Encanto Tropical 51: Salsa Brava from A DJ's Perspective
- anfijpn
- May 15
- 4 min read
Updated: Jun 25
This episode contains 28 tracks (2:00:22). Replay it near the bottom of this page.
If you browse through DJ mixes online labeled "salsa brava," you might wonder what exactly makes them "brava." As someone who's been spinning salsa music for over two decades, I've noticed this term gets used quite liberally, sometimes without a clear understanding of its origins or meaning.
What is Salsa Brava?
Salsa brava literally means "brave" or "rough" salsa and can be aligned with the music of the so-called salsa scene from the late 1960s through the late-1970s as a harder-edged, more aggressive variety when compared with other styles in what now constitutes the salsa universe after several decades of evolution. Distinguished by its faster tempos, powerful brass sections, and often socially conscious lyrics, salsa brava represented the raw energy of barrio life and the struggles in Latino communities.
About Episode 51: Salsa brava from my perspective as a DJ
When considering the origin or relevance of the term salsa brava, the Oxford Spanish Dictionary defines brava as "fierce" or "rough" (Oxford University Press, 2013). This perfectly captures the bold, uncompromising nature of this musical expression through the character of the brass section, the percussion, the vocals, and more.
The Golden Age of salsa brava
Salsa brava flourished primarily in the early to late 1970s, a period often referred to as salsa's "golden age." New York-based musicians channeled the spirit of Spanish Harlem and the South Bronx during a time of social upheaval and cultural awakening. This is not to say that the salsa brava expression did not include musical activity elsewhere.
What salsa brava is not is the sweet-sounding salsa romántica that dominated the 1980s with its softer arrangements and love-focused lyrics. It is also distinct from the more polished commercial salsa of later decades or the fusion styles that exploited elements of pop and other genres.
EXAMPLES OF Salsa Brava
Below are six tracks included in the playlist of Episode 51. I believe they exemplify rather well the power and essence of salsa brava.
1. "Aquellos Rumberos" - Orchestra Dicupé
2. "El Rey de la Conga" - Joe Madrid
3. "Tremenda Bronca" - Danny Gonzalez Y Su Orquesta Sensacional
4. "La Cazuela" - Kako
5. "Mi Ritmo Está Bueno" - Javier Vazquez Y Su Salsa
6. "Ha Llegado El Momento" - Brooklyn Sounds
These are just six examples of salsa brava in context. Check out Episode 51 in its entirety through the replay link at the bottom of this page.
FEATURED Artists
Listed below are the artists and bands selected for Episode 51. Full attribution is provided on the show.
Babo Jimenez Y Su Banda
Brooklyn Sounds
Cesar Nicolas Y Su Orquesta
Chaparro Y Orquesta (x2)
Chino Rodriguez Y La Consegración
Conjunto Candela
Danny Gonzalez Y Su Orquesta Sensacional
El Negrito Truman
Gilberto Cruz
Ismael Miranda Y Su Orquesta Revelación
Javier Vazquez Y Su Salsa
Jimmy Urbina Y Su Orquesta Revolucion 70
Joe Acosta Orquesta
Joe Madrid
Johnny Ventura Y Su Combo
Kako
Kiki Rosa & Orquesta
La Renovación
Los Megatones de Lucho
Luis Santi
Monguito Santamaria
Orchestra Dicupé
Orchestra Harlow
Primitivo Santos Y Su Orquesta
Ralphy Santi
Sexteto Juventud
The Tony Rojas Ochestra
N.B.: Missing from the list is Manny Oquendo Y Libre, a stalwart example of the salsa brava style. I originally passed them over due to their songs being too long; however; if I could redo the show, I would definitely consider a good example in spite of song length.
Conclusion
This theme-based episode of Encanto Tropical focuses on salsa brava in a continuous two-hour set. While the radio format can allow for this sort of structure, when I am spinning salsa at an event, I prefer to mix salsa brava with other styles rather than playing a purist set. My reason is because the raw energy of these tracks can be too much or even lost if not tempered by contrasting styles.
In fact, salsa brava serves as great juxtaposition to smoother styles, creating dynamic tension on the dance floor, which can emphasize different styles and veer away from monotony. This can be very important for a successful salsa set (assuming that one's tastes line up somewhat with the dancers).
It is this dynamic of contrast and juxtaposition which fittingly suggests how salsa music thrives on evolution and dialogue among its different styles.
Thank you for supporting Encanto Tropical through World Salsa Radio.
FURTHER REadinG
Aparicio, F. R. (1998). Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures. Wesleyan University Press.
Berríos-Miranda, M., & Dudley, S. (2008). El Gran Combo, Cortijo, and the Musical Geography of Cangrejos/Santurce, Puerto Rico. Caribbean Studies, 36(2), 121-143.
Glasser, R. (1995). My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940. University of California Press.
Hagedorn, K. J. (2001). Divine Utterances: The Performance of Afro-Cuban Santería. Smithsonian Institution Press.
Moore, R. (2010). Music in the Hispanic Caribbean. Oxford University Press.
Morales, E. (2003). The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond. Da Capo Press.
Oxford University Press (2013). Brava. In Compact Oxford Spanish-English dictionary. (1st Edition).
Pacini Hernandez, D. (2010). Oye Como Va!: Hybridity and Identity in Latino Popular Music. Temple University Press.
Quintero Rivera, A. G. (2009). Cuerpo y cultura: las músicas 'mulatas' y la subversión del baile. Editorial Iberoamericana.
Rondón, C. M. (2008). The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City. University of North Carolina Press.
Washburne, C. (2008). Sounding Salsa: Performing Latin Music in New York City. Temple University Press.
REPLAY EPISODE 51
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