This episode contains 30 tracks (2:04:41). Replay near the bottom of this page. Love them or hate them, salsa songs without a vocal segment have become increasingly popular. This may in part be due to the relative ease of production compared with decades before. Technology nowadays allows a sole producer equipped with a computer and specialized software to make a song with a batch of prerecorded musical sounds. Individually-recorded music from instruments can also be added for a more unique touch. This technology is more accessible than ever, and its growing influence appears across most music genres. Within the salsa world, three talented composers and producers come to mind: Jan Reijnders, DJ Henrix, and DJ Ricky Campanelli. All three have a widely appreciated song repertoire, with the latter well-known for his collaboration with musicians (among them, vocalists). There are other DJs who are also busy making material without vocals, with a significant number in Italy alone -- including Francisco Rojos, Fabrizio Zoro, and Alexio Papo Grossi, to name a few. I imagine such composers and producers find it easier to forego vocals when producing a song because of the enormous effort required just to add lyrics and a singer. Hence the rise in recent years of this kind of salsa song which has made a huge impact in some dance scenes. Songs lacking vocals were certainly around before the advent of powerful computers and software, but it seems clear that since singers have a primary--if not the most important--role in delivering the appeal of a given song, any piece of music that relied solely on instrumentation was rather unique. Some exceptions are obvious, such as Afro-Cuban Jazz. Definition & Context An 'instrumental' is thus defined here as a song that excludes any vocals and where lead instruments assume primary roles in both melody and rhythm. Narrowing down to the Latin music sphere for an example, a descarga, or jam session, typically lacks vocals. This fosters opportunity for each or most of the individual instruments to shine in a solo. Key traits of a descarga are its spontaneity (or lack of much advance planning) and improvisation, adding to the vocalist's irrelevance although it is also true that the best singers, or soneros, could in theory chime in and participate on the spot. Salsa DJs and instrumental songs For salsa DJs, an instrumental song can be a difficult beast. Firstly, salsa is very much about the lyrics. Whether they are deep or superficial in meaning, their sound are core elements of a song. Secondly, dancers thus expect to hear vocals, and when a DJ plays an instrumental song, it can dramatically change the atmosphere of the dance floor. Thirdly, it is for this reason that some dancers (and DJs) are not very fond of instrumental songs. Finally, because of these factors, instrumentals are best played sparingly, and it seems a general rule that they should not be played back to back. I have a certain interest in instrumental songs. As a salsa DJ, I regard them as a way to add flavour within a given set; however, I strive to play them selectively, certainly not one after another. However, at recent gig in Tokyo, I accidentally played two in a row, a mistake that resulted from cueing up a song that I did not intend to and bothering not to pre-listen to it. I cringed when, after pressed the play button, I realized that not only had I selected the wrong song, but it was an instrumental, and the song prior had been an instrumental, too. I had just broken a cardinal rule. Why the theme? Embarrassed by my mistake, I also got to thinking about this concept of rules. Rule-breaking can be fun, no? And how about the adage along the lines that true artistry comes from breaking rules? This is how the thematic show* of Episode 49 came to me: to focus on only instrumental salsa tracks. Risky? Yes! But surely, there was potential? *A thematic show is the typical kind for Encanto Tropical, where all songs share a common motif. This is in deliberate contrast to a random selection of songs. The result is a two-hour selection of 30 salsa instrumentals -- some familiar and some not well-known -- with a bit of Afro-Cuban Jazz. The episode broadcast on March 13, 2025 via World Salsa Radio. In sum, Episode 49 is an experiment of sorts, and the question posed is whether a two-hour show of salsa songs lacking vocals is even bearable. It is a deep dive, but I am satisfied and keen to make a Part 2. Listeners are invited to judge for for themselves. Caution It goes without saying that the medium of radio allows for some freedom to explore such a theme as this. Do not -- I repeat, do not -- attempt this as a DJ at a salsa event. Feedback Comments are always welcome -- from whichever perspective, whether a casual or serious listener, dancer, or DJ. Please let me know your thoughts by contacting me. Some albums on Encanto Tropical 49 Artists Featured in Episode 49 are the following artists/groups, listed in alphabetical order. Full attribution is provided on the show. Berna Jam Bobby Matos, John Santos Cafe Mambo, Alexio DJ & DJ OJ Copa Salvo Cuba Quartet DJ Fabrizio, El Vikingo De La Salsa DJ Good Sho DJ Henrix DJ Patrick El Clasico & DJ Luca P Edwin Rivera Facundo Rivero German Nogueira's Cuban Stars Giro Mendez Havana Caliente Jan Reijnders Los Kintos La Cali Salsa Big Band & José Aguirre La Candela La Maxima 79 & DJ Fabrizio Zoro La Plata Sextette Los Barbarians Mambo Instrumental Mark Towns Massimo Salici & La Poderosa Maurice El Médioni Miguel Yamba Real Charanga Tito Puente REPLAY EPISODE 49 Encanto Tropical 49 - Instrumental Salsa Songs (Click on the link above if the embedded SoundCloud player does not display) < NEXT POST PREVIOUS POST >

日本語で読む On May 3, 1963, Hector Perez boarded a plane heading for New York. In three hours he would be touching down in a strange new world. A world Hector looked forward to with an impending sense of excitement. A world he knew little or nothing about. But a world he knew he would most certainly conquer. [1] Such is the concluding paragraph of the second chapter of Marc Shapiro’s 2007 biography of "the singer of all singers and the driving force behind the salsa movement..." [2] "The singer of all singers" is a direct translation from Spanish of “el cantante de los cantantes”, a figurative but widely-established term recognizing Lavoe's unmatched talent and pioneering status as a salsa singer. It essentially means “the most important singer”. While it sounds odd in English, it is used above to show fidelity to how Lavoe is acclaimed in the language of salsa. A Book Review of Marc Shapiro's Biography of Hector Lavoe What follows in Passion and Pain: The Life of Hector Lavoe is a fascinating journey in a matter-of-fact writing style that recounts the highs and lows of arguably the most beloved figure in salsa. The choice of visceral words for the book title fittingly allude to recurring themes in Hector Lavoe’s life, from his childhood in Puerto Rico to his early days in New York, his work with Willie Colon and Fania Records during his ascendance to fame and stardom, the victories and struggles throughout his career, and to his declining health in the last stages of his life. Publisher: St. Martin's Griffin (2007) Among the most striking threads in this story is Hector Lavoe's relationship with his father. While the pain he suffered as an estranged son eventually found resolution, as a father himself he suffered the ultimate