daddy Yankee Cd is popular here, at least with one of you, I've had it on repeat the last week, some great production on show. I'm really liking the merengueton / Collie Buddz Mamacita vibe on some of the tracks and the chopped&screwed meets BoneThugsHarmony track is outstanding. Not revolutionary or anything but great feelgood latin-dance-pop.

I'm not so keen on the Gran Combo, it's good but for me doesn't come close to Arroz Con Habichuela which was bursting with life and for me one of their best ever.

I read a review of this on Descarga today, anything new with Joe Arroyo is worth a listen

https://www.youtube.com/watch?v=Hvu1S-I3KpU&feature=youtube_gdata

marcomarcos, you're probably right about Sin Salsa No Hay Paraiso (took me a second to understand why spell-check was only tripping over the last word in the title) vs. Arroz con Habichuela. There's just something about some tracks on the latter that bothers me and puts me off from listening to it, but it's a little hard for me to put my finger on it. It may have to do with too much dipping into what I think of as 40s big band harmonies (but they do that other times where it doesn't bother me so much).

Diplo said something annoying in an article I read lately, but I forget what it was. Or maybe I just didn't like the tone of the article.

Bobby Sanabria working for 30 bucks a gig on Wednesday nights in Harlem

http://www.villagevoice.com/2010-04-27/music/harlem-s-afro-cuban-renaissance

Been meaning to go up to see that all year.

lincoln center's released their out of doors free concert lineup

there's probably more notable names i don't know of on the list, but this stuck out:

Sat August 14 7:30

Larry Harlow’s La Raza Latina, A Salsa Suite
Conducted by Larry Harlow, starring Rubén Blades,
with guest vocalist Adonis Puentes
Bobby Sanabria Big Band

Wow, that looks pretty good. (Nona Hendryx and ? and the Mysterians both put on good live shows. Also interested to see Dennis Coffey and that Motown revue)

Bobby Sanabria working for 30 bucks a gig on Wednesday nights in Harlem
Sometimes I've gone to see the trombonist/professor/composer mentioned in that article lead his own band and I've noticed a sub on the bandstand so I've asked him where the regular guy was. His replay has always been: "Him? He's probably at a gig that pays way more than this!"

Does anyone know anything about Adonis Puentes (without doing a search)?

? and the Mysterians both put on good live shows.

Without knowing much about the band, I always thought of them as very obsure and cultish, but since moving to Albuquerque I've found that "96 Tears" (which I'm not even sure I had actually heard before) gets played on oldies radio here constantly.

I'm reading some reviews of Mundial and it's interesting that so far none of them connect the Euro-disco sort of sound on some tracks to the larger trend in reggaeton. All the reviews I'm seeing just connect it to DY's world travels, the international theme, etc. I'm not really surprised by this, since the people reviewing the album may not pay attention to the genre. (Also what is this "bacachata" genre mentioned in one review; I must have missed that.)

i'm not sure what this "euro-disco" sound being referred to is, tracks like which? i'm sort of hoping it refers to the rave / chiptune sounds (for example prominent in the chorus of the first single) which tie him back to his most creative period back in 90's reggaeton - i'm thinking el cangri.com specifically.

i did find it funny that i wasn't into any of his attempts on this at traditional latin music, although it's never been what he's done before so there's no reason to assume he'd really be good at it outside of just because he's puerto rican - i'm assuming this is the international theme being referred to?

I'm using "eruo-disco" very very loosely. The track with Tito el Bambino on it would be an example of what I mean.

DY has done merengueton before, some of which (or at least one of which: "Ella Me Levanto") I've liked more than the examples of it on this album (although all the merengueton tracks here are okay).

I'm reading some reviews of Mundial and it's interesting that so far none of them connect the Euro-disco sort of sound on some tracks to the larger trend in reggaeton.

You may have to wait for my Village Voice review to come out. (Next week, I think; I turned it in last night.) I talk about iDon and the last two W&Y discs and the overall move toward a sci-fi sound.

I'll look for it if I remember (maybe you should go ahead and link to it when it appears).

Also what is this "bacachata" genre mentioned in one review; I must have missed that.)

That is as I am sure you realize and are joking about, the lame Washington Post copy editors misspelling of bachata. Not sure I agree with the writer's premise that bachata is one of the formative elements of reggaeton.

Maybe not formative (though I still know next to nothing about reggaeton's early development--but based on what I've heard. . .), but I think it has been an ingredient in some important tracks in the last five years. Some of the craziest, most irresistible reggaeton tracks have been bachaton. (And yes, I was just kidding.) I've said it before, but I like how every time a journalist provides a list of the genre ingredients in reggaeton it's a different list (sometimes wildly different).

I've said it before, but I like how every time a journalist provides a list of the genre ingredients in reggaeton it's a different list (sometimes wildly different).

good timing re: last paragraph in wayne's latest post on dave nada's moombahton thing (which i feel people are overhyping a bit but whatever - it's getting people inspired which is always a good thing).

Nada's from DC I think.

The W. Post corrected the spelling of "bachata" in Sarah Godfrey's Daddy yankee review:

http://blog.washingtonpost.com/clicktrack/2010/04/album_review_daddy_yankee_mund.html

Bringing in a new set of musical influences makes sense, in theory. Reggaetón is itself a stew of bachata, plena, dancehall and hip-hop, among other genres, so it's already well-established that Daddy Yankee knows how to play around with different sounds to good effect. On "Mundial," he blends in some cumbia and batucada, but he's also developed a frightening appreciation for European electronic dance music, which he liberally splashes all over the project. Tracks like "El Mejor de Todos los Tiempos" and "Vida en la Noche" reek of Euro-trash club, veering dangerously close to Sprockets-style parody

Nada's from DC I think.

indeed, we grew up in the same punk / hardcore circles. i recall him playing bass? in the band de nada.

Tracks like "El Mejor de Todos los Tiempos" and "Vida en la Noche" reek of Euro-trash club

i can see vida en la noche, but el mejor de todos los tiempos? really?

Re. the "euro-disco" sound, my guess is he's been listening to a lot of dancehall, that sound was very big on some of the hot riddims last year.

As far as the dancehall track itself I think it's actually one of the weaker tracks on the CD, but I do like the MC Det and UK Jungle rewind samples playing in the background, if the music was stronger the finished track could have been really hype.

http://www.washingtonpost.com/wp-dyn/content/article/2010/04/29/AR2010042905244.html?hpid=entnews

I missed this award show. Aventura the big winner

The winner of the inaugural new Latin artist of the year award was Fonovisa's Larry Hernández, whose brand of in-your-face narcocorridos found acceptance at both retail and radio

http://www.billboard.com/news/aventura-tops-winners-at-billboard-latin-1004087882.story#/news/aventura-tops-winners-at-billboard-latin-1004087882.story

Some nominees (somewhere the winners must be listed but I haven't found it yet)

Tropical Album of the Year:
Hector Acosta – “Simplemente… El Torito” (D.A.M./Venemusic/Universal Music Latino)
Aventura – “The Last” (Premium Latin)
Luis Enrique – “Ciclos” (Top Stop)
Gilberto Santa Rosa – “El Caballero De La Salsa” (Discos 605/Day 1/Sony Music Latin)

Tropical Albums Artist of the Year, Solo:
Hector Acosta (D.A.M./Venemusic/Universal Music Latino)
Luis Enrique (Top Stop)
Victor Manuelle (Kiyavi/Sony Music Latin)
Gilberto Santa Rosa (Sony Music Latin)

Tropical Albums Artist of the Year, Duo or Group:
Aventura (Premium Latin)
Buena Vista Social Club (World Circuit/Nonesuch/Warner Bros.)
Grupo Mania (ZMG/Sony Music Latin)
Xtreme (Machete Music)

http://www.billboardevents.com/billboardevents/photos/stylus/125792-2009-Latin-Award-Winners.pdf

winners

more nominees
Latin Rhythm Album of the Year:
Don Omar – “iDon” (Machete Music)
Flex – “La Evolucion Romantic Style” (EMI Televisa)
Tito “El Bambino” – “El Patron” (Siente)
Wisin & Yandel – “La Revolucion” (WY/Machete Music)

Latin Rhythm Albums Artist of the Year, Solo:
Daddy Yankee (El Cartel/Machete/Sony Music Latin)
Don Omar (Machete Music)
Flex (EMI Televisa)
Tito “El Bambino” (Siente/Universal Music Latino)

Latin Rhythm Albums Artist of the Year, Duo or Group:
Alexis & Fido (Sony Music Latin)
Calle 13 (Norte/Sony Music Latin)
Kinto Sol (Virus/Machete Music)
Wisin & Yandel (WY/Machete Music)

Hey marco, that Cheo Acosta thing looks really good. I meant to check out the link you posted earlier, but am just getting to it now. The audio clips I checked also sounded good. I love Joe Arroyo, but his solo output has gone downhill in recent years (understandable, considering how long he's been at it). However, I think he sounds good on this song.

