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AFTER-SHOW POST | PRE-SHOW POST Replay Encanto Tropical 33 using the link at the bottom of this page: 24 songs ( 2:06:11 ). Next week on Monday February 12th I have the pleasure being the supporting DJ at the album-release concert and 10th anniversary of the Japanese salsa band Son D' K.Libre. They are based in Osaka, where I was living when they formed ten years ago. The director is the multi-talented guitarist, composer, and singer Yacel Sagarra. In a previous post, I included details of the Son D' K.Libre 2024 Tour . ​ Episode 33 of Encanto Tropical is a Cuban music session featuring songs from both Son D' K.Libre and the duo of Yacel and his partner -- together they perform independently as Yacel and Aya . Some of the artists included in Episode 33 ARTISTS Full attribution is given on the show. Featured artists are listed below. Bamboleo  Berna Jam Charangon Del Norte, Wilver Pedrozo Cubanicho Cuban`S TRes Los Djs Timberos & Los Pollos Timberos & Leidy Garcia Gonzalez El Equipo Del Norte El Rubio Loco & Dj Fabrizio Zoro Fabio Gianni & Ivan Venot Formell y Los Van Van El Hijo de Teresa y la Llegada Leo Wilber (feat. DJ Andrea Tresdò) Mixael Cabrera Mercadonegro Orishas Passion Timba Renesito Avich  Son D' K.Libre Yacel and Aya Yacel Sagarra Yasser Ramos Y El Tumbao Mayombe Yuma Takeuchi ( 竹内悠馬 ) REPLAY EPISODE 33 < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST There is a fine line between easy and difficult when making a session with only Fania Records material — this was a tribute session marking its 60th anniversary — but I aimed for balance between popular anthems and personal faves. See the pre-broadcast post  for context. Episode 35 can be replayed at the bottom of this page (25 tracks, 2:03:31). Artists included are listed below. Full attribution is given on the show.   Adalberto Santiago Alfredito & His Orchestra Bobby Valentin Bronco  Celia Cruz & Ray Barretto Cheo Feliciano Fania All-Stars (x2) Hector Lavoe Jimmy Sabater Johnny Colon Latin Tempo Lebron Brothers Louie Ramirez Monguito Santamaria Orchestra Harlow Orquesta La Conspiracion Johnny Pacheco Pete “El Conde” Rodríguez Ralph Robles Ray Barretto Ricardo “Richie” Ray & Bobby Cruz Roberto Roena Y Su Apollo Sound Típica 73 Willie Colon & Hector Lavoe The list of artists spans several labels in the Fania universe, as it was a parent company with sub-labels it either established or acquired, such as Alegre, Cotique, International, and Vaya. Note that several of the artists featured here were not exclusively on Fania, but the songs selected for the show are from the Fania discography. Some of the music on Encanto Tropical 35 This episode is Part 1 of a two-part series. See Part 2 . Fania Records is owned by Concord .  REPLAY EPISODE 35 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST This summer marks sixty years since Fania Records was founded by Johnny Pacheco and Jerry Masucci. In the years which followed, Fania ballooned in size and power, with varying degrees of success but not without criticism, both in the way it treated its artists and in its business conduct with other record labels and independent artists. Regardless, Fania merits the undeniable role as an institution which helped put salsa on the music map. Domestically, Fania served as a flagship for affirming identity and celebration among Latin American migrants in United States. At the international level, it gained a following for a standard sound while contributing to the popularization of salsa -- along with other labels in the industry -- across the Caribbean and South America. Several Fania artists became household names, and much of their album cover art and many of their songs now serve as icons and anthems, as it were, of a bygone era that some refer to as a "golden age" of salsa. Fania would cease operations well before the millennium, but its catalog of songs numbering in the thousands is still in operation with full rights owned and protected by its present owner. Credit: fania.com (Click on image to visit the Fania Records website) Personally, I developed mixed feelings about Fania . On one hand, as both a general listener and a budding DJ, many of its artists and songs influenced me greatly. On the other hand, it would later dawn on me that the market for salsa was dominated by this one label, and an unfortunate result was that talented bands or musicians unassociated with Fania (for whatever reason) did not receive the recognition they deserved. In addition, one could say there was a uniformity of sorts in the Fania sound although it was still fresh, revolutionary, and