loss, which, coupled with other painful circumstances, not least his addiction to drugs, marred him greatly. Also recounted are how his albums came into being, with entertaining highlights of several songs which became anthems in the catalog of salsa that defined the boom of the 1970s and the period when it began to fade in popularity in the decade that followed. Subtly implied is that the singer's passion for performing and connecting with his fans was the driving engine behind the willpower that somehow managed the demons of his drug addiction. The book paints Hector Lavoe as beloved and respected by fellow musicians but also derided for his unpunctuality and psychoses brought on by his drug use and personal troubles, the sum of which was hugely problematic. Yet when the singer was on stage it was like magic, and all shortcomings were momentarily forgotten. But there was paradox in those who supported him for self-gain and those whose actions revealed his true friends, among them Willie Colon and José Mangual Jr. Touching accounts show their many acts of support, patience, and compassion. There were also cruelties suffered, whether from exploitive business dealings or from his wife, Nilda 'Puchi' Roman, who is described as one half of a love-hate relationship but ultimately manipulative and overbearing. Several striking anecdotes are offered to support this characterization of her. An album cover from 1976 But while stardom and fame were his for the taking, they were too much to handle in the end, so crippling was the drug addiction and the personal misfortunes that consumed Hector Lavoe. Ultimately, the reader learns of the multifaceted character of the complex genius that was Hector Lavoe, swaying dramatically between the extremes of passion and pain. He endured immense pain resulting from not only misfortune and circumstance but also of his own doing. Yet his embrace of the challenging life which was thrust upon him reveals itself as an immense gift to the salsa community. The ongoing admiration by legions of fans from across the world decades after his death is a testament to the overriding passion the singer left as a legacy. The book Passion and Pain: The Life of Hector Lavoe came out shortly before the popular release of the biopic film "El Cantante" featuring Marc Anthony and Jennifer Lopez, which received mixed reviews [3]. However, this review of the sharp and moving biography of Hector Lavoe by Marc Shapiro finds it highly recommended. It provides essential history and context of an important period and icon of the musical style of salsa. Notes Shapiro, M. Passion and Pain: The Life of Hector Lavoe. St. Martin's Griffin, 2007, p. 27. Shapiro, back cover. El cantante. IMDb, Amazon, Accessed 27 July 2026, www.imdb.com/title/tt0458522/. < NEXT POST PREVIOUS POST > 日本語版 (Japanese Version)* Skip this section *以下はAIが翻訳した文章です。結果は校正および編集が行われていますが、まだ不正確な点が残っている可能性があります。 「１９６３年５月３日、エクトル・ペレスはニューヨーク行きの飛行機に乗り込んだ。３時間後、彼は奇妙な新しい世界に足を踏み入れることになる。それは、エクトルが高揚感と期待感とをもって待ち望んでいた世界だった。彼がほとんど何も知らない世界。しかし彼は確信していた。それは、必ずや自分が征服する世界だと。」[1] 以上が、「歌手の中の歌手」 であり「サルサ・ムーブメントを牽引した原動力」[2] と称されるエクトル・ラボーについて書かれた、マーク・シャピロの２００７年の伝記の第２章を締めくくる一節である。 「歌手の中の歌手は、スペイン語の「el cantante de los cantantes」の直訳であり、比喩的ではあるものの、サルサ歌手として比類ない才能と先駆者的な存在感をたたえる、広く定着した呼び名です。要するに「最も重要な歌手」という意味合いになります。日本語にすると少し奇妙に響くものの、上ではサルサの言葉の中でエクトル・ラボーがどのように称賛されているかに忠実であることを示すために用いています。 マルク・シャピロ『エクトル・ラボーの伝記』の書評 「情熱と苦悩 エクトル・ラボーの人生」に続くのは、おそらくはサルサにおいて最も愛される人物の波乱万丈の人生を、淡々とした筆致で綴った、魅力的な物語である。エクトルの人生を貫く主題は、このタイトルに込められた生々しく感情に訴える言葉によく表れている。プエルトリコでの少年時代からニューヨークでの日々、ウィリー・コロンとファニア・レコーズでの活動を通じた名声の獲得、キャリアを通じた勝利と苦闘、そして人生の最期に向かう健康の悪化に至るまで、エクトル・ラボーの人生は情熱と苦悩の連続である。 出版社: St. Martin's Griffin (2007) この物語を特徴づけるものの中でも最も印象的なのは、エクトル・ラボーと父親の関係である。疎遠な息子として受けた苦痛はやがて解決へと向かうが、一方、父としての彼は最大の喪失を経験することになる。この喪失は、彼の麻薬中毒をはじめとした他の悲劇的な状況と相まって、彼に深刻な傷跡を残した。 また本書では、彼のアルバムがいかにして生み出されたのか、そして１９７０年代のサルサブームを定義した楽曲たちがいかにして誕生したのか、その後の衰退の時代までが、興味深いエピソードとともに綴られている。 微妙に示唆されるのは、彼のファンとのつながりと舞台での情熱が、彼の麻薬の悪魔に対抗する意志の力となっていたということである。 本書は、エクトル・ラボーを、同業のミュージシャンたちからは愛され、尊敬される一方で、遅刻癖や、薬物使用と個人的な悩みがもたらした精神の不調ゆえに嘲られもする人物として描く。だが、それらが積み重なったときの総体は、あまりに厄介でやり切れないものだった。けれど彼がステージに立つと、それはまるで魔法のようで、どんな欠点もひとときは忘れられてしまう。 そんな彼をめぐるところには、ある種の逆説がある。自分の得のために彼を支える者がいる一方で、行動によって本当の友を示す者もいるのだ。その代表が、ウィリー・コロンとホセ・マングアル・ジュニアである。彼らの数々の支援、忍耐、そして思いやりが、胸に迫る形で語られる。 さらに、彼が受けた残酷さもまたある。搾取的なビジネス取引によるものに加え、愛憎の入り混じる関係の「片割れ」だとされながら、結局は支配的で、操るような振る舞いをすると描かれている妻ニルダ「プチ」ロマンからも、そうした仕打ちを受けたのだ。そうした人物像を裏づける、印象的な逸話がいくつも紹介されている。 1976アルバムジャケット しかし名声と栄光は彼のものとなりうるものでありながら、結局のところ、彼を蝕んだ麻薬中毒と個人的な不幸の前には、あまりに重すぎるものとなってしまった。 究極的に、読者が知ることになるのは、複雑な天才であったエクトル・ラボーの多面的な人格である。彼は情熱と苦悩の両極端を劇的に揺らぎながら生きた。彼は自らが招いた不幸からだけでなく、不運と状況からもたらされた計り知れない苦痛に耐えた。それでもなお、自分に課された困難な人生を受け入れた彼の姿勢は、サルサコミュニティへの莫大な贈り物として示されている。彼の死後数十年たった今も、世界中の無数のファンが彼を敬慕し続けていることは、このシンガーが遺した情熱が生涯にわたって影響を与え続けていることの証である。 「情熱と苦悩―エクトル・ラボーの人生」は、マーク・アンソニーとジェニファー・ロペス主演の映画化作品『エル・カンタンテ』が話題になる直前に出版された。同作は賛否両論を呼んだが [3]、本書評は、マルク・シャピロによる、鋭くも心に迫るエクトル・ラボーの伝記を高く評価し、ぜひ読んでほしい一冊だとする。本書は、サルサという音楽の重要な時代と、その象徴的人物の歴史、背景を知るうえで欠かせない情報を与えてくれる。 訳者より 本伝記は日本語では入手不可であり、残念ながらエクトル・ラボーに関する日本語ウィキペディアも詳しくありません。しかし、本書評を日本語に訳したことが、日本のサルサ愛好家の皆様にとって有用であることを願っています。 注 Shapiro, M. Passion and Pain: The Life of Hector Lavoe. St. Martin's Griffin, 2007, p. 27. Shapiro, 裏表紙. El cantante. IMDb, Amazon, 2026年7月27日にアクセス, www.imdb.com/title/tt0458522/. < NEXT POST PREVIOUS POST > (JAPANESE SECTION ENDS)

This episode contains 29 tracks (2:01:23). Replay it near the bottom of this page. Every song has a background story. Sometimes it may not to be extraordinary; however, sometimes it can offer great insight about the song’s origin, historical link, socio-cultural relevance, or other meaning. More Salsa Song Context in a Salsa Vinyl session To mark the milestone of 50 episodes, I wanted to do something unique, but while I decided on a salsa vinyl session, I also wanted to add more song context than I usually do. About Episode 50 'Meditations - Salsa Vinyl Session' comprises several carefully selected songs from my record collection, which I admit is not a particularly special one as it pales in comparison to other collectors -- although numbering about 1,000 items, there are few rare items. Nonetheless, there was enough material to provide great fun while researching for Episode 50. As usual, the process of song selection was a learning experience — this alone makes programing any episode worth the effort. And it is certainly evident that the more I learn, the less I know. The salsa universe is vast. More questions come to mind than I can answer. This propels me to research more and foster a growing fascination with "salsa in context", the theme of my debut presentation related to salsa music at the Taiwan Salsa Carnival in November 2024. Barcelona! The next presentation is in September at the CoBeatParty Salsa Rave event in Barcelona. I need to be fully prepared; there is a growing pile of books to read, numerous journal articles to go over, and many salsa songs to analyze in the next few months. "Salsa in Context" - Workshop/Presentation by DJ Angel Figueroa CoBeatParty Salsa Rave | Sept 11-14, 2025 Barcelona, España Event Information | Tickets Salsa in Context As for episode 50 of Encanto Tropical, I provided some introductory context for some songs. Here are examples: Don Lengua - Louie Colon y Su Tripulacion (1971) This song was written by the great Cuban composer and bandleader Ignacio Piñeiro, who recorded it in Havana the late 1950s. Many versions have been made since and I especially like this one by Louie Colon. >Label: UA Latino (Original