(I must learn to dance a little cumbia some time soon. I think I could get by with just having a partner show me, it seems simple enough. I did once take a workshop in folkloric cumbia dancing, but it's not exactly what I see people doing at events, plus that was a one-time thing, several years back.)

I walked into a local restaurant once earlier this morning, and again for dinner. Both times cumbia was playing. In fact, this morning it was a Grupo Fantasma song from their last album, and tonight it might have been them again, but I wasn't sure. (It's actually an Anglo-owned restaurant and more of a yuppie/free range chicken kind of place than a local regional eatery, and the music tends to be mixed world, with an emphasis on Latin music of various sorts. Not to say it doesn't have some good food or that this Anglo with sometimes yuppiesque tastes doesn't get food from there pretty often.)

I think the last solo Joe Arroyo song I really liked was "Noches de Arreboles"

Checo Acosta, not Cheo; sorry.

Just listening to some moombahton. It sounds okay to me, but we'll see. I'm not a "dance music" (in the narrow sense) fan, and the whole way these new rhythms and, to me, very technical seeming sub-genres are talked about can be a little offputting to me. But of course that's not to say I'm not willing to listen to something. But I wonder how much reggaeton shares an easthetic with other dance music. To my ears, it has more actual songs rather than being so dependent on DJ's mixing things together. But my experience of reggaeton is so limited that maybe that's a misunderstanding, and also, maybe that song-orientedness began relatively late as a crossover thing. (Fine with me, if so.)

It sounds like doumbeks or something similar on some of these tracks, which is generally welcome to me. If things push toward a middle eastern sound, I'm usually fine with that.

Not really into the whole 5000 remixes of the same track thing.

I seriously don't think I'm scoring major points by quoting reviews in obscure publications that aren't even focused on music, but this is just too funny:

“Rumba y Candela” is bogged down with too many different rhythms

http://www.visaliatimesdelta.com/article/20100430/ENTERTAINMENT04/100430003

Too many different rhythms? It sounds a lot like plenty of other reggaeton tracks, nothing at of the ordinary in terms of how many rhythms are mixed in.

I think the name "moombahton" is going to limit the genre's potential audience.

"I think the last solo Joe Arroyo song I really liked was "Noches de Arreboles"

Mambo Yo Yo was a modern classic.

Did any of you guys check out the Billy Carrion CD from last year? I missed it but checked it out this weekend after being told the title track "Esta Fiesta" is being played a lot in NYC right now. It's a patchy CD but Esta Fiesta rocks and Billy gives out a nice shout to his local club/restaurant La Fonda up on 105th, makes me wish I could go back to NYC more often. He posted up a couple of videos on you tube, they look to me like they might have been shot in the Copa before it's demise

https://www.youtube.com/watch?v=zSGeMWMXunE

So how about some Romanian reggaeton? Florin is apparently loved by the kids and hated by the establishment for the way he latches onto whatever craze is hot at the time, and in so doing demeans Romanian music and culture.

https://www.youtube.com/watch?v=dKYS2_bcmHc&feature=player_embedded

Checking out the new Jowell & Randy and liking it. I can't tell if mainstream reggaeton is getting better or if I have just adjusted to the current sound (not that there really is anyway to tell). So far it seems to combine the autotune/vocoder (whatever it is) futuristic thing with a harder edge, like DY's new album. "Goodbye" has some interesting electronic stuff going on it. Maybe it could catch the ear of electronic dance fans. Now up to track 4 and still liking it. . . (I think that last year there was a secret meeting of recording artists in all genres, at which they all agreed to put out good shit in 2010.)

"No Fue Una Noche Normal": bachaton as I have not heard it before. And they are really playing off the ultra-mechanical aspects of pop/club bachata, to good effect, I would say. This is great.

https://www.youtube.com/watch?v=dqFMy8laHlk

Actually released 2009 but been hearing it non stop in every club in my city this spring.:

Cidinho & Doca - Rap Das Armas (Parapapapa)

https://www.youtube.com/watch?v=ZthNYozVwNM

PS: I want and I need the afro-latin crowd to post songs on the ILM Summer Party mix right now:
The ILM Summer Office Party Mix 2010

Happy to oblige, with a couple tunes anyway. (Not being stingy, it's all I have, unless I include five or six tracks by the same people.)

Daddy Yankee after that MJ track, classic!

This one works after Bitch though. The flow on the first rap verse is liquid

https://www.youtube.com/watch?v=P1gIp47_z4o

I really love this CD

It would have been better if I'd been paying attention to what I was doing. "Vida En La Noche" is the sort of track I shouldn't like, based on other things I don't like anyway, but somehow I do like it. I think that in general DY keeps things interesting with his flow on this album, so little segments of vocals stand out from track to track.

http://www.villagevoice.com/2010-05-04/music/daddy-yankee-in-space/

I have some minor quibbles with this. I would call "Ella Me Levanto" merenton rather than salsaton. The horns might seem salsa-like, but merengue can have horns similar to this, and it has a merengue rhythmic feel (secondary to the dembow).

My only minor quibble--calling Tego Calderon 'electronica'. I agree with the culturally conscious part though, but his beats are old-school hiphop and Latin.

I agree, I wouldn't call Tego more particularly electronica in the spectrum of reggaeton. The other thing I was thinking of is that "Daria" doesn't really sound more hip-hop than it sounds reggaeton. It's a pretty standard reggaeton kinda beat, though I guess it alternates with something else occasionally. My sympathies to anyone trying to describe all these rhythms, though. I don't know the dancehall stuff by name at all, aside from dembow.

Even the intro. track on Mundial is pretty good. Usually the intro. tracks just seem to me like ridiculous bombastic filler, but this one is actual kind of interesting. (Still bombastic--those big symphonic blasts of synth strings are nothing if not bombastic--but I don't mind it in this case.)

he's had a good intro or two in the past

https://www.youtube.com/watch?v=OoumkPIpXqM

http://babalublog.com/2010/05/a-legend-passes/

RIP conguero Francisco Aguabella

I'm reading rumors that Beyonce is working with Ivy Queen on a track for the latter's upcoming album. I'm not a Beyonce fan, so I'm mostly excited about this in terms of what it might do for gaining the album more crossover attention. (Then again, there's no guarantee the album will deserve a big audience.)

(Then again, there's no guarantee the album will deserve a big audience.)

I didn't like Sentimiento very much at all. Too much singing, not enough rapping.

I didn't like it either. I was looking over Ivy Queen's singles last night while thinking about what I want to nominate for the ILM 2005-2009 poll, and I realized that I couldn't think of anything I really like that she's done under her own name in that time period (although I probably was hearing the earlier things for the first time in those years).

The studio version of Juliana's "Estupido":

https://www.youtube.com/watch?v=HOTEIRWW22c

(I love this song.)

https://www.youtube.com/watch?v=yjNvqK79t14

Useful site for the unscrupulous merengue fan: http://merenguerd.blogspot.com/

That Juliana song is fun. Thanks.

I like the really long lines that in a way seem like they don't fit the rhythm, but somehow they do. Related, I like the way she switches back and forth between singing and sprechstimme dominicano.

Anyone know anything about the forthcoming Tito Nieves release? He has a great voice and good vocal chops, but somehow they seem to mostly go to waste on the wrong material. (I feel the same way about several other recent soneros, I think.) It sounds like this is going to be covers of other people's songs, which is a little disappointing, though it could be better than the alternative.

Actually this sounds kind of promising: Tito Nieves and his Brand New CD entitled "ENTRE FAMILIA" will be in stores on May 18, 2010. The CD includes 10 songs in SALSA composed by his beloved uncle Miguel Angel Amadeo. A great Composer of many hit songs!!(from the official Tito Nieves website).

deepest old and future school Afro-Caribbean tropical rhythms may 23 in berlin, Hugo Mendez from Sofrito records and myself. details and mix here: http://differentwaters.blogspot.com/2010/05/tropical-sessions-23mayberlin.html

This doesn't necessarily belong in this thread, if I understand the description of this new album correctly, but Marc Anthony's new album is almost out: http://www.amazon.com/Iconos-Marc-Anthony/dp/B003FGWZF4/ref=sr_1_1?ie=UTF8&s=music&qid=1273972629&sr=1-1

It's all ballads, however. Was kind of hoping for an entirely different direction than that, like maybe drawing on his experiences covering Hector Lavoe and moving into quasi- salsa dura territory. I may give it a try anyway. It's been a while since Marc Anthony put out any new material and I still like his voice, even if I often have a love-hate thing with what he does with it. Judging on the limited basis of these audio clips, he seems to have toned down the melodrama somewhat. Somewhat.