important in the development of the genre. This would end with the advent of so-called salsa romantica , but during its heyday in the 1970s and 1980s -- and even several decades later, when there was a revival for appreciating 'older' salsa -- Fania was unrivaled. One had to go to great lengths to discover anything that was not part of the Fania universe. (This includes important sub-labels or other labels that Fania acquired, such as Alegre, Tico, Cotique, and Vaya). Some of the music on Encanto Tropical 35 My point is that during my formative years as a DJ while diving deep into salsa, I realized there was a lot of non-Fania material which was not only very different in sound but also very good in quality (technological limitations notwithstanding); however it meant many salsa players had been ignored, overlooked, or simply unfindable because, in simple terms, Fania was just so immense. Perhaps Fania is not a sole culprit; rather that it was the nature of the record industry, which is very different from today, where technical and networking advancements benefit independent artists and limit the influence of a label. Nonetheless, there was a disconnect between the music being made and its distribution or promotion among target audiences, and it was so pronounced that even today there is a reactionary taste when it comes to vintage salsa. By example, many seasoned DJs are likely to avoid Fania when playing music from the 70s and 80s -- leaning instead towards rare and very different sounds of other vintage productions. I say this from anecdotal experience. With these caveats in mind, marking the occasion of sixty years of Fania still has relevance, and Episode 35 acknowledges this with a selection of iconic Fania material. However, choices will be pared down by avoiding big anthems because there's no point in a predictable track list that listeners can easily find on Spotify or elsewhere. Instead, I will attempt an original approach by striking a balance between personal favourites and lesser-known material in the Fania universe -- spotlighting individual artists with one emblematic song of my choice. In this way, song choices will be contextualized, following the approach as in othet theme-based shows on Encanto Tropical. However, it goes without saying that a show limited to two hours cannot serve as a comprehensive salsa tribute to Fania on its 60th anniversary. It can only be just a small dedication. Update Part 2 of a salsa tribute to Fania Records was broadcast on Nov. 7. Details here . < NEXT POST PREVIOUS POST >

Replay Encanto Tropical 34 using the link at the bottom of this page: 27 songs ( 1:59:24 ). Episode 34 of Encanto Tropical is a live recording of a gig at Mambongo Social in Tokyo on April 6 2024, but with all the bachata and kizomba removed -- a salsa replay! I could not provide track commentary due to voice issues (from asthma), so it’s effectively a two salsa hour mix, with an eclectic range of vintage bangers and contemporary material. Some of the artists in Episode 34 REPLAY EPISODE 34 < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Ready for replay is 'Versions' (25 tracks, 2:04:20). See the link at the bottom of the page. The topic is salsa cover songs. See the pre-broadcast post for details. ARTISTS Artists included are listed below. Full attribution is provided on the show.   Africando All Stars Calle Vapor Carlos D'Castro Eddie Torres And His Mambo Kings Orchestra Franco et l'orchestre O.K. Jazz German Villareal & Mambo Big Band Irving Manuel Joe Quijano & His Orchestra Kevin Davis & Ban Caribe King Bongo La Cali Salsa Big Band & José Aguirre La-33 Mambo Legends Orchestra Manny Mendez Melcochita Mikata New Swing Sextet Orquesta Magia Caribeña Federico Junior Saxomania Sonora Matancera Tributo & Issac Delgado Soneros de Fe VibraSÓN Williamsburg Salsa Orchestra Zoe Tiganouria Some of the music on Encanto Tropical 36 This was an interesting project. It was fun doing the research, and I plan to follow up with a Part 2. REPLAY EPISODE 36 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST Episode 36 will be about salsa cover versions. It broadcasts on June 13th. Cover songs are common in the salsa world. Much of what you hear is not an original composition but rather an adaption or rearrangement of an another song, whether an earlier salsa song or one of an older style, such as a son , guaracha , or mambo . It could be a cover of a Spanish-language song of a different genre or a salsa version made from popular music in English. Even material from classical music has inspired a few salsa covers. Instrumental covers certainly