US pressing) | Album: El Almirante La Toalla - Junior Gonzalez (1983) A great standard meaning “The Towel” in Spanish, it is used in reference to the expression “throw in the towel” or to quit, because the lyrics state "I can’t take it anymore". The song’s popularity comes from Tito Rodriguez, with his timeless classic from 1965 but was re-explored in this great version by Junior Gonzalez. >Label: 7th Galaxy Recordings (Original US pressing) | Album: Gracias Trumpeta en Montuno - Alfredo "Chocolate" Armenteros (1976) The master Cuban trumpet player Chocolate moved to New York after the Cuban revolution and often played the key trumpet role in many recordings during the salsa boom (listen for a lead singer’s cry "Sopla Chocolate!" before his solo). This particular song was released on his first solo album and is a demonstration of his musical sense and skill. I had the pleasure of meeting Chocolate himself in New York in 2002 when he shared some stories with me over rum. >Label: Salsoul (Original US Pressing) | Album: Chocolate... En El Rincon Sancocho Caliente - Federico y Su Combo Latino (1966) The band director and salsa pioneer Federico Betancourt is highly regarded in any study of the history of salsa, especially in his native Venezuela. This song is remarkable because it appeared on his debut album titled Llegó la Salsa, at a time well before the term ‘salsa' was popularized in New York referring to a certain musical style. It is among the very few instances, in fact, where an album title includes the term, although it cannot claim to be the first one. Also, the song does not strike me as entirely original; rather it is a cover, or a modified copy as some might suggest, of an Eddie Palmieri hit from 1964, called Ajiaco Caliente. I look forward to investigating this in more detail in a recently acquired book about Federico Betancourt. >Label: Palacio (Original Venezuelan Pressing) | Album: Llegó la Salsa Other examples of context are on the Episode 50 replay (link at the bottom of this page). FEATURED ARTISTS Here is the full list of artists and bands appearing in Episode 50, in alphabetical order. Full attribution is given on the show. Al Ramos y su Orquesta Alfredo "Chocolate" Armenteros Alvaro del Castillo y Su Orquesta La Calentura Angel Canales Carlos Muñoz y Su Orquesta Chu Linares y Su Orquesta El Gran Combo de Puerto Rico El Combo de Siempre Federico y Su Combo Latino Franco et l'orchestre O.K. Jazz ‎ Frankie Morales y Su Banda Gilberto Sextet Guarare Hector Rivera Junior Gonzalez La Super Banda de Don Filemon Los Kenya Louie Colon Louie Ramírez & Ray de La Paz Mario Ortiz & His All Stars Orchestra Harlow Orquesta del Sol Pabonny y Su Grupo Quantic Presenta Flowering Inferno Raul Marrero The Latin Brothers Tito Chicoma y Su Orquesta Tromboranga Willie Rosario Acknowledgements In a way, reaching the 50-episode milestone is no big deal. However, it's also no joke — it certainly seems now like it was a huge effort over the past few years for me. A lot of time went into producing each and every show up to and including Episode 50. It has been a good experience, so I am grateful for the opportunity to explore this and other topics on my own radio show, with support from the World Salsa Radio CEO, Felipe Martinez and co-founder Orlando Felix; by extension, my full respect and thanks to the other DJs on the WSR team, each with a unique show (check the WSR schedule for details). And warm thanks to all listeners, especially a few dedicated ones — you know who you are! But special gratitude goes to my wife who put up with a lot of distraction on my part as I prepared shows! This episode is timely, in fact, as it coincides with our wedding anniversary and included in the show is a song dedicated to her. Estamos en salsa. All the best! REPLAY ENCANTO TROPICAL 50 Encanto Tropical 50 - 'Meditations' Salsa Vinyl Session with Context (Click on the link above if the embedded SoundCloud player does not display) < NEXT POST PREVIOUS POST >

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. Manny Orquendo Y Libre: a pivotal group with a repertoire of more than 30 years of exemplary salsa brava. 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. Some of the music on Encanto Tropical 51 - "Salsa Brava" 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 Encanto Tropical 51 - Salsa Brava from a DJ's Perspective (Click on the link above if the embedded player does not display) < NEXT POST PREVIOUS POST >

Vívela! Salsa Tour 2025 The Salsa Revolution Returns to Tokyo! Get ready for an explosive night of pure salsa passion as Tromboranga Salsa Orchestra, the multinational powerhouse representing the pure essence of salsa dura, storms back to Tokyo's Club Quattro Shibuya on September 25th, 2025. 純粋なサルサ・ドゥーラのエッセンスを体現する多国籍パワーハウス、トロンボランガが2025年9月25日、東京の伝説的なクラブクアトロ渋谷に嵐のように戻ってくる！純粋なサルサの情熱が爆発する夜に備えよう！ > 日本語版へ Prepárate para una noche llena de intensa pasión salsera mientras Tromboranga, la fuerza multinacional que simboliza la esencia auténtica de la Salsa Dura, vuelve al mítico Club Quattro Shibuya en Tokio el 25 de septiembre del 2025. > Versión en español As your DJ for this spectacular evening, I couldn't be more thrilled to be part of this incredible musical journey! Tromboranga stands among the world's most electrifying contemporary salsa orchestras, and I believe this is a must-attend event for salsa lovers in Tokyo. My passion for this band runs deep – their explosive trombones, thunderous percussion, and soul-stirring soneos represent everything I love about authentic salsa music. I'll be setting the atmosphere as the opening DJ, then managing the audio for several captivating dance performances that will heat up the night before Tromboranga takes the stage. Here's where you can support my involvement in this amazing event: Use my special promotional code "Angel" for a discount when purchasing advance tickets on Piatix.com. Your support through this code helps me continue bringing world-class salsa experiences to Tokyo's music scene! Doors open at 18:30, show starts at 19:00, with Tromboranga performing at 20:15. Don't miss this rare opportunity to witness one of today's most innovative salsa orchestras live in action! Secure your discounted tickets now with code "Angel" and join me for an unforgettable night of salsa magic at Club Quattro Shibuya! (Click here for English assistance) Tromboranga Salsa Orchestra in Tokyo! Vívela! Salsa Tour 2025 サルサ革命が東京に帰ってくる！ 純粋なサルサ・ドゥーラのエッセンスを体現する多国籍パワーハウス、トロンボランガが2025年9月25日、東京の伝説的なクラブクアトロ渋谷に嵐のように戻ってくる！純粋なサルサの情熱が爆発する夜に備えよう！ この壮大な夜のDJとして、この素晴らしい音楽の旅の一部になれることに、これ以上ないほど興奮しています！トロンボランガは世界で最も電撃的な現代サルサオーケストラの一つであり、東京のサルサ好きな人にとっては、これは絶対に見逃せないイベントだと心から信じています！！ このバンドへの私の情熱は深いものです。 彼らの爆発的なトロンボーン、雷鳴のようなパーカッション、そして魂を揺さぶるソネオは、私が愛する本格的なサルサ音楽のすべてを表現しています。オープニングDJとして完璧な雰囲気を作り出し、その後いくつかの魅力的なダンスパフォーマンスのオーディオを管理します。トロンボランガがステージに上がる前に、皆さんを最高のボルテージに引き上げれるよう、私も今、良いプレッシャーの中、興奮気味に準備しているところです。 この素晴らしいイベントへの私の参加をサポートしていただける方法があります： 前売券を購入する際に私の特別プロモーションコード「Angel」を使用して、ぜひ割引チケットを受け取ってください！このコードを通じてのご支援は、世界クラスのサルサ体験を東京の音楽シーンに持ち込み続ける私の活動を支えてくれます。 開場18:30、開演19:00、トロンボランガのパフォーマンスは20:15から。今最も革新的なサルサオーケストラの一つを生で見れる、この貴重な機会を是非お見逃しなく！ コード「Angel」で割引チケットを今すぐ確保し、クラブクアトロ渋谷での忘れられないサルサマジックの夜に私と一緒に参加しましょう！ Vívela! Salsa Tour 2025 ¡La Revolución Salsera vuelve a Tokio! Prepárate para una noche llena de intensa pasión salsera mientras Tromboranga, la fuerza multinacional que simboliza la esencia auténtica de la Salsa Dura, vuelve al mítico Club Quattro Shibuya en Tokio el 25 de septiembre del 2025. Como tu DJ para esta noche especial, ¡estoy muy emocionado de ser parte de este increíble viaje musical! Tromboranga es una de las orquestas de salsa contemporánea más cautivadoras a nivel global, y sinceramente considero que este es un acontecimiento indispensable para cualquier aficionado a la salsa en Tokio y más allá. Mi entusiasmo por este grupo es intenso - sus trombones potentes, percusión atronadora y sonidos que impactan el alma simbolizan todo lo que aprecio de la música salsa genuina. Voy a crear el ambiente ideal como DJ de apertura y también gestionaré el sonido para varias actuaciones de baile emocionantes que animarán la noche antes de que Tromboranga llegue al escenario. Aquí es donde TÚ puedes ayudarme a participar en este gran evento: Aplica mi código promocional "Angel" al comprar boletos por adelantado y recibe un descuento. Tu apoyo con este código me permite seguir trayendo experiencias salseras de alta calidad a la música latina en Tokio. Las puertas se abren a las 18:30, el espectáculo empieza a las 19:00, y Tromboranga se presenta a las 20:15. ¡No te pierdas la oportunidad de ver en vivo a una de las orquestas de salsa más creativas de hoy! Consigue tus boletos con descuento ahora usando el código "Angel" y acompáñame a una noche inolvidable de magia salsera en Club Quattro Shibuya. (Haz clic aquí para asistencia en español) Tromboranga: Tokyo Flyer Tromboranga Japan Tour 2025 < NEXT POST PREVIOUS POST >

In this post, I explain the choice of salsa songs that best represent the year 2025 for me. This selection is not meant to be authoritative; it should only be considered a collection of personal favorites. A replay of the relevant shows is available near the bottom of this page. Making the Lists Over the winter holidays I worked on Encanto Tropical, which had been on pause since September. Episodes 56 and 57 were broadcast on January 1st and 8th. As Parts 1 and 2 of my “2025 Salsa Songlist,” they spotlight 50 salsa songs (25 each) released in the past year. The process was both educational and fun. I enjoyed shortlisting songs, programming, mixing, providing commentary, adding jingles, and mastering the final result. Together, the two episodes offer an eclectic mix of musical styles under the salsa umbrella. Again, these songs are personal favorites. I'm not claiming what the best salsa songs of 2025 are. While I've been exploring salsa and deejaying at socials for over 20 years, I don't suggest to be an expert on year-end rankings. Those require different criteria than what I focus on (see below). Also relevant would be the ability to analyze music in a way which I don't pretend to know. However, sharing song information is essential for the salsa community. DJs can play a vital role in its growth and awareness by sharing. Gatekeeping, claiming to know "the best songs," or posting unfocused song collections are just no good. In contrast, my purpose here is to share a passion for salsa by promoting song awareness with enthusiasts, DJs, and dancers--in this case, with the theme of 2025-releases, following the general template of theme-based episodes of Encanto Tropical. In effect, let's appreciate some good songs for dancing and their musicians and composers. With that, I leave the "best-of-year" curations to the true experts out there. Read on for background details about my selection; or skip this preamble and go to the lists. Criteria My selections prioritized danceability, original hooks, and production quality, with well-mastered instrumental or vocal elements. By "danceability," I mean how a song suits my style of deejaying for the dancers I usually play for—this is an important point. With one exception, I avoided AI-generated songs (though not DAW-produced tracks). Context Creating a comprehensive selection of releases in a given year requires significant time and resources I lack. Limited by my day job and family duties, I could not review every release. As a DJ who purchases most tracks, budget constraints further restricted my selection pool. Acknowledging Bias Despite striving for objectivity, I acknowledge familiarity bias—artists I know personally or have rapport with were more likely to be considered simply because I'm more exposed to their work. Embracing Subjectivity Personal taste inevitably shapes my choices. Unlike DJs with a narrow focus (only Cuban music or salsa dura), I embrace salsa's full spectrum—from Cuban music and salsa dura to vintage guaguancó, romántica, urbana, and pop, as well as traditional genres such as son and charanga (not to mention salsa of regional styles, such as Colombia). Song Order Songs are not ranked, and their order on the episodes is unrelated to any preference. The order of songs reflects what I considered most suitable for programming them, keeping in mind the tonality of songs and what key they are in, as well as how they open and close. Summary A certain selection criteria was followed. Time and budget significantly limited my coverage. True objectivity is impossible given my connections and exposure. My broad stylistic approach may not suit those preferring specialized playlists. Song order is not indicative of any ranking. Some of the material featured on Episodes 56 and 57 Encanto Tropical 2025 Salsa Songlist (Not necessarily best salsa songs of 2025) DJ Angel Figueroa Part 1 - Episode 56 Note: This list contains one error; see the Erratum below for details Part 2 - Episode 57 Part 3 - Episode 58 Digging for songs to include in Part 2 uncovered more notable songs than I could fit. Many shortlisted tracks were ultimately cut. After completing what I thought would be a 2-part list, other songs emerged that deserve recognition, too. So a third part with another 25 songs was made. Thank you for your support. Enjoy the shows and appreciate the musicians and composers! Comments and questions are welcome. Certainly let me know what songs you think I missed. Rehearsing for the upcoming show. REPLAY Episode 56: Part 1 of ‘2025 Salsa Song List’ Episode 57: Part 2 of ‘2025 Salsa Song List’ Episode 58: Part 3 of ‘2025 Salsa Song List’ Note In case the embedded players above do not load, visit SoundCloud for Episode 56 , Episode 57, or Episode 58 to listen directly. RELATED EPISODES Salsa songs of 2000 Salsa songs of 2001: early, spring, summer, late Salsa songs of 2022 Salsa songs of 2023 Salsa songs of 2024 Erratum One song was misidentified as having been released in 2025; in fact, it was launched in November 2024: '¿A qué te sabe mi amor?' by Mare Cabal & Orquesta Yare. < NEXT POST PREVIOUS POST >