Not really into this:

https://www.youtube.com/watch?v=OpeRKIKurIg

Maybe if I understood Spanish, though the translation doesn't make me count on the idea that would make a positive difference.

Why on Earth would I need a version of "Y Como Es El" by Marc Anthony on my iPod, when I already have one by Vicente Fernandez? Nope, not sold.

I don't know the song, but I can understand your reaction. I bet it will do fairly well with a Mexican audience, regardless. I wonder to what extent this is a commercial move and to what extent it's motivated by a desire to pay homage to the Mexican ballad traditions his singing style apparently draws on pretty heavily.

Cuban sonero Issac Delgado's new tribute to Nat King Cole has leaked already. I've only listened to a couple cuts and I'm not really into what he's doing me. It puzzles me that I always want to say what a good voice he has, while still finding his work so boring. I used to think I'd like to hear him doing boleros, but this new material is getting pretty close to that, and I'm still not bowled over. I'm sure it would be nice background music for dinner.

The whole tribute to Nat King Cole idea is less of a surprise than it might seem, since he's considered one of Benny More's main vocal models (and Benny More of course was probably the biggest vocal giant in Cuban music).

If Marc Anthony's drawing on Mexican ballad singing, I've never noticed it before (though he is named after a Mexican singer and did one other Juan Gabriel song very early in his career). He's always made the moves one would expect from a NYC-based Puerto Rican, moving from freestyle to salsa to "crossover" Latin pop and then back to salsa. (Plus Broadway and movies.)

Looks like a good blog for streaming new salsa and Latin jazz:

http://solarlatinclub.blogspot.com/

(Weird that I don't make more of an effort to track down sites like this. Every time I search for obscure titles listed on descarga.com, I come across interesting sites.)

I know I always complain about all the retro-shmetro mambo era tribute stuff, but some of the audio clips from this Colombian project sound pretty good:

http://www.descarga.com/cgi-bin/db/23990.10?EMkStRQx;;391

Nice full solid sound. Maybe it's just because I haven't gotten any sleep and just took two Excedrins, which tends to make me almost manic.

I wonder how Bill Wolfer feels about the name of this band, given that I suspect he got there first with "Mamborama."

Not that it's a particularly brilliant name.

Clips for that Kako/Azuquita reissue up now too:

http://www.descarga.com/cgi-bin/db/23988.10?EMkStRQx;;397

I think I will be getting this before the year is out.

This Venezuelan band sounds pretty solid, but maybe not out of the ordinary enough:

http://www.descarga.com/cgi-bin/db/23991.10?EMkStRQx;;400

I hate to say it, but I'm getting a little tired of hearing the bari sax used as an anchor by so many of the no-nonsense salsa bands. A little more variation in orchestration and timbre could be nice. I always liked that sound, but the more salsa I hear, the more it is sounding overused. I guess this is what happens when you've been listening to a genre for over ten years. Increasing fussiness.

re: solar latin club - i've been subscribed to el chino's mailing list of new things to check out for a year or two now, good stuff - haven't visited the site itself in a really long time though, the streaming is new.

He seems to have a good selection.

Re: Daddy Yankee, I've never really gone back and made a point of making sure I'd heard his pre-Barrio Fino work, but I probably should.

Now listening to this new Tito Nieves album and it's pretty much as expected, though his singing at times is better than I might have expected. I have to repeat, he just seems like another wasted vocalist in salsa. Harder orchestration and arrangements would make a big difference. I do kind of like this cover of EGC's "No Te Detengas A Pensar." As much as I like the original, I like the song enough that it's interesting to hear a different rendering of it.

Should probably just shut up until I've heard the whole thing a few times but what fun is that?

Re: Daddy Yankee, I've never really gone back and made a point of making sure I'd heard his pre-Barrio Fino work,

i've probably already hyped it much in this thread but "el cangri.com" is the only album of his i still consistently play; feel it was a lot more creative in terms of the sounds and whatnot in production, especially vs relying on just the same old dembow + swelling hip-hop strings that luny tunes did on barrio fino. also has the significance of breaking the billboard charts despite no major label association at that point.

I got the new La Lupe reissue, Con el Diablo en la Cuerpa. I hadn't realized this was recorded and released in Cuba. It's pretty interesting just how different it sounds from anything else I've heard by her. The purely Spanish version of "Fiebre" is really good here, maybe better that then Tico version, but I do sort of miss the crazy gear shift at the end of that version. Overall, this album doesn't even sound all that Latin. To my ears it's even closer to mainstream (Anglophone) pop music of that time (1960) than any of her later pop-oriented things once she left Cuba. The audio quality is a little disappointing (hopefully not an indication of where the sound is heading on Fania/Codigo reissues generally).

Call me crazy but the audio-clips from the forthcoming India CD make it sound like it might at least be tolerable. (Or maybe you won't call me crazy. Maybe you like her. I mostly don't.)

Second go around: Ugh, maybe not.

Pupy y Los Que Son Son- Direct From Cuba June 19 at the Salsa Room in Arlington, Virginia outside Washington D.C. I do not know where else they are going on this US tour. Rudiph, this is the Cuban timba group you kinda like, right?

Si. We're getting Van Van here in ABQ this summer, but I'm not sure I'll bother to go. Personally, I would check out Pupy. But yeah I kinda like him/them.

Daddy Yankee's gone 3D

https://www.youtube.com/watch?v=fPDmHt8qkP0&feature=player_embedded#!

I was in Spain last week enjoying the new Cubanoson CD, it's fairly standard fare but the vocals are great and they mix Spanish, French and English very well. I also picked up a new CD by RodryGo that looks interesting, a Colombian living in Switzerland, will let you know if it's any good. I found this promo on youtube

https://www.youtube.com/watch?v=pvKIfYmJgI4

We're getting Van Van here in ABQ

Now canceled.

(Visa issues?)

Found this, uh, explanation:

"The coordinators of the tour of Los Van Van regret to announce that, due to an unresolved business matter between the group and a third party and circumstances beyond their control, the U.S. tour of Los Van Van must be postponed. This decision had nothing to do with U.S.-Cuba relations or any visa issues. Their I-129 visa petitions were approved. We hope to bring Los Van Van to the United States soon after resolution of the factors that prevented us from realizing this tour at this time http://www.swallowhill.com/newsroom/2010/05/06.htm

I wanna see a doublebill tonight with reggaeton rapper Voltio and Dominican bachata group Xtreme (the latter I only know from 1 youtube video mostly--standard syrupy bachata) in Virginia just outside W. DC but I don't think it's gonna happen. I haven't heard too much Voltio but I like his nasal, kinda slow deliberative phrasing in the songs I have heard.

love voltio... he keeps hinting at a new album coming but he's been doing that for like 2 years now. like xtreme too, they get pretty fair play alongside aventura / monchy y alexandra etc

Seeing Aventura live made me like bachata more than I thought I would. I'm still not crazy about it on the radio or on a cd though, but some songs in the genre manage to offer more than the genre's usual characteristics.

my friend pablo compiled the most awesome set of 60's and 70's stuff from the fuentes label for vampi soul. you can get it from dusty groove or forced exposure. 2 cd set or triple vinyl. funky crazy amazing stuff.

http://www.dustygroove.com/images/products/z/zzafrosoundofcolombia_101b.jpg

Is this someone you know from where you live now (not that it matters--just curious)? Anyway, judging by the names I recognize on the cover, it should be good. Colombia is probably my favorite source for Latin music after Puerto Rico and NYC (which sort of have blurred boundaries anyway).

I just got a great Peruvian chicha 2CD compilation on Vampisoul from Forced Exposure this week. Might have to pick that Colombian one up. I have two albums (or maybe just compilations of very early stuff) by Fruko y sus Tesos in my iPod already - that's some punk-as-fuck salsa right there.

Speaking of long-delayed albums, wasn't Tego Calderón's last disc supposed to have been out by now?

Speaking of compilations, this one featuring Venezuelan salsa looks pretty good: http://www.descarga.com/cgi-bin/db/23998.10?QkxQy5Ak;;403

The only one I'm familiar with is Cadaver Exquisito who put out a good live album early in the last decade. Actually here is the little blurb I wrote for it when I was compiling a list of my favorite salsa albums from 2000-2009 (which I abandoned because there were so few to talk about and because I kept vacilating about certain ones):

Cadaver Exquisito – En Vivo Desde la Terraza del Ateneo. Captures the intimate feel and fiesta atmosphere of this Venezuelan band in live performance, and it’s beautifully recorded as well. Yes, this is basically a cover band, but the performance is special and the arrangements are often inventive and atypical. The band’s unusual way of creating segues with their “Miniaturas” (which often feature the most unusual arrangements) is a nice touch, along with their well-done medleys, which they call “Masicos.” (These two elements are presumably the origin of their odd name, harking back to an old surrealist parlor game in which participants took turns drawing a picture, but without being able to see more than part of what what last drawn, so that the picture became a series of unanticipated transitions.) We need to hear more from Maigualida Ocana, who gets my vote (on the basis of this recording alone) for best female salsa vocalist of this decade. Do we have to wait until she has aged considerably and has lost much of her vocal power before we hear more? The coro here is uniformly strong (though when Ocana becomes part of the backup, she tends to outshine the other voices).

unperson, this seems like something you might like (possibly more than me), a compilation of music by Anibal Velasquez a Colombian accordionist who adapted Cuban music forms for accordion, or something (read the blurb), but with I think a recognizably Colombian feel at times: http://www.descarga.com/cgi-bin/db/23989.10?QkxQy5Ak;;690

I had not registered his name before if I had heard of him.