exist, too. Some of the music on Encanto Tropical 36 'Versions' Cover songs can vary in the way they adapt the original. Areas to consider are vocals, key instruments, lyrics (if translated or changed), tempo, pitch, and other arrangements. Knowing the original allows you to identify both the similarities and the differences in the newer version. More importantly, learning about cover versions can expand horizons and shed light on the art of interpretation, which is a rewarding part of music appreciation, whether or not it is salsa music. Especially interesting can be the background story or context of a cover version. Since salsa includes many songs that can be identified as covers in one way or another, it would not be difficult to make a two-hour session of such songs. However, the curation in Episode 36 is an attempt to find particularly rewarding examples of context in cover versions. One such song is “Volare” by the Puerto Rican band Rafael Cortijo y Su Combo (feat. Ismael Rivera) released in the late 1950s (or 1960). Also notable is the 2000 tribute song of the same title by Son Boricua , with Jimmy Sabater on vocals. Compare these with the popular jazz ballad of “Volare” by Dean Martin , who sang in both English and Italian while Cortijo's and Son Boricua's are in Spanish. Notably, the Spanish lyrics do not appear to be the same as the original Italian although they are similar enough to say that -- along with an identical music score but at a higher tempo -- the song keeps the spirit of the original. However, the title of the song somewhat hides the original tune by Italian singer and songwriter Domenico Modugno, who jointly shares credit for the Italian lyrics with Franco Migliacci. The title is "Nel blu, dipinto di blu”, which translates as “In the blue [sky]”, and the word volare  is the main chorus. It was released in early 1958. A timeless hit both in its native Italy and around the world, numerous versions in different languages came into being over the years. A French instrumental version by Ben sa tumba et son Orchestre (labeled as a mambo) uses a direct translation for its title: “Dans le bleu du ciel bleu” (see video below). Among other transformations is the foray into the Spanish Americas by Cortijo, under the same title as Dean Martin’s version in the US which was released in August, 1958. "Volare" is not in the playlist for Episode 36 "Versions", but the song selection includes brief contextual information that is hopefully as enlightening as the story behind "Volare". Some tracks are remakes of an earlier salsa song, some are adapted from classic styles, and others are cross-genre covers, which are especially interesting to note. One song in particular is a rare gem: a salsa version of a bolero originally sung by Hector Lavoe. Tune in to find out what it is! While listeners may be familiar with most songs, it may come as an interesting surprise to understand their origins. Share the journey of discovery with me on June 13 on World Salsa Radio . Feedback and commentary are always welcome. Sources: Wikipedia / Discogs / YouTube < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Up next for Episode 24 is a session on salsa from the 2000s. I am sure it will provoke some nostalgic and be a lot of fun for me (and anyone else who was active in salsa in the first decade of the millennium)... It was shortly before the start of that 'millennial decade' that I began deejaying and organizing events, so by the year year 2000 I was fully hooked as a salsa DJ. During this time I discovered so much material -- both old and new -- to play at my gigs, but it is the music released in the 2000s that has become especially nostalgic to listen to recently, as it reminds me of my golden era of deejaying. Some great memories... Some of the music on Encanto Tropical 24 In Episode 24 of Encanto Tropical, I mix about 25 songs from the years 2000-2009. These are personal favourites that became signature dance floor tunes at my social event "Shine" in Osaka and at other gigs. For salsa lovers who started their musical journey during the 2000s, it might be especially interesting to find songs on the show that rekindle memories! For those who started salsa much later, this session could be interesting from a historical point of view. Either way, I hope it will be a fun show of 'deep Latin vibes' in this special throwback session -- rekindling the millennial era of salsa! < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Yesterday's Episode 24 was great fun (2:07:14 / 25 tracks). The replay link is below. This session follows my recent style of building a theme-based show , with