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PRE-SHOW POST | AFTER-SHOW POST Next on Encanto Tropical is a session featuring salsa songs which include the word "vida" in the song title or in the lyrics. My aim is to weave together a collection of songs with poignant lyrics about the wonder, mystery, joy, and pain of.... life . Some examples follow. Cantar es lo mas bonito que he aprendido en la vida La vida hay que pasarle siempre alegre No importa el dinero, no importa el destino Vive la vida y disfruta el camino Ay, Abuelita de mi vida, cómo te recuerdo a ti… Yo te quiero yo te adoro, es que tú eres mi único tesoro A Gozar… que la vida es corta compay Y hay que aprovechar lo que queda de ella para vivir Goza la vida como hago yo Levántate y de cara a tu vida Yo solo vivo mi vida No me importa lo demás La vida no es para llorar, es para reír y para disfrutar La vivo a mi manera, superando barreras La vida es para gozar. Featured bands and artists include: Orlando Marin Salsa Sudada feat. Herman Olivera Orquesta Yare Joe Quijano Cuba Libre Son Band Los Hermanos Moreno Hector Lavoe Justo Betancourt Cesar Concepcion & His Orchestra < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Episode 39 features songs which contain the Spanish word for 'life' (vida) in the lyrics. To replay, click on the link at the bottom of this page (1:59:20, 27 tracks). Read about the planning and context of this show in the pre-broadcast post . The session resulted in a good compilation of sayings and observations about life. It was quite astonishing to learn just how many salsa songs include the word 'vida' in their lyrics, so I had no trouble making a shortlist, but this means a Part 2 should be in the works too, then. Some of the music on Encanto Tropical 39 Full attribution is provided on the show. REPLAY EPISODE 39 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST Episode 41 will be a tribute to the prolific songwriter Catalino 'Tite' Curet Alonso of Puerto Rico. He composed more than 2000 songs. A list of nearly 600 notable compositions is here . Some of the music on Encanto Tropical 41 I spotlight two dozen of his salsa compositions with some context and translation. This includes a few 'cover versions', or interpretations by artists other than those who made original recordings, and also two songs sung by himself. Source: www.discogs.com ​This is another episode where simple but rewarding research is part of my preparation. As a basic introduction to this important composer, listeners can discover the nature and genius of Tite Curet Alonso from a selection of songs played by a range of singers/musicians, such as Cheo Feliciano, Rafael Cortijo, Ismael Rivera, Willie Colon, and the Lebron Brothers --among others. The song selection aims to deliver a balance between certain salsa 'anthems' and lesser-known material. Background I first thought about doing a show on Tite Curet Alonso while reading the book Salsa Consciente , where his significance as an influential songwriter in the world of salsa was poignantly explained. A related podcast featuring an interview with the book's author, Andrés Espinoza Agurto , highlighted this point while stressing the humanitarian or socially-aware nature of his song compositions. From the start of my budding interest in salsa music as a collector, I regularly spotted the name "Tite Curet Alonso" in the credits on CDs or records. (Some examples of songs that I like are 'Primoroso Cantar', 'Sali Porque Sali', 'El Solitario', and 'Con los Pobres Estoy'). However, I was not aware of his truly prolific nature nor of his contribution to a Latino identity until I read Salsa Consciente. Also inspiring was watching a video in which Ruben Blades talks about Tite Curet Alonso (see below). ------ Further INFORMATION ONLINE MSU Press Podcast: Salsa Consciente: Politics, Poetics, and Latinidad in the Meta-Barrio New York Latin Culture Magazine: Tite Curet Alonso, The Salsa Poet, Wrote Many Salsa Hits, But is Not Credited PR Sun Communications: Catalino “Tite” Curet Alonso: A Man & His Music JazzDeLaPlena: Remembering Composer Catalino Tite “Curet” Alonso Wikipedia: Tite Curet Alonso BOOKS Andrés Espinoza Agurto (Michigan State University Press, 2021): Salsa Consciente: Politics, Poetics, and Latinidad in the Meta-Barrio < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST It has long fascinated me that Italy boasts great talent in salsa music production -- whether by Italian musicians, musicians based in Italy but of a different heritage, or Italian DJs who make music. Some of the music on Encanto Tropical 42 Spotlighting Italian salsa will be the theme of Encanto Tropical - Episode 42. Although I once visited Italy to run the Rome Marathon several years ago, unfortunately I did not attend any Italian salsa events. Therefore, I am certainly not an expert on Italian salsa, but in my long-going attempt to research songs made by musicians and Djs in Italy, the result was a very