Well yeah duh some of the titles even say cumbia. I had forgotten exactly what I heard when I listened to these clips before. I might want to pick this up myself this year, if I can set aside the money I need to set aside for other things.

yeah, i met him here. he buys latin records from me. his name is pablo. he writes for wax poetics and did a book on latin music album covers. he did the liner notes for the colombian comp. he's a great guy. its great to learn stuff from him.

um, i was selling and buying records so thats a long x-post to phil...

Hey, I know Pablo! I interviewed him for Global Rhythm and we had a nice talk at LAMC (the Latin Alternative Music Conference) one year.

x-post

Wait. . . I was the one who asked. I think I need to take a falling barometric pressure nap. Sometimes when the barometric pressure falls, I feel like a balloon losing all its air.

How come everyone knows Pablo but me?

oh sorry rockist. right, you asked. i'm kinda half looking at ilm.

Are you high on the job?

hungover is more like it. we had a 1st anniversary party at the store last night. lots of cake and music and beer.

Congratulations. I think I only relatively recently picked up on the fact that you were now running a record store.

I was DJing a couple of weeks ago and played some of my favourite tracks of the year so far, you can download here. Please excuse the quality of the mixing etc, too much Cruzcampo to blame

http://rapidshare.com/files/392927061/Salsa_Hits_2010_Part_1.mp3.html

No Me Critiques - Marco Toro

Asi - La Sucursal S.A.

Ese Dolar - Bloque 53

Que Paso - HANSEL & RAUL

Esta fiesta - Billy Carrión

Vanidad - LA-33

Tu La Pagarás - Dimensión Latina

Soy La Luz - Dante Vargas And The Cat Band

Verguenza - Bio Ritmo

Preguntame como estoy - Cubanoson

Mirame - Dante Vargas And The Cat Band

Colombia - El Gran Combo

Thanks.

Thanks for the info about the Disco Fuentes compilation, there's a good review here http://www.dustedmagazine.com/reviews/5667

SoundWay had a good compilation of similar stuff out a year or two ago, the CD launch on the Mile End Road was a night to remember, it was basically a DJ and some afro drummers in a squat and packed to the rafters with counter-culture hipsters and anarchists; how the place didn't burn down I'll never know. Good fun though. Vampi Soul are a label I like a lot too, they've got consistently good taste. My guess is their CD launch parties would more likely be held in some glamorous nightclub in Barcelona, which is probably why I've never been invited to one.

By the way, should also have said what a GREAT label Fuentes is too, the Colombian Fania. Jamar Chess (related back to Chess records) bought the Fuentes catalogue through his Sunflower company and has been making a steady income ever since by licensing tracks to reggaeton and latin rap artists for sampling.

After listening so much to the Janelle Monae album, which hits a different spot than Daddy Yankee does, I expected to come back to Mundial and fight it had lost its luster for me, but it hasn't. (Yay.)

Hey New Yorkers:

Sunday afternoon (6) at Central Park Summerstage for Pupy y Los Que Son, Son with José Conde

I'm gonna try to make the DC show on June 19th

Kind of an interesting video (at least for one viewing) but the music is about as boring as it can be. I do like the Kiss shirt. Sorry, unperson, but with rare exceptions Mala Rodriguez's music is a bore, at least if you can't understand the words.

https://www.youtube.com/watch?v=YdPjnAAhRXs

This one is at least different. Industrial jazz?

https://www.youtube.com/watch?v=8uMln8aJqJ0

yeah the first single for the new mala is pretty eh (the music sounds like a rework of bad romance) but otherwise the album is actually pretty good (although this should probably go under a hip-hop/pop thread)

https://www.youtube.com/watch?v=3ATKHVe5PFQ

https://www.youtube.com/watch?v=Ff7XSlH7ynQ

https://www.youtube.com/watch?v=H5-RpdFWAHE

Yeah, I was listening to some of it yesterday (it's already floating around) and I think I like it more than her last album.

I think the beats are really boring and there's hardly anything going on over top of them. I'm afraid I'm too uninterested to give it another chance and find out if I'm wrong. (I've already deleted this from my PC.)

(although this should probably go under a hip-hop/pop thread)

Hey! We're allowed to go moderately off-topic. I think Spanish-language hip-hop should be allowed on this thread, since I let reggaeton in, although I guess I could have stuck it on your Spanish-language hip-hop thread.

Marco, the songs on your mix are okay, but for the most part they feel like they are just busy keeping things going ever so minimally, the genre being in maintenance mode. I'm not blaming you, incidentally. I just don't think there's much around for you to pick from. Again, I don't think there's anything there that's really awful, but nothing I find inspiring either. Listening again now though, so maybe I'll change my mind.

Is Marco Toro Cuban?

Sounds Cuban to me, but I'm not familiar with him offhand.

The Dimension Latina song stands out for me. Is this Oscar D'Leon or someone trying to sound like Oscar' D'Leon? Also, this just a single, or is there an album behind it? I'm not finding anything.

The Spanish language hiphop thread seems to have been ignored sadly. Still not too many folks on this forum with any interest in that.

I wanna know if any New Yorkers saw Pupy in Central Park. I wonder if the NY Times or others reviewed the show

The Spanish language hiphop thread seems to have been ignored sadly. Still not too many folks on this forum with any interest in that.

Not my thing either.

http://www.nytimes.com/2010/06/07/arts/music/07silvio.html?scp=1&sq=silvio&st=cse

The NY Times did review folky nueva trova Cuban singer Silvio Rodriguez who is touring the US for the 1st time since 1980. He's gonna be in DC the same night as Pupy y Los Que Son.

It's funny because I think Pupy's music is probably way more accessible to those of us who don't know Spanish than Silvio Rodriguez's, but I guess the latter has more name recognition outside of Cuba?

Not that Pupy's sensibility is that accessible to Americans (including me), but there's just more to latch onto there, by virtue of its being richly orchestrated dance music, than there typically is in guitar-oriented singer-songwriter type stuff.

Yep I'm with you on it.

I think you picked out the best two tracks.

Marco Torro is Venezuelan but hangs out in Amsterdam.

The Dimension Latina CD came out in early 2009 but everyone seemed to miss it. Oscar doesn't sing on the CD. I liked the space in the grooves, it reminded me of the feel El Gran Combo achieved on Arroz Con Habichuela - although the two CD's don't really compare in terms of overall quality.

I know we don't talk about Mexican music much here, but Juan Gabriel's new mariachi album is fantastically over-the-top. It's like Liberace meets Vicente Fernandez.

That Fuentes compilation has some real gems on it, a real trainspotters paradise.

I think Wayne Gorbea must have been listening to Afrosound when he wrote El Yo-Yo.

Killer

https://www.youtube.com/watch?v=CO1bBHgrAFU

This looks like an intriguing compilation, but then again most of the champeta I've actually heard hasn't done much for me:

http://www.cduniverse.com/productinfo.asp?pid=8203815

Since the late 1980s, DJs and producers have been reputed to be fierce protectors of their vinyl collections in their same way that bluesman Skip James ... Full Descriptionwas reputed to play facing sideways or with his back to other guitarists so they couldn't steal his licks. That said, the modern DJ has nothing on those from the picos (sound systems) of the Caribbean coast of Columbia who hid their rare, prized finds of African recordings (and the musical cultures surrounding them) secret for up to 20 years.