This episode contains 29 tracks (2:00:08). Replay it near the bottom of this page. The contents of Encanto Tropical 60 is a recording of a set on March 15, 2026, when I had the joy of guest deejaying at Isumi de Salsa, a warm and welcoming salsa community nestled in the rural seaside of Chiba Prefecture. What a wonderful group of people. A Creative Challenge Curating a set for a predominantly beginner crowd meant balancing danceable tempos, a mix of salsa sub-styles, familiar and lesser-known tracks, and the right amount of bachata, cha cha cha, and merengue to keep the tropical energy alive -- all while attempting to maintain smooth transitions, harmonic flow, and consistent volume from first song to last. This is the kind of challenge I live for. Some of the music on Episode 60 Isumi de Salsa on Encanto Tropical I hope I succeeded and helped spread among the dancers more interest and enthusiasm for this great music... And it is a thrill adding this 'Isumi de Salsa' set to the Encanto Tropical catalog. See the bottom of this page to replay it. FEATURED ARTISTS Full song attribution is given on the show for the following artists who were included. Bobby Quesada DJ Fabrizio Zoro Dj Limbo Latino & DJ Lukas El Taz Don Ruiz Orquesta El Clan Tropical El Combo Moderno Frankie Ruiz Grupo Bemtu Grupo Melao Grupo Niche (x2) Hildemaro Ismael Rivera Jan Reijnders JFab Y Paola Fabre La Fantastica La Lupe Louie Ramírez Maluma Mare Cabal y Orquesta Yare Moa Rivera Natti Natasha Orishas Oscar d'Leon Pacho Buscadoro y Villalba Ray Barretto Sebas Garreta (x2) Tromboranga About Isumi de Salsa This is a community of salsa lovers who meet every 3rd Sunday in a rural area of Chiba near the Pacific Ocean called Isumi. Resident instructor Ryoko Ohara leads a beginner-friendly lesson before a 2-hour social dance event with resident DJ Gian on the decks! For inquiries: Isumi de Salsa (Facebook). All are welcome regardless of level! REPLAY Encanto Tropical 60 Encanto Tropical 60 - Deep Chiba Latin Session (Click on the link above if the embedded player does not display) < NEXT POST PREVIOUS POST >

Certain salsa songs have parts that keep dancers grooving but will perk up your ears anyway. This might result from an ecstatic piano wandering off unexpectedly or a horn line resolving itself in a surprising way. Such is the setting for Episode 62 (23 tracks, 2:12:42). I explore the sonic environment of 'jazz salsa' on Encanto Tropical with a selection of songs that attempt to demonstrate the interplay of instrumental jazz solos over a salsa groove. The playlist is built around the episode's main feature: a talk with the artist who coined 'jazz salsa': Celestino Sánchez, a bassist, composer, arranger, and band leader known as CSAN-II. POST-BROADCAST EDIT Much time went into the research and curation for this episode. However, in hindsight, some of the songs are likely more of the Latin Jazz variety than so-called 'jazz salsa'. But the playlist remains unchanged. The aim of this episode should be reconsidered more as a contribution to a discussion determining what constitutes 'jazz salsa' rather than a definitive description of this style. What Does 'Jazz Salsa' Mean? Jazz salsa is not a clean, established category (at least not yet) . It sits somewhere between two terms that are themselves tough to pin down: salsa and Latin Jazz. Let's view salsa as a dance-related umbrella term [1]. With its Afro-Caribbean roots it developed with the input of other music influences, included among them jazz itself. As musicologist Lise Waxer frames it, salsa's Cuban and Puerto Rican core was never musically sealed off because North American jazz (and rock) shaped the style from early on [2]. Fundamentally, though, salsa's defining rhythmic element is the pattern and concept of clave [3]. And the clave is salsa's identity marker in a way that implicitly draws the boundary against genres (like jazz) [4]. Unlike salsa, Latin Jazz is meant primarily for listening. Yet music professor Christopher Washburne places it within the cultural 'boundary marker' that is the function of clave [4]. At the same time, it borrows from jazz's greater rhythmic freedom. Thus, the harmonic and improvisational vocabulary of jazz is important, but it adds layers of clave-based Caribbean rhythms [5]. A progenitor of Latin Jazz is 'Tanga' by Machito and his Afro-Cubans, credited as the first jazz piece genuinely organized around clave rather than just borrowing Latin colour [6]. On the split between salsa and Latin Jazz, bandleader Oscar Hernández has argued that it is often more about career strategy than musical substance. Latin jazz has historically drawn more critics, festival bookings, and press attention than salsa has, which gives working musicians an incentive to wear the jazz label even when the material barely changes [7]. So Where Does That Leave Jazz Salsa? One take is that it is a label to describe music that maintains salsa's 'danceable' clave foundation and horn-and-rhythm-section instrumentation while adding jazz harmony, extended solos, and a more exploratory approach to arrangement than what typical salsa has. CSAN-II explains that while traditional Latin Jazz frequently moves into complex, non-danceable time signatures, jazz salsa maintains an unbroken driving rhythm tailored to salsa dance steps; at the same time, it borrows sophisticated brass arrangements and extended chord structures of American jazz. The caveat is that 'danceability' depends on how receptive dancers are, even when the jazzed music tries catering to them with both clave and a 4/4 time signature (odd or unusual jazz signatures such as 3/4 or 5/4 would be unrelatable to a salsa dancer). Thus, jazz salsa can serve as a welcome challenge for dancers to adapt their musicality, but others may not be so receptive, at least on the dance floor. In sum, it might seem fair to embark on an exploration of jazz salsa by considering it more as a listening test rather than a strict term. On the other hand, as CSAN-II states in the interview, there is a case to classify jazz salsa as a sub-category of Latin Jazz. Four Examples of Jazz Salsa on Encanto Tropical 62 Though it may feel like there's more material to file under jazz salsa now than ever, some fine examples date back decades. Here are four standout songs spanning that history. Eddie Palmieri & Cal Tjader, 'Mi Montuno' from the album Bamboleate (1967) The second collaboration between Palmieri's Afro-Cuban montuno sensibility and Tjader's West Coast Latin jazz vibraphone was recorded with Palmieri's own La Perfecta rhythm section behind them. This gave the session a hard, jazzy edge. It's a clear document of two traditions meeting on record rather than in theory [8] [9]. Sonora Ponceña, 'Nica's Dream Mambo' from the album Unchained Force (1980) Pianist and bandleader Papo Lucca took Horace Silver's hard-bop standard 'Nica's Dream' and rebuilt it entirely around a Cuban mambo rhythm section. This is a jazz composition repatriated into salsa's own vocabulary rather than the other way around [10][11]. Steve Pouchie, 'Take Five' from the album El Puente (2010) A vibraphonist who came up playing alongside Tito Puente, Charlie Palmieri, and Bobby Sanabria, Pouchie restructured the Brubeck/Desmond original from its irregular 5/4 meter into a rhythmic frame for the salsa dance floor. Latin Jazz Network justifiably called the transformation "quite incredible and unforgettable" [12]. Humberto Ramirez, 'Viva Dalmau' from the album 8 Doors (2019) A trumpeter who played in Willie Rosario's salsa orchestra before becoming one of Puerto Rico's leading Latin jazz bandleaders, Ramirez included this track in an album built on montunos, guajiras, and boleros that still leave generous room for solos [13][14]. The tune is a tribute to retired Puerto Rican basketball star and coach Raymond Dalmau [13]. Our Guest: Celestino Sanchez (CSAN-II) Celestino Sánchez (CSAN-II) Joining the interview segment of the episode is the bassist, composer, arranger and band leader Celestino Sánchez, or CSAN-II. Based in Philadelphia and active in the Latin music scene there, CSAN-II founded his ensemble in 2018 and released the album Jazz-Salsa in 2020. It was a project he describes as mixing original compositions, hot salsa, and instrumental Latin jazz tracks in deliberate balance [15][16]. His most