long list which remains unfinished (see here ). Clearly, music production in Italy really shines when compared to other countries where salsa is not mainstream. Sept 12 (08:00 NY / 14.00 Italy / 21:00 Japan) on World Salsa Radio So I have ventured to go through my collection and sample a selection of songs to represent Italian salsa. This is no easy task, especially with a 2-hour show limit. Nonetheless, it is an interesting challenge. My choice of songs avoids obvious anthems and leans towards lesser known material while also limiting the share of the pie by certain prolific artists. There will certainly be several songs that I can fit due to time limitations, which may be a good reason for a Part 2 on this theme. Francisco Rojos DJ of Salsa.It As a bonus, appearing on the episode is Francisco Rojos, a pioneering DJ, music producer, and creator of the Latin web magazine and music label Salsa.it . In an interview, he will share his thoughts and I hope to spotlight the following points with listeners. a brief history of salsa in Italy an introduction to several salsa songs which come from Italian popular music an overview of his own pioneering role in the Italian salsa scene his recommendation of some exemplary Italian salsa songs His choice of seven songs -- including his own -- will be shared on the show, which starts with a 35-minute mix of some of my favourite Italian salsa tunes from recent years. To learn more about Francisco Rojos, check out his profile on the Salsa.it website as well as his podcast, Latin Connection , which is a collaboration with Radio Quisqueya. Both are in Italian. Thanks to Fabrizio Zoro  (DJ, composer, music producer, and director of La Maxima 79 ) who was a guest on Episode 14 , for introducing me to Francisco Rojos. Tune in on September 12 for a special show. Please note that it will be conducted in Spanish. < NEXT POST PREVIOUS POST >

Episode 43 is titled “Cuban Roots” and features Cuban music from the 1950s and early 1960s (39 tracks, 2:05:39). See the replay section at the bottom of this page. Cesar Miguel Rondon describes the 1950s as a time when Cuban music was defined by ‘spectacle’ and with ‘safe lyrics’ [1] . This contrasts with the music of the late 1960s and early 1970s when its adapted forms had evolved and found expression in New York neighbourhoods where Hispanic/Latino immigrants resided. The music was no longer extravagant and for carefree parties but rather for expressing the “violence and bitterness of a particular type of life—that of the barrio” [2]. The context of el barrio is thus key to understanding how a pan-Caribbean music rooted in Cuban rhythms developed a particular style and appeal which came to be known as ‘salsa’. Some of the music on Episode 43 This episode of Encanto Tropical is partly an effort to explore some context of that precedent. However, while much of the music of the 1950s and early 1960s certainly show some 'extravagance', there were also songs that reveal a kind of 'punchy attitude', if you will, which may have relevance as an undeniable foundation (at best) or a coincidental trait (at worst) of the musical style which emerged in New York in the 1970s — perhaps we can assume it's somewhere in between. Regardless, the main purpose of the episode is to merely highlight a musical era for appreciation and use it for further discussion. However, underlining both the connection of this era with the 70s as well as exposing the grey zone of the term 'salsa' are the inclusion of several Cuban works used by salsa bands of the late 60s and beyond, a time when the political situation made copyright issues nothing to worry about. Yet it its worth noting that this matancera  variant of salsa was unlike the ‘true’ salsa of the barrio because the practice of making cover songs implied that “only the old music made sense” [3]. Notably, the use of original Cuban songs was usually without any attribution other than the initials "D.R." for derechos reservados meaning  copyright reserved; this method was a convenient way to avoid crediting a Cuban composer or paying royalties [4]. Episode 43 has a common motif among its 39 musical pieces -- Cuban music played by Cubans (although not always in Cuba) from a period ending with early the years of revolutionary Cuba, when regime change had far-reaching consequences for Cuban music both inside and outside of the country. Things would never be the same, and the stage was set for a chaotic transitional phase from which Cuban-derived music, infused by new instrumental arrangements, pan-Latin flavours, and new visions influenced by the socio-cultural contexts of the 70s, would evolve from. While the song selection is thus presented thematically, there is no special motive or implication in an all-Cuban selection; it is merely an attempt at contributing to the exploration of the history of Afro-Caribbean music but with Cuba in focus. Artists The following is a list of artists/groups appearing in