Ironically, El Gran Combo turn in quite a memorable effort with Amame, despite the romantic/erotic wave that was hitting the salsa trend in the late '80s. Rafael Ithier wisely used arrangers Louis Garcia and Ernesto Sanchez to add extra color and variations to a firmly established sound. The title tune, "Aguacero," "Brindis a la Vida," and "Todo Bien" are gleeful tunes, the antithesis of the not-so-durable erotic trend that evolved into a strictly romantic styling. An interesting variation of the familiar, tastefully done

Cayetano César Concepción Martínez, (1909 1974), was a Puerto Rican musician and composer, who brought the music of his native land to Latin American ballroom dancing, and ballrooms all over the world. He popularised the plena as a Latin song style. Concepción was born in Cayey, Puerto Rico, and was a noted composer of his time, writing music based on contemporary Puerto Rican scenes and vistas. He wrote several plenas, mambos, and salsa songs to honor cities such as San Juan, Mayagüez, Ponce, Yauco, Salinas, and Santurce. In addition, he directed his own orchestra for 25 years. He died in Río Piedras, Puerto Rico. The orchestra continues to perform in the present day, often playing in prominent Puerto Rican social circles. Date of birth: May 18, 1921 Location: Manhattan, New York (USA) died on November 13, 1980 in Santurce. Revered as one of the best boleristas Antillean of all time, Joe Valle is remembered, especially, for his brilliant career as stellar vocalist César Concepción Orchestra (1947 - 1954) and for being one of the most splendid representative of Hispanic art scene that took place in the square during New Yorker 50s and first half of the 60. This unique performer, whose real name was Jose Elias Marrero Valley, was the son of Joseph Elias from Bayamon doradeña Valley and Bethlehem Marrero. He was raised in the home of a maternal uncles in the area of La Parada 18 in Santurce. He attended elementary degrees Alejandro Tapia School, secondary, at Central High School. At age 14 (1935) tried his hand Industries native art program, which produced Chirino Cordova brothers and encouraged them WNEL radio station, which had just opened. Later took classes in music theory and piano, having been a pupil of the eminent maestro Manuel Barasoaín Julbe. Although at various stages of his life also consider vocalization techniques, as a singer was basically self-taught. At 17, he joined the outfit Casona July, which he shared with another young performer intended to legend: Juan Ramon Torres

Late in the '50s, Alegre label-head Al Santiago was inspired by the loose, funky sound of the live-in-the-studio Cuban Jam Session LPs on Panart (led by Julio Gutierrez and Nino Rivera), so he organized a similar session with Alegre friends and family, hereafter known as the Alegre All Stars. The music is completely unrestrained charanga and salsa, packed with excellent jamming, infectious singalongs, and, on several tracks, lengthy intros revealing the atmosphere inside the studio (pouring drinks are unsurprisingly the most-often-heard sounds). "Estoy Buscando a Kako" ("I Am Looking for Kako") is a delightful romp; the players repeat a variation of the title preceding each soloist, working their way to the end of the line with Kako himself taking a solo on his timbales. Just this side of anarchic confusion, but with surprisingly few missed notes, The Alegre All Stars is a legendary date -- and certainly one of the few records ever released that credit a bartender.

El Gran Combo's third self-produced album brought "Julia" (composed by Yin Carrizo), one of the band's finest moments, superbly performed by Andy Montañez. "La Ley No. 10," "El Hijo de Juan," and "La Piquiña" continue their affably relaxed musical style. Vocals are by Montañez and Pellín Rodríguez. Another grand slam by Puerto Rico's top salsa band.