The 21 tracks on this stellar Soundways edition showcase the almost unbelievable musical quality that the highly competitive competitive showcased. Palenque Palenque traces the development of champeta criolla in Colombia from its African origins to its full flowering in the grand pico era between the mid-'70s and 1991 in Carategna and Barranquilla, among mainly Colombian musicians on important native labels that were played by the pico DJs -- who often tossed the covers away to protect the knowledge that recordings were made on home soil. Champeta criolla music reveals the rhythm collisions of everything from highlife and Afro-beat to soukous and compas as they influenced local musicians who in turn created new sounds, covered tunes by African artists, and made something new in the process or, in some cases, even re-created African folk and slave songs in their own image -- some of which literally dated back to earlier centuries. While there isn't a dud in the bunch, some of the album's many highlights include the psychedelic cover of Fela Kuti's "Shakara" by Lisandro Meza y Su Conjunto, here entitled "Shacalao"; Abelardo Carbonaó y Su Conjunto's celebratory, highlife-inflected "Palenque" (ever an envelope-pushing musician, he became a member of Anibal Velasquez's amazing orchestra); Rabel y Su Grupo's "Mananye"; the rhythm orgy that is Son Palenque's "Dame un Ttrago," the Afro-beat-meets-roots reggae snakiness of "Dejala Corre" by Banda los Hijos de la Niña Luz, and Wganda Kenya's overdriven "Pim Pom," where Nigerian rhythms, chant, and cumbia wrestle the listener into submission. In addition to the music -- all of which has been painstakingly remastered from original tapes or vinyl sources and sounds terrific, the accompanying 28-page booklet contains a brilliant historical essay by DJ Champeta man original, Lucas Silva, who compiled Palenque Palenque: Champeta Criolla & Afro Roots in Colombia 1975-91 with Soundways main man Miles Clerét. This is indispensable for any fan of African, Latin American, and especially, the music of the Caribbean coastline of Colombia.

I like whatever this is that you linked to, Marco. Is this from the Fuentes comp?

unperson, you should check out that last youtube linked Marco posted, I think you'd like it.

It's like Liberace meets Vicente Fernandez.

This sounds a little scary, but I might give it a chance if I'm in the right mood.

Listening to clips from the new India album again and I'm back to thinking it might be pretty good. The percussion seems to pop quite a bit.

"Future classic"--descarga.com is really going all out on this one. Maybe I'll end up getting it. The samples on descarga.com seem a little lengthier than the ones on amazon.com were (maybe I'm just mis-remembering) and it really sounds okay, and I'd love to find one mainstream salsa album to like from this year (although I'd settle for one salsa album of whatever sort).

Apparently Fania put out a previously unreleased Willie Colón/Ruben Blades concert from 1980 this week. They're calling it Siembra Live (naturally), but there are two tracks from Metiendo Mano in the set, too.

(My careless reading of) the descarga.com blurb made it sound like something that had come out before, but I did skim it.

There have been, by my count, already four varieties of the original release (the same album but with different added bonus tracks), and while it is interesting to hear the different nuances of a live performance as compared to the studio session, this listener found no truly magic "live" moments here. A few tracks seemed a bit rushed, and the persistent audience noise doesn't improve things.http://www.descarga.com/cgi-bin/db/24004.10?qHdiIdde;;412

I don't hate this, but I'm not sure how much I like it.

https://www.youtube.com/watch?v=Xrd5rBPkjpc

(Not sure this is going to embed.)

Parts of the chorus remind me of Eddie Santiago's "Lluvia" (of all things).

I don't hate that. I haven't listened to India in over a decade at least, but I might check that record out.

That's a cover of an Italian pop song (as I've just discovered thanks to youtube). It's worked before. Micky Tavares's shlocky but amazing "Mi historia entre tus dedos" comes to mind. One of my favorite songs from whenever that came out (early last decade anyway). In fact, I bought a cassette copy of the Italian original, but I couldn't get into it. I wonder if this whole album is covers.

(because some of the other songs clearly are covers)

Whoa, I hadn't listened to this track before (from that Discos Fuentes compilation):

http://www.dustedmagazine.com/reviews/5667

This is very up my alley as far as cumbia goes.

i moved out of manhattan to queens a month or two back in a primarily colombian + mexican neighborhood. there's multiple "mexican nights" throughout the week which basically mean taking your typical latin mix-up night and replacing most of the salsa tracks with cumbia. they've pretty much changed my viewpoint on tradtional cumbia (that it's not danceable - it's very much danceable and they take it seriously). been getting very much into the slower/dark tracks like the one above.

chico ye's reggaeton futuristico mix - some playero, dave nada, a remix of lorna's papito ven a mi [!], lots of good stuff.

i'd sort of glossed over the occasional mention of la excelencia in these threads and never got into them until i was looking at dancing on youtube and found a clip of one of the girls from my school dancing at a performance with one of the brass guys from the band who happens to teach dancing... which was kind of amazing and suggested his music would be too... which is pretty much the case i am all caught up now. also, i keep coming back to this performance:

https://www.youtube.com/watch?v=gw1hP8v-NgI

they're performing with el gran combo at the lehman center for the arts in the bronx tomorrow and i'm pretty bummed i hadn't heard about it early enough to get non-nosebleed seats. luckily they're from here so there'll be lots of opportunities to check them in more intimate venues.

god yeah, learning to cumbia is on my short-term to do list, once I get more established here (which hopefully is going to happen within the next year). Not that it looks particularly complicated, but I still don't know if I quite have it. I could probably just have a partner teach me the basic step, if I could find someone willing to do so. (Probably all I'd need to do would be to dance salsa and merengue with them for them to see me as worth taking their time to teach me cumbia.)

I downloaded a bunch of old Playero compilations lately. I haven't gotten to most of them, but some of them have interesting moments.

La Excelencia seem solid, but I still haven't been really wowed by what I've heard. Would definitely check them out live though. Also, it seems to me that I've heard some of the band members are good dancers as well, so this doesn't surprise me.

Ned Sublette has been writing in his e-mails about Pupy y Los Que Son. He emceed the Central Park show, and just wrote up the SOBs in NYC one:

Pupy y Los Que Son, Son were indeed all that last night at SOB's, as the
delirium of the late-spring Postmamboist music marathon continues.
Postmamboism differentiates between popular music (literally, of the
people, implying a tradition and historical consciousness) and pop (as in
soda -- presentist, consumed, replaced); this music is a near-perfect
balance of the two. The physical force of the band is such that it's easy to
tune out and let the music wash over you, but the deeper and more actively
you listen -- which includes dancing -- the more fine points there are to
hear.

I don't know how the muchachos sing at that intensity without a break
for that long, for that many shows, but their musicality is more impressive
than their stamina. The percussion is ridiculous. The horn lines are so
hip. And the compositions and arrangements, with my favorite: polymetric
sobremontunos, and yes, they sang "Un loco con una moto." (canta: <celular
que tira fotos>.) At one point Marc Quiñones, Bobby Allende, and Ralphy
Irizarry sat in on percussion, and in the second set Lisandro Arias and Flor
Urrutia took spells on Pupy's piano. It was nothing but love. Near the end
of the night, the coro sang in honor of promoter Rodolfo Pagán: "Señores, el
promotor es Pagán." I saw Ben Ratliff there, so there'll be a review in the
NY Times.

And here it is:

http://www.nytimes.com/2010/06/12/arts/music/12sob.html?ref=music

(I know I just drone on about this, going back and forth about it, but even Tranquilo Que Yo Controlo, far and away my favorite Pupy album, is difficult for me to get through or even get into much of the time. Still, I would probably go see him live in hopes that maybe the live performance would change how I hear the music.)

Someone was handing out postcards for the W. DC area Pupy show at the free Eddie Palmieri Latin-jazz band gig today. Palmieri and company were good--they were limited to a 1 hour set. Eddie's playing stuck to his more melodic side and I love the band--Brian Lynch on trumpet, Conrad Herwig on trombone, a bassist, and 3 percussionists including Jose Clausell on timbales. They're not breaking any new ground, but if you go for Latin-jazz with a touch of salsa it was worth it.

This is the city Shiina Ringo hails from!

https://www.youtube.com/watch?v=5E87B3t9cnY

(I'm still not mad about JLG.)

Cuba and Its Music author Ned Sublette does not like folks reposting stuff from his e-mails, so I will respect that from now on (but if you get his e-mails you will see he sent an interesting recent one about Pupy's show at SOBs and El Gran Combo in the Bronx and another one. Did not realize El Gran Combo's pianist leader R. Ithier is no longer able to play the piano). If you want to get on his list you can e-mail me for the info (he sends out alot of political stuff as well plus stuff about New Orleans).

for those in the area the dc salsa congress is this weekend at the crystal city hilton; for those not into the workshops during the day there's a load of performances and social dancing; i haven't been back home in ages so i'm going to have to fit some other things into the trip and will probably just be around for the saturday workshops.

There's also Metro Mambo at the Smithsonian Anacostia Museum with a filmmaker and Sin Miedo for free Saturday afternoon, Pupy Pedroso and band Saturday night, and on Sunday- El Gran Combo (great salsa band) ; 24 Horas; Grupo Mania; Hector Acosta El Torito; Diana Reyes; Ana Isabel; La Tenchis Celiber; La Máquina de El Salvador; Huey Dunbar(great latin-pop singer from DLG); Omar Enrique; Chino y Nacho at the Montgomery Cty Fairgrounds, Gaithersburg 1-800-321-9437

A busy weekend in the DC area

Pupy has some speedy fingers. He never soloed much, just kept the dance rhythms going. There were some very impressive salsa dancers there, who also did a cool line dance.