little speaking and more flow, while providing attribution using voiceovers in short, looped segments of a song. The session is a throwback mix to salsa of the 2000s, when I was active as a club DJ and event organizer while building my collection of tunes, both newly released and older material. Now, two decades later, the new music from that time feels nostalgic. It brings back great memories, so I thought it would be interesting to highlight my favourite tracks from that time, specifically the dance floor tunes I played at my main social event,"Shine", in Osaka, Japan. This episode is a trip down memory lane!For more information about the preparation for this show, see the pre-show post . Full attribution is provided in the show. The artists are as follows. Africando All Stars Angel Francisco Augusto Enríquez y Su Mambo Band Black Sugar Sextet Caché Conjunto Azabache Direct Latin Influence El Gran Combo El Timba Grupo Caribe Jesus Diaz Y Su Qba Jimmy Sabater Kimbawe La Excelencia Las Estrellas Caiman Latin Giants of Jazz Los Afro-Salseros De Senegal Manolito Simonet y Su Trabuco Mario Ortiz All Star Band Moncho Rivera Orquesta La Palabra Papo Ortega Presents Cubanoson The Spanish Harlem Orchestra Wayne Gorbea Yuri Buenaventura Some of the music on Episode 24 REPLAY EPISODE 24 < NEXT POST PREVIOUS POST >

PRE-SHOW POST |. AFTER-SHOW POST In recent years, the term 'underground salsa' has been used to refer to salsa music that was (or is) not well-known to the general public. The wording can also imply in some cases difficult-to-find vintage material.  Among salsa insiders such as DJs and collectors, there is a pantheon of artists, musical groups, and individual songs which exist as 'underground' and are highly prized even when audio fidelity is sometimes far from ideal. Compare this with the popular and better audio quality of the same period, such as those from Fania Records, as well as the range of contemporary releases from the 1990s onwards. What explains the huge appeal of underground salsa? What is the context? Here is an idea. Evidently, commercial success escaped many salsa bands in their prime. But while it is easy to assume that unsatisfactory music quality, poor marketing, or failure to garner special appeal might explain a band’s downfall or lack of popularity, there is one critical point to take note of. Record labels had enormous influence for disseminating their music via radio stations. This was as true in New York as in major Latin American salsa cities such as San Juan, Santo Domingo, Caracas, and Cali, among others. Simply put, not being affiliated with the dominant record labels of the mid-1960s and early 1970s -- such as Tico/Alegre and Fania -- meant little chance of recognition during the salsa boom, at least on a large scale.  The limits of technology, media distribution, and the constraints of the radio-station business model did not help. But soon this would change, as all three of these factors would be radically transformed. For Episode 48, we tap into some reserves of marginalized and rediscovered salsa bands from the 1960s and 1970s for a loosely defined 'underground 'session. One idea is that both the influence of the internet and the desire to discover new sounds and lyrics led to a recognition of many of the marginalized orchestras of the 1960s and 1970s. [1] Mingled with these two points was perhaps even a conscious rejection of the Fania Records universe — a term applied to its immense catalog which, by the 1980s, included most other US salsa labels through a process of acquisition. This catalog was already well-known (and in many cases deservedly acclaimed) in the popular psyche of salsa aficionados. However, it was then promoted anew when the era of salsa romantica started losing its appeal. Although the time seemed opportune for a commercial push to revive interest in the so-called golden age of salsa, commercial expectations were not met. Quasi-bootleg CDs from the early 2000s sparked a discovery of marginalized salsa produced decades before. The revival around the late 1990s and early 2000s was short-lived at best, due to some reluctance among consumers in blindly embracing the old standard. Instead, an emerging interest in alternative sounds from the 1960s and 1970s seems to have emerged. Crucially, the internet would soon grow in use and accessibility, and horizons broadened in tandem with the diminishing influence of record labels, physical media, and radio. The end result was a popular (re)discovery of the sound of those once-marginalized salsa bands. Critical to this push was the rise of salsa dancing and the resulting pressure (or incentive) on DJs to be unique. Rarity became a key variable in DJs' song selection and hence their appeal.  