Episode 43. Parentheses indicate the number of songs. Arsenio Rodríguez y su Conjunto (2) Bebo Valdés Belisario López y Su Charanga Beny Moré (2) Carlos Emilio Morales Celina y Reutilio Chappotin y Sus Estrellas Cheo Marquetti y su Conjunto  Chorolo y Su Combo Conjunto Casino (3) Estrellas De Chocolate Fernando Alvarez Gilberto Monroig Israel Lopez Cachao La Gloria Matancera (2) La Sonora Matancera feat. Celia Cruz La Sonora Matancera feat. Celio Gonzalez (2) La Sonora Matancera feat. Bienvenido Granda (2) La Sonora Matancera feat. Vicentico Valdés Los Compadres Los Guaracheros de Oriente Luis Santi y Su Conjunto Niño Rivera Orquesta Almendra Orquesta Aragon (2) Pedro Justiz " Peruchin" René Touzet & his Orchestra Roberto Faz y su Orquesta Rolando Laserie Rosendo Ruíz, Jr. and his Orchestra Septeto Nacional De Ignacio Piñeiro Walfredo De Los Reyes Jr. & Su Orquesta Acknowledgements Among several books and publications that were consulted in creating the episode, one book was particularly resourceful: Cesar Miguel Rondon’s the Book of Salsa (University of North Carolina Press, 2008) .  I also wish to acknowledge the devotion to Latin American musicology by Pablo Yglesias, a.k.a. DJ Bongohead ( Instagram ) whose curation in the compilations “The Roots of Salsa” (Volumes 1, 2, 3 ) served as an inspiration for this episode and also a source for several songs. These compilations released by Grosso Records are highly recommended for collectors and salsa researchers. Appreciation is also directed towards the Cuban musician Yacel Sagarra , based in Japan, who has always been available to teach me important points about Cuban music. REFERENCES Rondon, Cesar Miguel, 2008. The Book of Salsa (University of North Carolina Press, 2008), p. 21. “ p. 22. “ p. 26. Moore, Robin, 2002. Salsa and Socialism: Dance Music in Cuba, 1959-99. In L. Walker (Ed.), Situating Salsa: Global Markets and Local Meaning in Latin Popular Music (Routledge, 2002) pp. 62-63 . REPLAY Episode 43 - 'Cuban Roots' (Cuban Music of the 1950s and early 1960s) < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST This summer I marked the 60th Anniversary of Fania Records’ founding with a salsa tribute session in Episode 35 . Episode 44 is Part 2 of the tribute. It was fun building that playlist but there were many outtakes due to the limitations of a two-hour show. A lot of material deserves to be covered when attempting to present Fania as the protagonist of an exciting new musical period that lasted several decades, so the omission of several songs set the stage for Part 2 in the next episode of Encanto Tropical. Ready for cueing are about 25 more songs form the Fania universe, and this includes tracks from the Alegre, Inca, Cotique, and Tico catalogs since Fania acquired these labels as it grew in size and power during its heyday. Fania was also the parent company of sub-labels such as Vaya and International. (Fania itself is currently owned by Concord Music .) Three Examples Three songs stand out as necessary inclusions because they were not in the Part 1 tribute. Following are some brief descriptions for context. 'Pancho Cristal' Los Durísimos, Ricardo Ray & Bobby Cruz Alegre Records, 1968 The virtuoso pianist Ricardo Ray and singer Bobby Cruz are among the most iconic duos in the world of salsa. They produced a string of albums with anthems that, while not always dancer-friendly, resonated with hard-core fans. Their mark in the annals of the ‘salsa’ explosion of the mid 1960s to mid 1970s include a unique sound of masterful compositions, arrangements, and piano — with alluring lyrics.  The 1968 album Los Durísimos , although not particularly rare or collectible, released first on the Alegre label and then on Tico, is a personal favourite. Both labels were appropriated by what became the “Motown” of the emerging ‘salsa’ industry, Fania Records; thus, the album is part of the Fania universe and qualifies for consideration in any tribute marking its jubilee.  On the album there is a particularly special track named after an esteemed Cuban producer of Latin music in the pre-salsa era whose role in historical recordings cannot be underestimated. 'Pancho Cristal' is a fiery tune and among my favourites to play when harking back to proto- salsa dura .  'Alacrán (Tumbando de Caña)' Soy Boricua, Bobby Valentin Fania Records, 1972 Ranked 25th in a recent list of the 50 greatest salsa albums of all time by Rolling Stone magazine , Bobby Valentin’s ‘Soy Boricua’ (1972) certainly deserves recognition — although by nature all such ‘greatest’ lists are subjective. Regardless, it’s a personal favourite and listening to it recently was a pleasant stroll down memory lane.  Valentin, a composer, bassist, recorded the album when he returned to Puerto Rico after enjoying early success in New York first as a sideman then as a band director. It was a landmark album for the Fania Records label but soon after he would produce future albums on the Bronco label after a period of imprisonment.  