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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 might be partly 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 much 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 the 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? *NOTE: A thematic show  is the template for Encanto Tropical, i.e., where all songs share a common motif. This is in deliberate contrast to a session of just randomly chosen songs. The result is a 2-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 two hours of salsa that lacks any vocals is remotely 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 I hope 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) Interested in reading more? Check out the Blog Index  to see all posts. Scan the highlights of other episodes of Encanto Tropical on the Archives  page. Browse a list of selected, in-depth writings on the Featured Posts  page. Follow the Encanto Tropical Facebook Page . 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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 ). 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 EPISODE 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 >

PRE-SHOW POST | AFTER-SHOW POST Encanto Tropical Episode 46 features salsa songs only from the year 2000.       Remember the Y2K bug? It was supposedly a computer coding flaw which would cause worldwide problems with networking systems using files dated after 1999. As the end of the century approached, there was palpable concern that at the stroke of midnight heading into 2000 this bug would start wreaking havoc. However, nothing of the sort happened.  The Y2K scare seems rather quaint upon reflection. Fast forward 25 years and as another new year approaches, there are far more serious concerns in mind. Several issues foretell a dire year ahead. Whether it’s the climate crisis, disintegrating societies, political landscapes in turmoil, debilitating repercussions of advanced capitalism, regional and proxy wars which risk nuclear escalation, or the scary consequences of rapidly expanding artificial intelligence, civilization as we know it seems on the verge of going south one way or another. How will everything work out? I don’t know, but at the risk of playing the proverbial fiddle while Rome burns, there is refuge in music. Anything similar to a post-Y2K collective sigh of relief seems improbable, but let's stay tuned for tidbits of optimism like the recent news of a breakthrough in desalination technology that could benefit billions of people . For now, we carry on with Y2K as a theme. Playing salsa songs that were fresh at the beginning of the century -- shortly after I started deejaying -- will be a nostalgic trip. < NEXT POST PREVIOUS POST >

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 >