However, this is a general perspective probably limited to the salsa aficionado from outside Colombia, Venezuela, and their neighbouring countries, where a strong awareness of salsa culture and history was in place, meaning that artists would not need to be 'rediscovered'. Rather, there was a seemingly sharp and consistent knowledge of the local salsa music scene among local enthusiasts and collectors alike. In fact, this point is worth mentioning as perhaps playing a key role in the awareness-raising among fellow enthusiasts from outside the region who began making their 'discoveries'. What kicked off the wave of discovery were at least three influential trends. First, the relative ease in making bootleg CD compilations which were then distributed internationally. Second, the growth of the internet and social media (for example, Facebook and YouTube) in facilitating connections and knowledge sharing. Third, a growing interest among serious DJs and salsa collectors in records, especially ones that were never officially issued in CD format. One can argue that the interest in discovering vintage salsa as an alternative sound was a positive leap forward in the global salsa community. Suddenly there was a massive amount of salsa songs that many people had not been aware of, and this afforded a great diversity of sound -- not to mention sparks of exclusivity -- in the deejaying or dancing experience, from North America to Europe and to Asia.  Some albums on Encanto Tropical 48 Underground salsa is a rabbit hole, for certain, and I have only touched the surface. No doubt there are different levels in this underground, but I maintain a simple approach. This means that the criteria for inclusion in the playlist for Episode 48 are simply the following. not within the Fania universe or distributed on other major labels not easily found on digital platforms (at least until recently) highly coveted as physical media (records) among DJs and collectors I welcome salsa lovers of all backgrounds and experience to listen to the show (live or on replay) and certainly share their thoughts on the topic or the song selection -- whether in the live chat, the comments below this post, or via email . To be clear, I am not attempting to be an authority. Rather, I am keen to spark some discussion for interest's sake and awareness-raising. See the broadcast information at the bottom of this page. Tune in on February 13th! References Mendevil, Ricardo (n.d.), Underground Salsa . Retrieved January 1, 2025: https://ricardomendivil.com/underground-salsa/ < NEXT POST PREVIOUS POST >

The monthly chart for September 2024 recognizes another selection of ten new additions to the growing universe of contemporary salsa songs. This is, of course, a subjective selection. As usual, narrowing it down to just ten songs was not an easy task. As in past charts for the radio show Encanto Tropical (on World Salsa Radio ), there were several outtakes which made it a gut wrenching process! Here are my choices for the best salsa songs for September 2024 on Encanto Tropical. The chart is especially packed with great tunes when compared to previous months. Notably, it's a balance between European artists and those from the Americas. Italy's La Maxima 79 takes the pole position with its banging track "Yo Traigo Salsa" from their latest album, X. The second and third positions are nods to fantastic dance tunes by new material from Spanish Harlem Orchestra , directed by Oscar Hernandez with "Bailador" and Manny Martinez from the San Francisco Bay Area with "Los Buenos Son Más". His latest album, In the Zone, is a masterpiece -- three of its tracks have appeared on my charts. Boyacá is a new band for me, but their entry on the list, "Dame de Eso", is certainly noteworthy. Roniel Alfonso and Willy Garcia team up for a fantastic production in "Esa Mujer A Mi Me Gusta" to finish the top five. Then comes prolific Swedish songwriter and musician, Thomas de Paula Eby , with yet another fantastic tune marking this year, with "Son Lindas". The final four tunes I regard as essential DJ material to diversify a set. These are Maylo Martinez 's well-produced romantica, "Primera Cita"; Havana Caliente 's "Otro" with great Cuban vibes; another lively and punchy Cuban tune by Mario Crespo Martinez , "Baby Llamame", and another superb instrumental, "Ida y Vuelta", by trombonist and songwriter El Vikingo de la Salsa with pianist Marco Puma . For other "Top-10" lists, see the Charts page in the Radio section . Source Songs are chosen