Known as El Rey del Bajo , or the King of the Bass, Bobby Valentin is still with us, and his mark on Fania Records and salsa at large is without question.  A seminal album, a number of hit songs grace Soy Boricua ; a fine one is 'Alacrán (Tumbando de Caña)', with a great introduction then a fantastic buildup which includes explosive instrumentation and vocals. 'Ametralladora' Yo Soy Latino, Larry Harlow Fania Records, 1983 There were few core members of the New York Latin music community in the 1970s who were not of hispanic/latino heritage. One of them was pianist Larry Harlow, known as El   Judio Maravilloso (“The Marvelous Jew”), but he had iconic status and was untouchable having proven his chops as a master interpreter of Afro-Cuban genres, as he had studied in Cuba in the 1950s, and his orchestra was the second to sign with the Fania label.  Harlow was a pivotal component in Fania’s rise over the years and certainly played a major role at live concerts by the Fania All-Stars. When Fania’s reach and influence started to wane in the 1980s, Larry Harlow was still showing his musical prowess. The 1983 release Yo Soy Latino is of special note. Included is the track 'Ametralladora' (Spanish for machine gun). The lyrics evoke a tough and adamant attitude, touching on themes of aggression and love. These mingle into confident machoism, calling to a pistol-armed man who covets a certain woman that the singer has a better weapon — a machine gun — and will certainly win her over instead. The lyrics juxtapose with a powerful piece of music with intense instrumentation, including fine percussion and electric guitar. Some of the music on Encanto Tropical 44 The programming of these three songs among a total of two dozen or so will be my focus as we travel fifty-plus years back in time to when New York City neighborhoods, or barrios,  were buzzing with pan-Caribbean innovations of Cuban-derived music, interpreted and arranged anew by a mixture of mostly Puerto Rican musicians — but also involved were Cubans who had left their country, as well as other nationalities, such as Dominicans. Together their raw sound steeped in barrio life was different in tone and context from the extravagance and high-life of the previous decade, and would eventually be promoted under the loosely defined commercial buzz word 'salsa'. Fania and its associates were key in the term’s acclimatization.  In simple terms, Fania helped put 'salsa' on the musical map, as I have mentioned before, and although Fania’s success was marred by controversy, it deserves recognition. While Episode 44 aims to spotlight some of Fania’s greatest anthems, lesser-known works will also be included. Naturally, the entire selection process is subjective in nature — the featured songs are just part of my personal view on how to mark this 60th anniversary and to be taken with a pinch of salt. I hope listeners can enjoy it. < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Episode 44 can be replayed at the bottom of this page (26 tracks, 2:00:57). A tribute session celebrating the 60th anniversary of Fania Records was posted earlier this year ( Episode 35 ). Despite its length of move than 2 hours, I felt I had not included enough songs. Besides, there were so many outtakes from my original shortlist of tunes. Doing a second tribute thus seemed absolutely necessary. Here it is: Part 2. See the pre-broadcast post for context. Artists Artists included are listed below. Full attribution is given on the show.   Angel Canales Baby Gonzalez, Orquesta Riviera Bobby Valentin Celia Cruz & Johnny Pacheco Chamaco Ramirez Cheo Feliciano Chino Rodriguez y La Consagración Chivirico Davila Fania All Stars Frankie Dante y Su Orquesta Flamboyan Hector Lavoe Impacto Crea Ismael Miranda con Orchestra Harlow Ismael Rivera Julio Castro & Orquesta La Masacre Justo Betancourt Larry Harlow Latin Tempo Markolino Dimond The Lebron Brothers Ray Barretto Roberto Roena y Su Apollo Sound Ricardo "Richie" Ray & Bobby Cruz Ruben Blades 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, Tico, International, and Vaya. Note that some 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 44 Fania Records is owned by Concord Records .  REPLAY EPISODE 44 < NEXT POST PREVIOUS POST >