recent album, Fiesta Jazz (2025), is a compilation of older and newer tunes, some of which first appeared as singles years earlier. CSAN-II talks about his background, how he defines his own sound, who he considers as reference points, the significance of receiving a recent reward, and explains the core trait of jazz salsa as built for the dancer. Several of his tracks air alongside the rest of the show's selections. CSAN-II's most recent release, Fiesta Jazz (2025). One of his tracks worth flagging is 'Matanzas' from CSAN-II's 2021 album Combinación Mundial (also included in Fiesta Jazz). It has been described as a lively, high-energy number built around a vibraphone solo by Tom Collins, a choice of instrumentation that leans hard into the jazz side while keeping the arrangement dance-ready [17]. Also notable are the piano (Jen Carlos Mompie) and trombones (Alexander Guerra and Randy Moreno). Episode 62 - 'Jazz Salsa' Feat. Guest CSAN-II Thu 9 July 2026 5:00am PT 8am ET 1pm UK 2pm CE 9pm JP World Salsa Radio (worldsalsaradio.com) Some of the music on Encanto Tropical 62 FEATURED ARTISTS Al De Lory Chucho Sierra CSAN-II (4 tracks) Eddie Palmieri Eddie Palmieri Cal Tjader Humberto Ramirez Jack Burger Jazz P.R. Klazz Brothers & Cuba Percussion Mambo Negro Octavio Figueroa Papacho Remi Chaudagne & David Starck Raúl Gutiérrez & His Cuban Big Band Ricky Gonzales Sonora Ponceña Spanish Harlem Orchestra Steve Pouchie Willie Rosario Wayne Gorbea REPLAY Encanto Tropical 62 Encanto Tropical 62 - Jazz Salsa (Feat. C-SANII) (Click on the link above if the embedded player does not display) Notes "Jazz meets salsa: the melding of cool blues and hot spice." The Christian Science Monitor, December 9, 1985. https://www.csmonitor.com/1985/1209/lsals3.html Waxer, Lise, ed. Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. New York: Routledge, 2002 chap. 1, “Situating Salsa: Latin Music at the Crossroads.” Peñalosa, David. The Clave Matrix: Afro-Cuban Rhythm, Its Principles and African Origins. Redway, CA: Bembe Books, 2010. Washburne, Christopher. Sounding Salsa: Performing Latin Music in New York City. Philadelphia: Temple University Press, 2008, chap. 6, "'They are going to hear this in Puerto Rico. It has got to be good!': The Sound and Style of Salsa." Washburne, Christopher. Sounding Salsa: Performing Latin Music in New York City. Philadelphia: Temple University Press, 2008, chap. 6, "'They are going to hear this in Puerto Rico. It has got to be good!': The Sound and Style of Salsa." Fernandez, Raúl A. "Latin Jazz and Salsa." In Oxford Research Encyclopedia of American History, edited by Jane Dailey. Oxford Academic, January 31, 2023. https://doi.org/10.1093/acrefore/9780199329175.013.641 "Jazz Caliente: Latin Jazz Starts With 'Tanga.'" KNKX Public Radio, February 17, 2017. https://www.knkx.org/jazz-and-blues/2017-02-17/jazz-caliente-latin-jazz-starts-with-tanga Hernández, Oscar, interviewed in "Café with Oscar Hernandez: Salsa vs. Latin Jazz." Latino Music Cafe, July 19, 2022. https://latinomusiccafe.com/2018/06/19/cafe-oscar-hernandez-salsa-vs-latin-jazz/ "Bamboleate." Fania Records. https://fania.com/record/bamboleate/ "Eddie Palmieri/Cal Tjader: Bamboleate (remastered edition)." Dusty Groove. https://www.dustygroove.com/item/644635/Eddie-Palmieri-Cal-Tjader:Bamboleate-remastered-edition "A Band and Its Music." Fania Records. https://fania.com/record/a-band-and-its-music/ "Sonora Ponceña – Unchained Force." In Sheep's Clothing Hi-Fi. https://insheepsclothinghifi.com/album/sonora-poncena-unchained-force/ "Steve Pouchie – El Puente (The Bridge) (Self Produced – 2010)." Latin Jazz Network, July 24, 2010. https://latinjazznet.com/reviews/albums/steve-pouchie-el-puente/ "Humberto Ramirez: '8 Doors' Review." Latino Music Cafe, December 15, 2019. https://latinomusiccafe.com/2019/12/16/humberto-ramirez-8-doors-review/ "Humberto Ramirez." Apple Music artist bio. https://music.apple.com/au/artist/humberto-ramirez/7048236 "CSAN-II Jazz-Salsa." ArtistPR.com. https://www.artistpr.com/artist-interview/csan-ii-jazz-salsa/ "CSAN-II – Jazz-Salsa." Discogs. https://www.discogs.com/release/15681319-CSAN-II-Jazz-Salsa "CSAN-II – Combinación Mundial." Solar Latin Club. https://www.solarlatinclub.com/csan-ii-combinacion-mundial/ < NEXT POST PREVIOUS POST >

On Saturday, July 18, World Salsa Radio hosts its 6th anniversary marathon fundraising event, and Encanto Tropical is pleased to be taking part. This is a 24-hour event with member DJs from all over the world spinning 55-minute sets one after another. It will be great fun for listeners to tune in and hear a range of salsa tastes and host personalities! The slot for Encanto Tropical opens the event at 16:00 Japan Time (12am PT / 3am ET / 8am UK / 9am CE) Listen via www.worldsalsaradio.com The session highlights favourite songs from several recent episodes (15 tracks, 56m50s). The broadcast time is obviously not ideal for most of the planet, so I invite especially Asia-based listeners to tune in! The replay will be available soon after broadcast. FEATURED ARTISTS Full attribution is given on the show. The artists played are the following. Al de Lory Catalino 'Tite' Curet Alonso Conjunto Casino Cuba Cafe Expres DJ Isaia "El Profeta" El Santos Felipe Debrand Los Fantastica Los Junior Stars Los Kenya Magdeline Benitez Orquesta La Ampliación Ralphy Santi Serafín Cortes y Su Orquesta Servando y Florentino & Porfi Baloba Some of the music on this show. A donation of any kind would be most welcome to support the mission of the non-profit DJ collective that is WSR, providing commercial-free salsa both live and on replay. Just smash the 'donate' button on WSR's webpage! The 'donate' button is on the same page for listening, just below the 'play' button. World Salsa Radio is a non-profit collective of volunteer DJs, and we rely on donations to cover the many costs of providing commercial-free, live, and on-demand salsa programs. We would be grateful and thrilled if listeners could contribute any amount as a donation. Donations are welcome at anytime, actually. Thank you for your support! See the Facebook event page for details Note The schedule above is in Pacific Time. Below are the times for Japan, Eastern, and Central Europe. Japan Time 16:00 Angel (Japan) 17:00 Ravi (India) 18:00 Georgios (Greece) 19:00 V (Greece) 20:00 Missy (UK) 21:00 Amos (UK) 22:00 Jason (US) 23:00 Rosita (US) 00:00 日曜日Tony (US) 01:00 Corwin (US) 02:00 BoriQua (US) 03:00 Thiencito (France) 04:00 Rumbero (Mexico) 05:00 Fili (Ecuador) 06:00 Nilson (Canada) 07:00 Laura (Colombia) 08:00 La Dama (Mexico) 09:00 El Güero (US) 10:00 Jay-Lee (US) 11:00 Oscar (Venezuela) 12:00 Pablo (Colombia) 13:00 Minis (Lithuania) 14:00 Stelios (Greece) 15:00 EldelaClave (US) Eastern Time 03:00 Angel (Japan) 04:00 Ravi (India) 05:00 Georgios (Greece) 06:00 V (Greece) 07:00 Missy (UK) 08:00 Amos (UK) 09:00 Jason (US) 10:00 Rosita (US) 11:00 Tony (US) 12:00 Corwin (US) 13:00 BoriQua (US) 14:00 Thiencito (France) 15:00 Rumbero (Mexico) 16:00 Fili (Ecuador) 17:00 Nilson (Canada) 18:00 Laura (Colombia) 19:00 La Dama (Mexico) 20:00 El Güero (US) 21:00 Jay-Lee (US) 22:00 Oscar (Venezuela) 23:00 Pablo (Colombia) 00:00 [Sunday] Minis (Lithuania) 01:00 Stelios (Greece) 02:00 EldelaClave (US) Central Europe Time 09:00 Angel (Japan) 10:00 Ravi (India) 11:00 Georgios (Greece) 12:00 V (Greece) 13:00 Missy (UK) 14:00 Amos (UK) 15:00 Jason (US) 16:00 Rosita (US) 17:00 Tony (US) 18:00 Corwin (US) 19:00 BoriQua (US) 20:00 Thiencito (France) 21:00 Rumbero (Mexico) 22:00 Fili (Ecuador) 23:00 Nilson (Canada) 00:00 [Sunday] Laura (Colombia) 01:00 La Dama (Mexico) 02:00 El Güero (US) 03:00 Jay-Lee (US) 04:00 Oscar (Venezuela) 05:00 Pablo (Colombia) 06:00 Minis (Lithuania) 07:00 Stelios (Greece) 08:00 EldelaClave (US) REPLAY World Salsa Radio 6th Anniversary (Encanto Tropical Set) World Salsa Radio 6th Ann - Encanto Tropical Set (Click on the link above if the embedded player does not display) < NEXT POST PREVIOUS POST >