Efrain Rivera Castillo, 1925, Mayagüez, Puerto Rico, d. 12 March 1978, Manhattan, New York City, USA. Band leader, singer, composer, multi-instrumentalist Rivera was a pioneer of the trombone front-line in Latin music; some say he was the pioneer, whereas others maintain that Eddie Palmieri was the originator. However, it is probably their record producer at the time, Al Santiago (founder of Alegre Records), who deserves the credit. Whoever it was, the all trombone sound influenced band leaders like Willie Colón and others, and has been described as the symbol of urban salsa. Rivera was known as ‘El Rey del Trabalengua’ (The Tongue Twister King) because ‘... his improvised quips would delight fans with his clear enunciation of rhymes and alliterations conjured up at bullet speed and perfectly weaved in the timing and circumstances of the music’ (quote from Aurora Flores, 1978). Rivera was always closely associated with the plena and bomba forms of his island of birth. His father, Ramón Rivera Alers, wrote popular plenas. Rivera began his professional career at the age of 16 and joined the band of William Manzano. He was also a professional baseball player and played with Los Indios in Mayagüez between 1943 and 1945. In the early 50s, he relocated to the USA with the band of Héctor Pellot, which was later led by Moncho Leña. After Leña disbanded, he organized his own band with its famous trombone front-line. His debut on the Alegre Records label, Que Gente Averigua, contained the delicious instrumental ‘Lluvia Con Nieve’ (Rain With Snow), which Mon composed himself. No musician credits were given on the sleeve, however the album’s producer, Al Santiago, revealed that a stellar line-up had been assembled for the recording, which included Charlie Palmieri (piano, eight tracks), Eddie Palmieri (piano, two tracks), Kako (timbales), Barry Rogers, Mark Weinstein and Manolin Pazo (trombones). Rivera had a big hit with the self-penned ‘Karacatis-Ki’, a plena dengue, which was the title track of his first volume on Ansonia Records. Rivera’s 1975 collaboration with Willie Colón, There Goes The Neighborhood/Se Chavó El Vecindario, helped connect him with the younger Latino audience. He arranged the hit track, the plena ‘Ya Llego’. An impressive line-up was congregated for the session, including Lewis Kahn and Jose Rodrigues (trombones), Papo Lucca (piano), Kako (timbales and conga), Rubén Blades and Héctor Lavoe (chorus). ‘Mon was not immortal and fell victim to the vices of life. But in his realization, he struggled and became free of the ‘monkey’ that sucked at his lifeline’, wrote Aurora Flores, in that typically oblique manner found in accounts on Latin artists. He died, in his Manhattan residence on 12 March 1978, from a heart attack. The posthumously released Forever, was produced by Johnny Pacheco. In addition to singing lead vocals and composing one track, Rivera shared arranging chores with Colón and Ernie Agosto.

Sonia Lopez is a Puerto Rican percussionist specializing in the Congas. Born in Puerto Rico and since childhood learned to play the piano and bass in the school band. Candito( her Dad )forced her to study saxophone with the renowned Puerto Rican musicians Antel "Lito" Peña, one of the founders of the Pan American Orchestra in Carolina. She was attracted by the congas and practiced in secret from his father because he thought it was not a suitable instrument for a woman, but had to yield to the insistence of her daughter. Only two he got his high school graduation consisting of four courses. At 16 she married the musician also Radames Romero to the chagrin of his father which rival for years in getting contracts with the best theaters.

Born in a village south of Puerto Rico called Guayama ,childhood development in the humble town of Olympus and Capo Lenias both villages of his native Guayama .
Following his studies , Chamaco always had the concern that we all enjoy music .
Chamaco listened again and again drives the Guayama radio station played daily while singing along to the radio.
Achieving memorize all those songs which formed the basis for learning to do today what you do best and become one of the most beloved singers of the Island of Enchantment .
At age eleven , she made her first appearance as a soloist with the set of Alfonsito Oillot of Guayama , in a village festivals in Olympus.
There was very well received by an audience that gave him strength and courage to begin his long career as a singer.
It is also a faithful listener of the recordings of Tito Rodriguez, Rafael Muñoz Orchestra with Jose Luis Moreno as Felipe Rodriguez.
Chamaco moved to New Jersey, where the age of majority and got different jobs , but his interest in music was even greater.
That's why I happened to be one of the founders of the New Jersey Swing Combo and got to know the major platforms .
With this success , he moved to New York where he began to sing with the orchestra Sonora Casino, Nelsón Feliciano, Conspiracy and amount at the top of his profession when the teacher discovered Willie Rosario .
Willie Rosario is where it starts to reap its fame .
Immediately , Chamaco Rivera becomes the lead singer of the orchestra and popularize the unforgettable theme " working class neighborhood to the fifteen " an international hit .
                                                                                   

The out of print collection series are albums recorded over 3 decades ago from swinging Latin Orquestas in the genres of Latin Soul, Salsa Dura and Boogaloo that were never released on CD and neglected because either the music is too archaic and not marketable in this current
generation of 2006. Many swinging classic Salsa albums were never released on CD due to the disappearance of the master tapes. Some of the surviving master tapes are too old and never properly preserved.