He doesn't do much soloing, from what I've heard, which is one reason I thought it was interesting to hear him do an extended solo in one of the cut on Soneros All Stars La Timba Soy Yo.

He has the skills to do so, but mostly chooses not to

So what else would you say about the performance? What were the vocalists like? Likes, dislikes?

Were they really doing a line dance (possible) or was it a rueda, circle dance? I assume you'd recognize if they were doing casino rueda, but maybe not? Because the kind of people who come out for Pupy could end up doing that, definitely.

Am I asking too many questions? Am I? Am I? Am I? Am I?

No, you're not asking too many questions, I just have been away from the computer (and I just have an old-fashioned cellphone) and I do not know as much about Cuban music and dancing as I wish I did.

They came on at 10:55 and played straight through, with barely any breaks between most songs till 12:15 am. They might have come on for a second set, but I wimped out when at 12:45 am they were not back on the stage yet (though the equipment was sitting there onstage). The three vocalists all alternated taking the lead. They were younger than most of the group. They sang but also did some chanting and kinda rap like vocals. I do not have any of their music so I can't compare anything to the recorded versions. A few shoutouts mentioning "Washington D.C." but my Spanish is not strong enough to understand 99% of what was said or sung. It was mostly just hardcore salsa/timba dance music with a few songs that had slower tempos (and one with a more offbeat structure) and emphasized melodies more. I liked when they varied things and I was wowed in certain songs when the percussion (cowbells!) took the lead. They had a strong 4-piece horn section, a keyboard(synth?) player, bassist, trap drummer, timbales player, and 2 other instrument-holding percussionists. To an un-discerning ear much of it sounded like salsa (as opposed to timba).

There was both rueda circle dancing going on and some line dancing. On the flatscreen tvs there they were showing flashy dancing from a Salsa Congress event, and a few folks there were trying to go for that approach. But the best dancers seemed more relaxed with less of a need to to jam too many fancy spins and moves in to their routines.

The room was crowded-200 people or so but certainly not as packed as many salsa gigs I have been to. The gig was advertised only to a Latino audience and there are not alot of Cubans in the DC area. I think the $30 ticket price might have scared some away (although after tickets first went on sale they then advertised them for $20 with a coupon via the internet). While that second New York City gig got them hailed in the NY Times, the Washington Post did not mention the show in advance (just the Silvio Rodrigues show going on earlier in the night). The only English-language mention in advance was my quickie Washington City Paper blog post Friday morning that mentioned Pupy, Silvio and Metro Mambo. Was busy today with my son and relatives on Fathers Day so I did not go to see El Gran Combo and Huey Dunbar and others out in Maryland or to any of the Salsa Congress events. An incredible amount of talent (both performers and dancers) were in the Washington D.C. are this weekend that's for sure. I really should find the time to take salsa dance lessons.

I could not find via google any reviews of Pupy's gig out in Oakland.

Ben Ratliff in his NY Times review of Pupy talks about "harmonically ingenious, syncopated guajeo patterns on the keyboards" but I was just reading something online that described these vamps and progressions as "montunos" when played on piano and "guajeo" when played on a tres or guitar

The room was crowded-200 people or so but certainly not as packed as many salsa gigs I have been to.

That seems like kind of poor turnout for such a major figure, but now that I think about it I'm wondering how many people were there for Los Van Van when I saw them in Philadelphia back in 1999. It may not have been more than 200, I'm not really sure.

Was just looking at the Facebook page for the Salsa Room, the club where Pupy played, and I see photos for the Tito Rojas show and there are many more people at that one. Other than the late Celia Cruz, who was based here in the US for awhile, I am thinking Cuban acts are not strong draws in the Washington DC area (I am not counting Buena Vista Social Club). When I saw Los Van Van a long time ago, they were part of a big crossover festival so it was hard to tell who was there to see them specifically. The Puerto Rican and NY Puerto RIcan and Colombian acts always draw much bigger crowds here

So Rudi you are apparently not the only one who finds certain aspects of the Cuban music approach harder to embrace. I do not know how or if ethnicity plays a role for native Spanish speakers from elsewhere in liking or not liking timba. Or the role politics has played in keeping Cubans from just being part of the Latin pop world.

I think it's pretty difficult to disentangle how much of it is group identity (especially Puerto Ricans mostly supporting their own) vs. simply stylistic differences (Puerto Ricans and mainstream salseros in the US being more comfortable and familiar with certain styles). (And as far as salsa goes, distinctively Colombian salsa definitely feels less different from PR/NYC salsa than timba does, although some people don't like the feel of Colombian salsa either and it departs too much from their expectations.)

On one level I have to admit it's satisfying to see such low turn-out for these timba artists, but it's also almost shocking to see the very top contemporary performers from Cuba draw such small crowds.

You "...admit it's satisfying to see such low turn-out for these timba artists." Hey, I do not listen to opera but I am not sure I would take joy in hearing that there was a small crowd for an opera performer.

I think the DC show was also advertised poorly and it occured on a very busy weekend--the DC Salsa Congress going on all weekend, and El Gran Combo on Sunday. 2 prominent DC salsa instructors who I have often seen at other big name appearances were not there.

Except for very big name salsa and reggaeton and pop performers, Latin music continues to be off the radar of most of the mainstream press and the hipster media as well.

You "...admit it's satisfying to see such low turn-out for these timba artists." Hey, I do not listen to opera but I am not sure I would take joy in hearing that there was a small crowd for an opera performer.

Yeah, but there's a rivalry involved here. Timba fans outside of Cuba have indulged in a lot of rhetoric that puts down salsa (not just the current state of salsa, but salsa in general) or at least holds up timba as this overwhelming force. Again, one of my favorite things to quote is the liner notes from John Armstrong's Salsa Timba compilation from 2002: "In Latinsville 2002, Timba is king. And these are the artists who currently share the crown, playing their most sought-after dancehall hits. Oh, yes: remember those traditional salsa dance steps? FORGET 'EM--Timba lets you improvise either alone or in pairs for threes or fours) within a salsa framework: the ultimate Caribean dance style!" But there is worse nonsense in online forum posts. Timba might as well be equal portions of The Next Be-Bop and the second coming of Jesus Christ, if you go by some of the ridiculous things many of its boosters have said.

(Although I would definitely rather see Pupy than Tito Drogas.)

(Meant to put offset that first paragraph as a quote but forgot.)

The timba geek crowd has said a lot of really snotty things about salsa. I don't think you've read as much of that stuff as I have. Albeit, some of them have mellowed a bit. And I thought I had mellowed a bit as well.

Oh ok, now I understand where you are coming from. And you have mellowed a bit on this.

http://www.bostonherald.com/entertainment/music/general/view.bg?articleid=1262907

Timba Land ..... A preview/interview of Pupy in advance of the Boston gig Tuesday night

FWIW, this was probably my favorite song off Tranquilo que Yo Controlo (and it's a lot more slammin' than the song linked to in that article above, imo):

https://www.youtube.com/watch?v=hZNqmCBUz_8

And this is still my favorite Pupy song, at least in the album version (with Pepito singing), which I can't find on youtube:

https://www.youtube.com/watch?v=9SySRdnQmWM

I guess you're right. I really don't have anything against the performers, just some of the fans. I forgot my truce with the timba community. . . (I am afraid a little pointless conflict is probably more fun at times.)

I like this song a lot too, despite certain mannerisms that bug me. The melody and harmonies have a real 70s soul sort of feel to them:

https://www.youtube.com/watch?v=BoX8ODOI23Q

(Oh, and this is Pepito who I just mentioned above.) I like the sweetness of the melody in this case, and then I like where the coro goes in the second half. I don't like Pupy's annoying cheap/chirpy keyboard sound (which dominates this whole album).

Anyway, I don't know music theory but it just sounds like it's making moves you would not typically hear in Anglophone popular music since the end of the 70s.

Some of this stuff I'm linking to for the first time because it wasn't there when I looked for it previously.

(So please listen and comment!)

Inexplicably, I even started a thread about that last one:

Am I crazy &/or does the chorus on the first part of this Cesar Pupy Pedroso song sound a lot like something George Harrison would write, specifically, and other parts, a lot like a million 70s pop s

with predictable results. . .

I don't know why I was specifically thinking George Harrison, except I think everything that week was reminding me of solo George Harrison or solo John Lennon.

High on Excedrin Migraine again.

I like this. I think I'm gonna have to order some CDs:

http://www.youtube.com/v/BoX8ODOI23Q&fs=1&hl=en

Tonight I will try to get back to you on some of this. Hopefully fauxmarc will post later regarding his DC Salsa Congress weekend, and he and others can chime in re Cuban timba. If anyone saw El Gran Combo lately that would be cool to hear about too.

India's new album is streaming on her myspace. Her voice definitely sounds more worn and a little rougher than before, but I think she's using it better here.