Incredible news! Japan-based Cuban artist Yacel Sagarra has just hit no. 22 on the Latinos Unidos Online chart (out of 125) for this month with his single 'Se va', which was launched last September. For a while now, I have been following the developing career of this singer-songwriter from Santiago de Cuba. His passion and dedication have been nothing short of inspiring. The road isn't easy for musicians today, but Yacel's commitment to his craft shines through every note. I am so proud of this milestone—and I know it's just the beginning. If you haven't discovered his music yet, check out his website or YouTube channel and stream 'Se va' by Yacel Sagarra on all platforms. The Impact of Salsa Music Salsa music is more than just a genre; it's a vibrant culture that brings people together. It has roots in various musical styles, including jazz, son, and Afro-Cuban rhythms. This fusion creates a unique sound that captivates listeners worldwide. For many, salsa is a way to express emotions and connect with others. Whether you're dancing at a local club or enjoying a live performance, the energy of salsa is infectious. It's a celebration of life, love, and community. Why Yacel's Music Matters Yacel Sagarra's music embodies the spirit of salsa. His songs are filled with rich melodies and heartfelt lyrics. They resonate with anyone who has ever felt the joy of dancing or the pain of love. His recent success on the charts is a testament to his talent and hard work. It's not just about the numbers; it's about the impact he has on his listeners. When you listen to 'Se va', you can feel the passion he pours into every note. Discovering New Sounds If you haven't yet explored Yacel's music, now is the perfect time. His YouTube channel is a treasure trove of vibrant performances and engaging content. You'll find everything from music videos to behind-the-scenes glimpses of his creative process. Streaming 'Se va' on all platforms is a must. I promise you won't regret it! This track is a beautiful representation of his artistry and dedication to salsa music. The Future of Salsa in Japan As Yacel continues to rise in the music scene, he is paving the way for other artists in Japan. His journey shows that with passion and perseverance, anything is possible. The salsa community in Japan is growing, and it's exciting to see how artists like Yacel are contributing to this vibrant culture. Events, dance classes, and live performances are becoming more popular, creating a lively atmosphere for salsa lovers. Join the Salsa Movement If you're passionate about salsa, consider joining local dance classes or attending events. It's a fantastic way to meet new people and immerse yourself in the culture. Plus, who doesn't love a good dance party? Yacel's success is just one example of how salsa music can thrive in new environments. Let's support artists like him and keep the salsa spirit alive! In conclusion, Yacel Sagarra's journey is a beautiful reminder of the power of music. His dedication to salsa is inspiring, and I can't wait to see where his career takes him next. So, let’s celebrate his achievements and continue to support the vibrant world of salsa music. < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Episode 45 features songs I prepared for 3 DJ sets and a workshop at the 2024 Taiwan Salsa Carnival. Replay at the bottom of this page (2:00:52, 27 tracks). In Taipei, I did not play all the songs from this show, and there were several tracks I played that I hadn't put on the playlist. The playlist itself included material for my workshop where I gave a presentation on the background story of several salsa songs. More details about that in the previous post . Some of the music on Encanto Tropical 45 Artists Below is a list of all the artists on Episode 45. Full attribution is given on the show. Alfredo Linares y Su Sonora Beto Collado Conjunto Universal DJ Ricky Campanelli DJ Mirco, Merlino DJ, DJ Pepe el Rumbero El Vikingo de la Salsa El Santos Gia Fu Grupo Niche Javier Luis Jimmy Bosch Jimmy Saa Johnny Sedes y Su Orquesta La Maxima 79 & DJ Fabrizio Zoro Los Criollos Los Macos de Enriquito Machete Diaz feat. José D'Jesus Manny Martinez Ocatavio Cardona Orchestra Mambo International Orquesta Guayacan Orquesta La Criolla Ray Pérez y El Grupo Casabe Rubim de Toledo Tabaco y Sus Metales The Spanish Harlem Orchestra Willie "Baby" Rodriguez I hope listeners enjoy Episode 45 -- a preview of songs I prepared for my roles as DJ and workshop presenter at the 2024 Taiwan Salsa Carnival in Taipei, Nov 22-24. REPLAY EPISODE 45 < NEXT POST PREVIOUS POST >

The debut album of Spanish Harlem Orchestra, under the direction of pianist and arranger Oscar Hernandez, was released in 2002. By that time I had already been producing salsa events and deejaying for only a few years, so I was still a little green with regard to experience. Spanish Harlem Orchestra's debut album now on vinyl Salsa had become a passion but I was lacking much understanding of its history; yet I was playing salsa exclusively while committed to honing my skills, developing a diverse collection, and learning as much as possible, given the circumstances. The compass points of early timba , classic Fania anthems, contemporary Colombian salsa, and slightly-old Puerto Rican salsa were my main areas of focus when spinning tunes back in the days of CD players. However, after discovering Spanish Harlem Orchestra, my new interest in contemporary salsa strengthened in the wake of other salsa material released near the turn of the century, such as by Jimmy Bosch, Yuri Buenaventura, Africando, Son Boricua, and Edwin Bonilla. Un Gran Día En El Barrio , which translates as "a great day in the neighborhood" had the biggest impact. Full of dance tunes, the album quickly went on high rotation at my gigs for several months. Twenty-two years later, it’s tempting to consider it now as nostalgic; but truth be told, it still sounds fresh and not at all dated. I think it has passed the test of time very well. Album Notes The liner notes of the CD summarize the great influence that the New York neighborhood of Harlem had on American music, with nods to Charles Mingus, Ella Fitzgerald, Duke Ellington, and James Brown in their contributions to the status and development of African-American music in particular. However, a point needing recognition was the "Spanish" area of Harlem, where many Latinos, especially Puerto Ricans, resided, and they too made important contributions to music, specifically to the form which would come to be known as salsa . [1] Both the journalist Cesar Miguel Rondón and musicologist Andrés Espinoza Agurto point out how salsa -- in its purest form -- was stylized in the barrio . [2] [3] Back cover of the CD Un Gran Día En El Barrio comprises ten songs, and together they are a "musical portrait of a tiny neighborhood that changed the sound of the entire world". [4] Ranging from 1947 ("Obsesión" by Pedro Flores) to the