from the Contemporary Salsa - 2024 playlist that I curate with my colleague, DJ Rem in France, on Spotify. Hats off to him for his work in finding great new music, some of which end up on my charts. The Selection Process The criteria for selection includes danceability, originality, instrumental aspects, lyrical meaning, whether there is a certain 'punch' and, of course, personal appeal. Charts are not intended to be authoritative -- this is definitely a subjective area. Three other important points deserve explaining. First, an emission of a track can be due simply to my lack of awareness -- while I try to keep up-to-date with new releases, my schedule is busy, and my day job leaves me with limited time to dedicate myself to this labour of love; so naturally, I can easily miss a song that -- all things being equal -- should have got on a list. Second, I make my selections for myself; I am not one to copy what others are choosing. Third, among my criteria for selecting tracks is that a track must have been released within the last four months. Having said all that, I am welcome to feedback and suggestions, so contact me and let's discuss! Encanto Tropical on Spotify Just recently I made a new playlist comprising only of Encanto Tropical chart selections in 2024 -- that is ten songs a month, so with September 2024, the total now comes to ninety songs. Check it out by clicking on the image below! For Encanto Tropical's top salsa picks of the year see the 2024 Songlist blog post . < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST 日本語は下記に続く Ready for replay is Episode 16 -- see the link at bottom of this page (23 tracks, 2hr 1min). Episode 16 deviates from the usual program structure (with four spotlights) and instead focuses on the theme of Latin music in Japan -- on the playlist are several songs by Japanese artists from past episodes of Encanto Tropical as well as a few I have not played before. This includes songs by foreign artists based in Japan. As a resident of Japan for more than twenty years, it has been interesting to follow the local Latin music scene and collect music, both rare and popular, which I am happy to share with listeners. The aim of this special feature is to give exposure to Japanese artists who are generally unknown internationally. There is certainly a lot of material to choose from, and my selection in no way is intended to be authoritative. In fact, I think it is important to attempt at least one more feature (Part 2) to cover several artists and bands not included in this episode (due to the time restriction). Stay tuned. Encanto Tropical 16: Focus on Japan Some of the music on Encanto Tropical 16 リプレイのリンクはこのページの下部にあります (23 曲、2 時間 1 分) 第16話は、いつもの番組構成（4つのスポットライト）とは一味違った番組をお届けしました。日本人アーティストによるラテン音楽をテーマにしています。 プレイリストには、過去のエンカント・トロピカルのエピソードから、日本のアーティストの曲や、私が今まで聴いたことのない曲が 数曲 導入されています。また、日本を拠点に活躍する海外アーティストの楽曲も含まれています。 20年以上日本に住んでいる私は、現地のラテン音楽シーンを追いかけ、レアなものからポピュラーなものまで、リスナーに喜んで聴いてもらえるような音楽を集めることができたのは、とても興味深いことでした。 この特集は、国際的に知られるのは これからという、隠れた才能を持つ日本のアーティストに触れてもらうことを目的としています。 確かに他にも選択できる資料はたくさんありますが、今回、私の選んだものは、決して権威付けを意図したものではありません。むしろ、今回取り上げられなかったアーティストやバンドを、少なくとももう1回（part 2）で 取り上げることが重要だと考えています（時間的制約のため）ご期待くださいね。 Featured ARTiSTs & BANDS (in alphabetical order) Links included where available Aya Nakano y Central Ayumi "Azucar" Suzuki Alisa Sunaga Banderas Central Chica Boom Chuo Bomba Niconital Conjunto Mamborama Ex Corde Eto Karamushi & Orquesta Copa Salvo Ken Morimura Luis Valle & QBAmigos Orquesta Copa Salvo Orquesta de La Luz Orquesta del Sol Manny Mendez Salsa Swingoza Tokyo Ska Paradise Orchestra Yoshiro Hiroishi Replay Episode 16 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST Coming up on Encanto Tropical (Episode 16)... Latin Japan in focus! Every episode of Encanto Tropical features 3 samples of Latin music by Japanese artists. Their inclusion in the program is due to my desire to give exposure to Japanese artists who are generally unknown internationally. As a resident of Japan, it has been interesting to follow the Latin music scene and collect music that I am happy to share with listeners. In Episode 16, we will deviate from the usual structure of the program and review several songs by Japanese artists that have been covered so far on Encanto Tropical, plus some new ones. This includes foreign artists based in Japan. Some of the music on Encanto Tropical 16 Note The episode featuring Bongohead as guest, which was originally scheduled for Episode 16, has been rescheduled for Episode 17. Tune into World Salsa Radio for Episode 16 of Encanto Tropical with Japanese Latin music on November 24th! < NEXT POST PREVIOUS POST >