Most of these Latin Orquestas were forgotten or not remembered by Latin music enthusiasts due to lack of airplay on mainstream radio today. Years ago, consumers who purchased these albums discarded their classic albums in the trash. Who would have ever thought 30 years ago

Latin Soul Records presents another rare Salsa Dura gem, the second OUT OF PRINT COLLECTION Series with more to come, the album that you probably have thrown away in the trash, digitally remastered by DigiTech Studios exactly how it was recorded in the 1971, the exact front cover how you remembered it when you first purchased it 35 years ago, originally recorded on the short-lived independent record label Ghetto Records, PAPO FELIX MEETS RAY RODRIGUEZ.

Each track is filled with clave, mambo and swinging salsa dura, the way Salsa music should be. This is also known as STREET SALSA, also known as Underground Salsa.

This is a nice '73 Puerto Rican salsa release that features a variety of styles. I liked the vocalization on "Mienteme." (BP, 2001-03-09)

Puerto Rican Gilberto Santa Rosa, known as "El Caballero de la Salsa" (the salsa gentleman), turned into a more intimate and romantic style with Viceversa, one of his most ambitious projects produced by José Lugo. Anticipated with the hit single "Por Mas Que Intento," written by arranger/producer Kike Santander, this 13-track album features the sentimental and highly emotive bolero "Si Te Dijeron," composed by Victor Manuelle, and "No Pensé Enamorarme Otra Vez." In addition, this full-length record delivers a passionate ballad titled "Por Más Que Intento," and Domingo Quiñones' "Como El Que No Quiere la Cosa." However, Viceversa mainly comprises salsa, the popular tropical dance music style that made Santa Rosa one of its biggest stars.

Although Tito Puente (1923-2000) recorded more than 100 albums in his long career, “Homenaje A Beny” stands out as the recording that gave him the first of his five Grammy’s. From the late 1940’s to the 1960’s, Puente fueled the great mambo era and helped to popularize the cha-cha. By 1978, Puente had already been proclaimed the King of Latin music. He could have retired at that time, but nothing ever stopped Tito!

When Puente recorded “Homenaje A Beny” in 1978, he was paying homage to one of the top Afro-Cuban bandleaders and soneros (singers) of all time. Beny Moré (1919-1963) went with Conjunto Matamoros to Mexico in 1945, where Moré later recorded with Perez Prado. In 1950, Moré returned to Cuba to form his own band. By 1954, Moré was immensely popular in Latin America. Moré decided to stay in Cuba after the revolution. Unfortunately, Moré died at the young age of 43 and never had the opportunity to record in the United States. However, Moré had an undeniable influence on the singers who came to be the part of the golden age of salsa in New York. Moré was gifted with a unique tenor voice, and the ability to master, with great phraseology and expressivity, all the genres of Cuban music.

The songs selected for “Homenaje A Beny” are some of Moré’s most memorable interpretations. Some of the lyrics in the songs are autobiographical in nature. For instance, “Santa Isabel De Las Lajas”, is the name of the small town in Cuba were Moré was from. With “Dolor y Perdón”, Santos Colón honors, in his vocal interpretation, the tenderness and direct emotional appeal of Moré when he sang boleros. Ismael Quintana exhibits the vocal sabor and dominion of improvisation that he inherited from Moré in “Francisco Guayabal”. A high point of this album is the beautiful unison and dialog between Cheo Feliciano and Celia Cruz in “Encantado De La Vida”. In their many soneos (improvisations), all of the singers in “Homenaje A Beny” make explicit references to Moré. This is especially so in the opening number “Que Bueno Baila Usted”, where each singer takes a turn at trading improvised phrases. This sort of exchange was a common and exhilarating practice by soneros in many of the memorable Fania concerts. It was only fitting that, after the immediate success of “Homenaje A Beny”, there was a corresponding concert in Radio City Music Hall.

Since “Homenaje A Beny” was a tribute to a sonero, the album showcased soneros. Such a showcase, however, did not keep Puente from executing short and tasty timbales solos throughout the album. To record, in 1978, with a 16-piece orchestra was very unusual. Most salsa bands saw practical and musical advantages in limiting their horn section to four. Yet Puente shared with Moré a preference for a big band sound. For “Homenaje A Beny”, Puente organized a line-up of four trumpets, three trombones, four saxophones and a full rhythm section with many of the musicians who had been with him since the 1950’s.