Since I'm disconnected from all media (give or take everything available on the internet), I hadn't realized two songs from the new Ivy Queen CD are already out. These both sound okay, but not too exciting. The first is just an intro to the album.

https://www.youtube.com/watch?v=EZzPTlVEQSg
https://www.youtube.com/watch?v=BrbhphHzenA

x-post--George Harrison....hmmmm, let me listen to it again.

I see no evidence of a Beyonce guest spot on the new Ivy Queen album. I bet there is an interesting story behind that (or maybe not--maybe it was just an issue of money, or competing label claims, etc.).

Part of that second Ivy Queen song sounds exactly like some other song, possibly an English language one. Pretty sure it's something uber-poppy.

Her voice and phrasing has never completely wowed me, although there are some songs I like.

So I posted this on the Rolling Global thread, but it works here too:

From a press release I received:

In 1996, a group of Mali's finest musicians were due to fly into Havana for a speculative collaboration with some of Cuba's most brilliant singers and instrumentalists. For reasons that have never been made clear, the Malians never arrived. A very different album was recorded: Buena Vista Social Club. Now, World Circuit Records' Nick Gold, the man behind the 1996 venture, has brought the original invitees together and the great lost Afro-Cuban album will be released 14 years after originally planned.

Go ahead, make NPR and Dad-music jokes but I think this could be good -- musicians on it include --singer and guitarist Eliades Ochoa, ngoni lute master Bassekou Kouyate, Rail Band guitarist Djelimady Tounkara, Grupo Patria, kora genius Toumani Diabaté, legendary Malian griot singer Kasse Mady Diabaté and balafon player Lassana Diabaté.

Hey GPS who e-mailed me for Ned Sublette's contact info. For some reason my e-mail to you bounced. Lets try this -- you can request to get on his e-mail by contacting him at ned (at) qbadisc dot com

Come on, part of Ivy Queen's "La Vida Es Asi" sounds a lot like some other pop (in a broad sense) song. What is it? Someone else has to know this. Maybe reggaeton, maybe R&B, maybe pop.

I do not hear a specific pop song that I can name when I listen to that Icy Queen tune. Maybe someone else can.

Me either. It just goes from generic reggaeton to generic bachata.

It looks like mp3latino has finally been shut down. RIP.

aventura performing on lopez tonight... tonight

How was the DC Salsa Congress? Were you at Pupy Pedroso?

the congress was good, i only ended up at the daytime workshops though, am a bit notorious for not social dancing outside of class / performance-oriented things as much as i should. saturday afternoon actually got back from the workshops around 6, met up with some friends at a bar, went back to bed for a "nap" around 9 with plans of going out but didn't wake up until 4am.

$75 for victor manuelle tickets at bb king blues club in times square

Ouch. Although I am guessing that club is usually expensive.

$75 for Victor Manuelle? Haha. Thanks for that, that made me laugh a little, and not much makes me laugh at the moment.

I've never understood the degree to which you dislike Manuelle. To each his own I guess.

i'm fine with manuelle (not a huge fan but will revisit every few months), but always find ticket prices that high for anyone comical

I've never understood the degree to which you dislike Manuelle. To each his own I guess.

Actually when I first started posting here, I was defending him. I'll still defend his early recordings to some extent and maybe bits and pieces here or there, but I think seeing him on TV made me more annoyed with him. I just find his persona too cloying. The longer I've listened to him, the more unbearably phony he sounds. I know this is very subjective, but the emotional tone seems off. I've given him so many chances to redeem himself (in my eyes) and I've been consistently disappointed in the last decade.

I also don't like lots of other things in his music. He writes much of his own material, and I don't think he's a good enough songwriter to do that. I've commented more specifically in the past about things I didn't like about the arrangements or coros, etc. in different songs. I am not interested enough to revisit that music and comment more at this point (not that anyone was asking me to).

Incidentally, fauxmarc, I finally heard El Cangri.com and I mostly like it, but not nearly as much as you obviously do. Mundial is my favorite album of his so far, which I'm sure plenty of people would find a bit perverse on my part.

I am guessing that club is usually expensive.

You would be wrong. When I go to metal shows there the ticket price is $20-30. They only jack it up when they think people are dumb enough to pay it.

After listening to the new India album a lot more from her myspace, I think I have to stop trying to convince myself I like it. Again, these days when it comes to finding new music I like, I find I have to cast a wide, eclectic, dilettantish net.

colombian salsa band la-33 playing lincoln center saturday evening

hadn't heard of them but i hear this song about a lot

https://www.youtube.com/watch?v=xZYO6geOab0

didn't go but seems like it was great

https://www.youtube.com/watch?v=Yja4yr4FdUs

hadn't heard of them but i hear this song about a lot

We have talked about them, actually.

Marco likes them. Jordan (who doesn't normally post to this thread) liked something he heard by them, though I'm not sure he followed up at all. (That's brass band Jordan not J0rdan.)

Now in his 10th year at Midsummer Night Swing, Mr. König will give the lesson on Friday before the salsa band La Excelencia hits the stage. “Even if you don’t learn all the technical parts,” he said, “you can have a fantastic time. It’s beautiful dancing outside and feeling the energy of everyone around you. When you do salsa, it’s only you, your partner and the music. If the connection works between the two of you, you’ll feel like you are floating on a cloud. Nothing matters but sharing that magical moment.”

From a Sunday NY Times articles on dance instructors for the Lincoln Center's Midsummer Night Swing series. It seems to me you have to practice alot before you can have that magical moment. As good as the music might sound, if you're dancing and worrying whether you're doing the steps right, the arms right, and that your partner is comfortable, then it's hard for it to be completely magical.

One more NY Times thing-- Pareles on the Latin Alternative Conference thing just held there:

http://www.nytimes.com/2010/07/09/arts/music/09stage.html?ref=music

He too likes Chilean rapper Ana Tijoux, who has been mentioned over on the Spanish-language rap thread.

I thought about going to see La 33; I reviewed two of their albums for All Music Guide and liked both.

It seems to me you have to practice alot before you can have that magical moment.

nah you're not required to get fancy, as long as you're into the music and having a good time you can get away with nothing but a basic all night

la excelencia on featured on ny1 today

also performing at lincoln center this evening

(interview in spanish)

also, univision beat the other big 4 networks last night by 14% with the premios juventud

For those who need more inspiration to check out the Jowell & Randy album (not that I expect this track to be universally popular by any means):

https://www.youtube.com/watch?v=mI_U2zc_o30

Includes Wisin guest spot.

Actually the album peters out after the first five or six tracks, though there are some okay spots after that.

& we're back to mostly nobody actually talking to one another and I'm as guilty as anyone. (Just have nothing to say about recent posts.)

Yea,J & R sound good in doses.

So is Shakira the new Paul Simon re afropop and stuff (check out the end of this medley)---here she is on that Juventud award show--

http://www.yidio.com/shakira-en-los-premios-juventud-2010-hd/id/712615830

From a Univision press release on the Forbes business wire site:

With 28 unconventional categories, "Premios Juventud" is the only awards show on Spanish-language television that celebrates the preferences of this country's Hispanic youth. Puerto Rican superstar Chayanne, as well as kings of bachata Aventura were this year's top winners, each taking home three awards. Chayanne won for "Best Moves," "Favorite Pop Star," and "My Idol Is" and Aventura for "Catchiest Tune," "CD To Die For" and "Favorite Tropical Artist." Wisin y Yandel and regional Mexican artist Espinoza Paz also won multiple awards, each taking home two statuettes in their respective categories, Wisin y Yandel for "My Favorite Concert" and "Favorite Urban Artist" and Espinoza Paz for "Favorite Regional Mexican Artist" and "Red Hot Artist."

Wy Y w/ J y R on that show:

https://www.youtube.com/watch?v=N0kSAlZ6RF4&feature=related

I think that's too youthful for me.

What's with the a cappella rapping? Can do without that. "Loco," the song Jowell & Randy go into, is not bad. Another one along the lines of "No Te Veo."

in spanish: proposal to rename merengue de la calle to electromambo to drop confusion

lol

Oh yeah, everyone who doesn't follow this stuff closely will know exactly what that means.

Now I'm once again thinking I want the new India album. I am a will-o'-the-wisp about it. Every opinion pro and con influences me, but that's because I'm so on the fence to begin with. It definitely sounds pretty solid, but some of the same things I have long been (at best) ambivalent about in India's music are still there. If I get out dancing this year, I will probably get hooked on some of these songs. (I can hardly imagine them not getting played.)

Listened to the new Gilberto Santa Rosa album today. Didn't like it much; way too many '80s synth presets (one song had a really nice Hammond organ sound, though). Also a super-gooey duet w/Kany García. I'm sure his existing fan base (of which I am not one) will dig it, though.

