Salsa: The Untold Story 27:00 Minutes

El Extreme Luis Chaluisan Salsa Magazine 6,210 members (158 new)


Salsa The Untold Story News Documentary WBGU TV L.f. Chaluisan Batlle
Salsa From The Cloud-Free Download
Salsa: The Untold Story 27:00 Minutes
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Featuring Segments with:
La Lupe and Tito Puente New York
Los Dos Y Companeros: Munich Germany Rafaelo Parejas
Orquesta Orq Espada: Hartford Ct. Tony Gonzalez
Orquesta SCC: New York City Jose Cofresi Ron Renaissance Jesse A. Alfonso
La Gran Orquesta El Extreme Albany, NY
Triptofin: Tucson, Arizona
Directed by: Maria Hernandez
Written by: l.f Chaluisan
Narrated by: Luis Chaluisan
A WEPAwebTV – New Edge Theater- WEPAwebTV Roughrican Productions News Documentary
Also streaming on:
The common theory is that SALSA was coined by a South American Disc Jokey to describe the new swing in Latin Music being created by NYC Puerto Rican musicians in 1966 but in our research for “SALSA: The Untold Story” we have discovered that the initiation of the term is a bit more organic.
During the late 30’s while the Hispanic community was sprouting in Spanish Harlem, Gabriel Oller, proprietor of Tatay’s Spanish Music Center on the corner of 110th Street and 5th Avenue remembers shouts of “échale pique, caliéntalo, menealo que se empelota…” used to describe the thrilling Afro-Cuban dance rhythms of rumbas and guarachas.
Salsa remained dormant until 1962.
Eddie Palmieri and Ismael Quintana use the term during 4 opening choruses in the song “RITMO CALIENTE” to describe the rhythm La Perfecta is playing on Palmieri’s first Alegre release in 1962 Produced by Al Santiago.
In 1963 Alegre Records released Charlie Palmieri’s charanga LP Salsa Na Ma. In the Heny Alvarez tune Salsa Na Ma, the chorus of Victor Velasquez and Willie Torres suggest that when they dance with their partners it is Salsa na ma…Que cosa rica (a joy).”
Al Santiago’s liner notes described the music as salsa when he wrote “La Duboney (Palmieri’s band) is a musical aggregation that functions as an individual unit and possesses that all important ‘sauce’ necessary for satisfying the most demanding of musical tastes. It is for this reason that this LP album offering is titled Salsa Na Ma.
When Eddie Palmieri made La perfecta, his first solo record, in 1962, he’d spent years paying dues in New York’s finest mambo big bands, serving the needs of discerning dancers. The pianist and composer borrowed ideas from those bands, added dashes of jazz irreverence, and convinced an unflappable young singer (Ismael Quintana) and a bunch of precision-minded instrumentalists to join what he envisioned as a highenergy combo. The group quickly evolved into a perfectly proportioned rhythmic juggernaut; its aptly titled debut endures as one of the most exciting in the history of Latin music.
It’s also one of the most influential. Palmieri’s terse arrangements feature trombones as often as trumpets, frequently with a flute on top. That alignment, which makes the seven-piece horn section seem as robust as a big band, was borrowed by countless salsa stars of the late ’60s and ’70s, among them Willie Colón and Héctor Lavoe).
As often as it’s been copied, there’s lots about La Perfecta that remains untouchable. The ensemble executes everything with unsurpassed unity, and when one musician steps out for a solo—in addition to electrifying turns from Palmieri, this album contains swaggering hall-of-fame ad-libs by trombonist Barry Rogers—the others provide assured, steadying support. No tune here lasts more than three minutes, and as a result, the solos are usually abbreviated. That doesn’t mean they’re not potent: Cue up “Conmigo” or “Ritmo caliente” to hear Palmieri, the jazz daredevil, dispensing jolting, syncopated chords as though he’s trying to give dancers conniptions. On later records, Palmieri would elaborate at much greater length; the solos here offer thrills and spills in short, super-concentrated bursts.


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