“Homenaje A Beny” is an album that has a very special place in the history of Latin music. By producing a full, big band line-up (characteristic of the 1950’s) to back some of the best soneros of the 1970’s to honor a Cuban sonero, Puente made an implicit statement. He confirmed that, in spite of the important differences one might want to make between son, mambo and salsa, they are all part of a rich musical tradition with a historical continuity that continues to evolve across nationalities and places. Because of the success of “Homenaje A Beny”, Puente went on to record three more homages to Moré (1979 Homenaje a Beny Moré, Volume 2 and 1985 Homenaje a Beny Moré -Celia Cruz and Puente) but for many people, “Homenaje A Beny” was the best—and rightfully deserving of its Grammy.

Credits:

Bobby Porcelli – Alto Sax
Mitch Frohman – Alto Sax
Ed Palermo – Tenor Sax
Steve Sachs – Baritone Sax
Jimmy Frisaura – Trombones
Leopoldo Pineda – Trombones
Sam Burtis – Trombones
Manuel Silva – Trumpets
Paulo di Paula– Trumpets
Héctor Bomberito Zarzuela – Trumpets
Luís Perico Ortiz – Trumpets
Sonny Bravo – Piano
Joe Santiago – Bass
Nicky Marrero – Timbales
Johnny Dandy Rodríguez, Jose Madera – Conga, Bongos, Timbales, Percussion
Tito Puente – Vibes en “Encantado De La Vida,” Timbales (overdubs & solos)

Lead Vocals - Celia Cruz, Cheo Feliciano, Santos Colon, Ismael Quintana, Adalberto Santiago, Hector Casanova, Junior Gonzalez, Nestor Sanchez, Luigi Texidor
Chorus - Tito Allen, Ruben Blades, Adalberto Santiago, Tito Puente


Producer - Louie Ramirez
Executive Producer and Musical Director – Jerry Masucci
Recording and Musical Director – Tito Puente
Recorded - La Tierra Sound Studios
Original Album Concept - Louis Ramirez
Original Album Design - Ron Levine
Original Art Director – Alberta Dering


Written By Gregory Pappas

The pairing of Puente and Santos Colon began with the best-selling Dance Mania, and this latest reunion finds them again at the top of their game. "Mas Bajo" is a Prado-esque mambo, and "El Agitador" is largely a fast-paced, contrapuntal horn exercise. Salsa, cha cha cha, guaguanco, bolero, and other rhythms are represented. Colon sings without affectation, perfect for the assured playing and dramatic arrangements of Puente. While there is plenty of talent, great songs, and an easy style, the album is missing the single, progressive, "killer track" of which the pair is capable. "A Gozar Timbero" is close, but it sounds a decade older than it is.

An unsung hero of salsa music in New York, Willie Rodríguez led his own hard-hitting orchestra from the late 1950s to the early 1970s. Specialising in the uncompromising hard salsa popular at the time with local Puerto Rican audiences, his music featured punchy arrangements and strong playing  - a combination that has stood the test of time

This is a recording by one of the most adventurous, interesting, and -- more simply -- best bands extant. The story is told by the instrumentation, which includes one trumpet, baritone sax, flute, clarinet, batá drums, and cuatro. Which translates into a sound drawing from a very wide range of traditions, mixing charanga and conjunto and the rest in a more varied way than the standard orquesta sound.

In Que Cambio, Mulenze blends salsa, Latin jazz, and songo rhythm experiments into a lively performance. This LP offers "Es Imposible Volver," "Olvídate De Mí," and "Al Pasar Los Años." These songs helped Mulenze to establish themselves as a top salsa act in the early '80s. Pedro Brull's vocals shine as usual, and newcomer Gary Carrion makes a good impression. Mulenze's collective approach to inventiveness scores highly.

Just one year after their Celia & Johnny album produced the massive hit "Quimbara," Celia Cruz and Johnny Pacheco were back for Tremendo Caché. Nearly a ringer for its excellent predecessor, the album kicked off right with the heavily risque "Cucala," which Cruz pulled off with panache. The band is identical to that played on Celia & Johnny, with powerful arrangements coming from Pacheco, Bobby Valentín, and Pappo Lucca, among others. For those who feared a letdown from an album coming so soon after their first collaboration, Tremendo Caché was quite an achievement.