I haven't even tried to preview the GSR. I can pretty much tell from brief samples that I'm not going to like it. He's capable of good things, but the sheer amount of shlock he puts out makes it harder and harder to take seriously his salsero bona fides.

I have no problem with club-oriented salsa per se but the whole genre is in such a sorry state.

This "sorry state" is because:

1. Not sure how to adapt to club-oriented reggaeton?

2. Old guys and old producers trying to do club-oriented sounds is not relevant?

3. Schlocky pop aspects are not worty the way pop aspects in club-oriented salsa once worked?

4. genre needs new blood vocalists, producers, etc.

5. something else?

Just askin...

blame bachata?

'80s synth sounds?

i'm not sure what club-oriented means in this context - listened to some of the gsr, didn't like it but i've never really been into him, what i usually hear ends up being romantic rather than salsa dura

also, re: new blood vocalists - i'm upset to find out gilberto velazquez + la excelencia parted ways ; he's still around, currently on tour with the "our latin thing" fania tribute show but hope he won't be hard-pressed to find a new band to be in that can put out like la excelencia can.

I just hear it, I don't know what the cause is, but I think genres can have "best before"-type expiration dates, after which it's hard to find anything good.

I mean "club oriented" pretty broadly to include the main vein of things since some point in the 80s. In the 70s, you had a lot of album-oriented material that was not as focused on being a hit on the dance floor I think.

i've finally started paying attention to lower east salsa, i see them mentioned around the city but hadn't really heard them before

https://www.youtube.com/watch?v=N5qzqc4TXHA

looking for info on them led me to this newish podcast of a richmond radio show, the other black music

I'll be able to see Ocho y Mas next weekend as part of a salsa (food & music) festival in the Old Town part of Albuquerque. I'm not into them in a big way, but we don't get bands of that caliber here very often. Aside from maybe Son Como Son, who play a timba-inflected version of salsa that I'm not into, the salsa bands here don't have the level of professionalism I'm used to from Philadelphia. Anyhow, it'll probably be great. And if I actually lived in New York and saw these bands playing live on a regular basis, I might be more enthused about them than I am basing my judgment just on their recorded outputs.

don omar's upcoming single is "danza kuduro"

https://www.youtube.com/watch?v=KfvJylZumzQ

The snippet is appealing. It doesn't sound like typical Don Omar to me, sounds kind of new (but in the soca-like vein of some other reggaeton).

yeah i've got random thoughts in various directions on this one - i follow the entire (dubstep / global ghettotech / uk funky / bass music / whathaveyou ) scene, of which kuduro is a fairly popular co-opt at this point (even mia did vocals on that buraka som sistema track "sound of kuduro")

so my first instinct is to say "DON'S RIDING THE WAVE" but then that's ridiculous because of course he's already got mad latin and probably portuguese influences + connections irrelevant of trends in some dance music genres.

in the end i think the beat is catchy (despite feeling ridic watered down), and hate the autotuning per usual.

there's a thing in the washington city paper blog on fuego as an unknown dc reggaeton star - although i don't think he's really known as much for reggaeton as he is for mambo collabs with omega el fuerte (on super estrella and mi alma se muere with pitbull). his album recently dropped and it's not bad, well produced, mostly hip-hop, r+b and the spread of latin urban fare, a remix of serani's "no games"... what surprised me was the salsa track on it that i'm pretty into (pardon low yt quality)

https://www.youtube.com/watch?v=_7V5o8zLH6o

i follow the entire (dubstep / global ghettotech / uk funky / bass music / whathaveyou ) scene

In that case, you could explain the similarities all better than I can, since I don't follow it. Everything I know about it I pretty much know via ILM and I don't hang onto every word about it here either. I like the basic rhythmic approach to UK Funky but I generally am turned off by the vocals.

Checking out the Fuego now, and I kind of like it. I think I like the color of the vocals more than the instrumental part, but it all works together fairly well and I will give it at least a few listens, I'm sure. The coro is turning borderline timba to my ears, but I'm still liking it.

Oops, forgot quote tags.

I like the basic rhythmic approach to UK Funky but I generally am turned off by the vocals.

understandable, it's a hodgepodge of stuff and while someone might look to it for the soca / afrobeat / etc influences the vocals tend to come from sampled 90's r+b vocals or uk grime / garage which aren't necessarily compatible to people's tastes

since posting i've actually fallen hard for fuego's release, listening to it all the way through even

Listening to Fuego's myspace now and this mostly sounds pretty good to me. I will probably get an actual copy of this. I think I might have heard the one with Deevani last year, but it's sounding better at the moment.

Incidentally, I had forgotten kuduro was even a genre in its own right, so that didn't click when I saw the Don Omar track.

Whoops:

http://www.cduniverse.com/productinfo.asp?pid=1066612

I'm checking out the Fuego album now and I wish there were less of the amorphous vocoder mood music, but there's still some good stuff here.

I see that Fuego's bio on his myspace site says that his dad was a musician and that Fuego grew up with salsa.

He's in DC. Have you ever written him up, as far as you can remember?

I ran the one salsa track by a timba expert and she agreed that the coro sounds timbaesque (which is somewhat noteworthy is a straight up salsa track with very Dominican, mambo de la calle (or whatever the term is) -influenced vocals).

Nope. The bio says he worked with the late DC area Dj Menace (who died in a car accident). I have a kind of vague recollection of Menace's name. The guy who wrote that City Paper blog post usually does a bunch of their rap coverage.

Larry Harlow's unique "La Raza Latina, a Salsa Suite," a 33-year-old album that has never been heard live in the city will be performed Aug. 14 at the Lincoln Center Out of doors festival. The 32-minute opus will come to life with 50 musicians, including Rubén Blades as the lead singer

Bobby Sanabria's group is opening this free show in NYC

I don't have that album

http://www.nytimes.com/2010/08/14/arts/music/14harlow.html?emc=eta1

Larry Rohter's NY Times article on Harlow in association with this show:

That was one of the last titles re-issued by Fania/Emusica. I think it's pobably still around at a reasonable price, but maybe not. I never bought a copy myself, though it was on my (lengthy) list.

I saw Harlow with that Legends band a few years back. A good show from a guy who melds his longtime performing chops and showmanship with his own skills.

via an e-mail I received--another Harlow retro show, this time on Aug. 30th at Yoshi's in San Francisco--

Arturo O'Farrill, of the Afro Cuban Sextet, will lead a recreation of the 1961 album of "Yiddish favorites in Latin tempo" in its entirety. Featuring the legendary Larry "El Judeo Maravilliso" Harlow, Wil-Dog of Ozomatli, Jeremiah Lockwood of The Sway Machinery, Tijuana alt-rock singer Ceci Bastida, and an amazing backing band of local musicians- including Ethan Miller (Comets on Fire), Sandy Perez, The Avance Horn Section, David Flores, Saul Sierra, and Louie Romero. PLUS THE BURTON SISTERS will perform on stage together for the first time 55 years!
The show starts at 8pm at Yoshi's ( 1330 Fillmore Street) and tickets are $18.

Because I'm listening to some old La Perfecta: I still can't believe how long it took me to get to like Ismael Quintana's vocals.

http://www.nj.com/entertainment/music/index.ssf/2010/08/after_a_stint_in_politics_rubn.html

Ed Morales talks to Ruben Blades about his plans for the future and the Larry Harlow thing

Fania Codigo has just re-re-issued La Raza Latina:

http://www.descarga.com/cgi-bin/db/12483.10?UeDv2RDg;;414

while my landlord stomps around heavily on the roof (probably working on the air conditioning unit again)

Guess I need to buy some of this stuff before it goes out of print again again.

Although I don't know. . . I'm a little worried that this thing is marred too much by the excesses of some idea of the progressive. A lot of the late 70s salsa stuff goes a little too far in that direction for my current taste. Too much of a jazz-fusion influence at times. I doubt that I wouldn't like most of the album though, so it's probably worth picking up (at some point).

I think I like this Fuego album more when I let it just play in the background and don't pay super-close attention to it, which may be good enough, since that's how I listen to a lot of things anyway. I like "Me Gustan Todas" in particular. Horrible rip, but the only one I see (for the version from the current album):

https://www.youtube.com/watch?v=BN1S9zQes3g

(I tend to be a sucker for tributes to all the mujeres of Latin America type songs.)

Oh nice, it also cuts off before the song is over. Why bother?

re: fuego - despite being from the dc area i doubt he's had much hype around there, i mean it didn't even get its (single) latin urban station until a few years back, i can't see there being much of an opportunity to get word on local artists out. i can see him probably having done most of his work and collabs elsewhere, nyc in particular - the label he's on chosen few (known for reggaeton with lots of dr + pr connections)'s ceo boy wonder is based out of queens, and fuego was part of the dominican day parade up here a few weeks back.

I don't like charanga much, but this reissue sounds incredible (based on audio clips, not description):