early 1970s ("La Banda" by Marty Sheller and Willie Colon) the songs are performed by esteemed musicians paying homage to this history. Spanish Harlem Orchestra members (2002) [Source: CD notebook, back cover] Oscar Hernandez, piano / musical director Ruben Rodriguez, bass Ray Vega, trumpet Raul Agraz, trumpet Jose Davila, trombone Ozzie Melendez, trombone Mitch Frohman, baritone sax Pablo "Chino" Nuñez, timbales Bobby ALlende, bongo George Delgado, conga Ray de la Paz, vocals Frankie Vasquez, vocals Herman Olivera, vocals Jimmy Sabater, guest vocals Produced by Aaron Luis Levinson / Label: Ropeadope Records, 2002 Musings Notably, the album was never available on streaming platforms when they came into existence and even now as Spotify continues to update its catalog with many previously unavailable salsa albums, it still remains unlisted. I have always speculated that this had do with copyright issues. However, the timeless classic of Un Gran Dia En El Barrio was recently released on vinyl by Sal Sound Records (2024). The rear jacket boldly announces it as Spanish Harlem’s answer to Cuba’s Buena Vista Social Club . That sounds about right. Pictured here are copies of the recently released record and the original CD, both autographed. The CD cover has the signature of Ray de la Paz (vocals). The record jacket that of Oscar Hernandez (piano and band director). Spotlight: 3 Songs of Un Gran Dia En El Barrio All the tunes on this amazing album are notable as cover versions from decades before. Three I would like to spotlight. With Herman Olivera on vocals, "La Música Es Mi Vida" still gives goosebumps as a great rendition of the composition by Sandioval and Guajiro Gonzalez, which I first heard on El Hulk de la Salsa by Sociedad 76 & Johnny Zamot (Fania Records, 1980). The opening lyrics can surely resonate with salsa aficionados. Spanish: La música es mi vida, mi compañera y mi amiga Con ella me he desvelado, para invertir el mundo Mi vos es la mensajera de la música latina English: Music is my life, my partner, and my friend With her I’ve been sleepless, to invest in the world My voice is the messenger of the Latin music [5] The lyrics also express gratitude to the patron saint of music, Saint Cecilia, with the chorus in support: 'Thanks to the gift God gave me, I will always live to sing'. Simply, "La Música Es Mi Vida" is a very impressionable song and the version by Spanish Harlem Orchestra is unmatched. You don't need to be a singer or a musician for the lyrics to ring true -- any salsa enthusiast can embrace the song as an anthem. The CD front cover Also included in the album are two compositions by the prolific Puerto Rican composer Tite Curet Alonso: "Vale Mas Un Guaguanco" and "Pueblo Latino". Both can be considered salsa anthems as well. "Vale Mas Un Guaguanco" is another nod to the role of music in defining one’s life (from an Hispanic/Latino context). Spanish: A la la le le la la Es cuestión de analizar mi querido compañero Si vale mas un guaguanco O ponerte a sollozar por un amor que te dejo ... Ya te vi con el mundo hacia adelante Y a subir que lo se fue se fue Que se largue English: A la la le le la la It is a question of analyzing my dear partner What is worth more, a guaguanco or to sob for a love that has left you  … Proceed ahead with the world in front of you to ascend what has left Let it go! [6] Supporting the call to be strong and affirmative is this chorus line: 'Guaguanco is better than a bad love'. Un Gran Dia En El Barrio -- the record, at last. "Pueblo Latino" is the closing track of the album. I knew the song originally from the singer Pete Rodriguez, on his album Este Negro Si Es Sabroso (Fania Records, 1976). Upbeat and inspirational, it is an appeal for unity in Latin neighborhoods everywhere. Spanish: Pueblo latino de cualquier ciudad A llegado la hora de la unidad A sonado la hora del estrecho de manos Como protección Pueblo latino de cualquier barrio De cualquier ciudad! Tu hora a sonado, únete! Únete! ... Porque la unidad, es que está la fuerza monumental Que los puede salvar de la infelicidad English: Latin town of any city The time for unity has come The hour of outstretched hands has come For Protection Latin town of any barrio … Of any city! Your time has sounded, unite! Unite! Because unity, is the monumental strength  That will save us from misery ... [7] It is fitting that the focus here is on the neighborhood, el barrio ; first, in relation to the album title; and second, in underlining the crucial setting from which salsa is said to have emerged (see earlier in this post). With its ambition, conception, and musical excellence, Un Gran Día En El Barrio earned an Emmy Nomination for best salsa album of the year at the 45th Grammy Awards. [8] TRACK LIST Mama Guela Obsesión Tambori Aprende A Querer La Música Es Mi Vida La Banda Pa' Gozar Somos Iguales Vale Mas Un Guaguanco Pueblo Latino A Standard & A Legacy In the twenty-two years since the groundbreaking Un Gran Día En El Barrio , Spanish Harlem Orchestra has produced eight more albums, most recently Swing Forever (Ovation Records, 2024), available both in CD and vinyl format. Nominated six times for the Latin Grammys (with three wins) Spanish Harlem Orchestra's discography has set a standard with salsa music that is both widely appreciated (by salsa enthusiasts) and inspiring (for salsa musicians). Oscar Hernandez, the band director and pianist -- himself a native of New York with Puerto Rican heritage -- has produced several solo projects as well, and members from the 2002 band are still active today with careers as highly-respected supporting artists, solo artists, or band directors themselves. References Spanish Harlem Orchestra. Un Gran Día En El Barrio - cd notebook. (New York: Reopeadope Music Entertainment, 2002), inside cover. Cesar Miguel Rondon. The Book of Salsa  (Chapel Hill: UNC Press, 2008). 18-61. Andrés Espinoza Agurto. Salsa Consciente  (East Lansing: MSU Press, 2022). 56-57, 88. Spanish Harlem Orchestra. Un Gran Día En El Barrio - cd notebook , inside cover. Spanish Harlem Orchestra. Un Gran Día En El Barrio - cd notebook , 4. Spanish Harlem Orchestra. Un Gran Día En El Barrio - cd notebook , 7. Spanish Harlem Orchestra. Un Gran Día En El Barrio - cd notebook , 8. The Spanish Harlem Orchestra page, Grammy Awards. Retrieved November 2024: https://www.grammy.com/artists/spanish-harlem-orchestra/6382 Salsa In Context This blog post, Un Gran Dia En El Barrio by Spanish Harlem Orchestra -- a timeless classic on vinyl, is part of the Salsa in Context series which examines the background story of salsa songs. The aim is to raise awareness of the music that salsa dancers might be familiar with on the dance floor but in fact know little about due to language barriers. See all posts tagged "salsa in context" . PRESENTATION Salsa in Context  will be presented at 2024 Taiwan Salsa Carnival  in Taipei, Nov 22-24. “Salsa in Context - An introduction to develop your appreciation of salsa music as a dancer and listener ”   by Angel Figueroa (Josai International University)  Location: NuZone Exhibition Center , 2F (Salsa Room) Date & Time: Sunday, Nov 24, 11:30-12:20 The 2024 Taiwan Salsa Carnival  is an international salsa event organized by Calvin Wang and hosted at a spacious venue in Taipei with several invited international instructors, performers, and DJs. Social dancing is provided for both salsa and bachata dancers. Get tickets here . < NEXT POST PREVIOUS POST >