PRE-EVENT POST | AFTER-EVENT POST Coming up is the Taiwan Salsa Carnival in Taipei on the weekend of Nov 22-24.  LINEUP There is a great lineup of artists who together with social dancers and workshop participants will make exciting memories over this weekend. There are so many to mention... Along with DJs Tienyu, James, and Ellen (and more), there are performers/instructors Alien Ramirez, Frankie Martinez, Eric Rodriguez, Ari, Arieh Alexander, Darling Saeko, Patty Lin, Hide & Peko, Johnathan & Busra, Ozlem & Diego, Romantic Babulu, and more. Not to be missed! Get your tickets here . Organized by CopaTaiwan THEMES This year's event has daily dress code themes to enliven the fun: "Stylish Glasses" on Friday, "Luxury" on Saturday, and "Elegant" on Sunday. Let's go! Venue & Workshops The venue building, Nu Zone Exhibition Center, is a beautiful setting chosen by the event organizer Calvin Wang as the meeting point for social dancers, performers, DJs, and dance instructors from around the world. It has separate dance halls for salsa and bachata. The packed workshop schedules on both days will be followed by dancing late into the night. DJing, PRESENTing at Taiwan Salsa Carnival 2024 I will be selecting tunes in the Salsa Room on Friday and Saturday night. It will be my fifth time joining this great event in Taipei. I have not been there since the pandemic, so there will be some great reunions! In addition to deejaying I will deliver a presentation on Sunday titled "Salsa in Context". My aim is to provide insight for non-Spanish speakers who may not know the meaning of the lyrics while dancing or listening to salsa songs. UNDERSTANDING Salsa LYRICS In Japan it has always struck me as a fascinating dynamic that social dancers can pair up and display great technique when dancing to the musicality of songs without understanding the lyrics, as they are in Spanish. But this observation is non-judgmental. Clearly, salsa is for everyone. Dance is an international language crossing all borders. It unites people as a medium for peace, understanding, and building joyful moments on the dance floor -- and beyond. Not understanding the words of a song is, of course, not a problem. However, I believe that being able to understand salsa lyrics can take dancers to a higher level. While some songs are trivial and simple in meaning, others have great depth showing social, historical, and cultural context. You might say that cultivating knowledge about your chosen artistic expression is just as important as developing the techniques for expression within it. CONNECTING with Salsa Besides, there is a background story to everything. No matter the field of study or art form, discovering context, history, connections, and relevance promotes intellectual growth, artistic expression, and further connection to your driving passion. The premise is that dancers can find appreciation and a deeper connection with songs they understand, offering greater potential for their interpretational experience — both physical and mental — when engaging their body movement to a song.  This led me to researching and curating songs for a project titled “Salsa in Context”. I recently wrote about context in Cheo Feliciano’s anthem, ‘Anacaona’ (composed by Tite Curet Alonso) , and this served as the impetus for my presentation at the Taiwan Salsa Carnival, where I will detail several songs and even look at salsa as a whole when it comes to context as a template. I am looking forward to giving this talk -- not only in my role as a salsa DJ but also as an academic at a Japanese university, and I strive for a certain standard. However; authoring a presentation on salsa at an academic standard has its challenges, as salsa musicology contains pitfalls, sources may sometimes conflict, and oral history -- although valuable -- may not be entirely reliable. I wish all attendees to be satisfied, including veteran dancers and knowledgeable instructors in attendance... SCHEDULE [ This post was published before going to Taipei. Read the post-event post here . ] Encanto Tropical 45 On a related note is the next episode of Encanto Tropical, which will feature songs prepared for both DJing and presenting at the Taiwan Salsa Carnival 2024. Episode 45 “In the bag for Taipei” broadcasts on Nov. 21st on World Salsa Radio (see bottom for broadcast info). See you in Taipei soon! < 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 >

PRE-EVENT POST | POST-EVENT POST Salsa is for everyone, and it shows.  Across the planet, wherever salsa dancers go — at least in main cities — it seems you can find a local salsa scene, however big or small. This speaks volumes of the universal appeal of the music style rooted in the Caribbean which flourished in New York, Cali, Caracas (and elsewhere) and then gained momentum to spread across the globe, in part by the Latin diaspora but also by local musicians who got hooked on the salsa sound. You cannot go very far when exploring context in salsa songs before being amazed by all the incredible information and depths of meaning involved Among the salsa-loving communities spanning the globe are dancers who pair up at events to share their interpretation of the music, with body movements in varying degrees of complexity and timing. Go to any salsa dance event and you can witness the passion and joy apparent in dancers as they find ways to connect with the music played by the DJ or live band.  A view of the dance floor at the 2024 Taiwan Salsa Carnival The joy, appeal, inclusivity, and inspiration that salsa music offers is impressive. When we consider the musical components which inspire salsa dancers, we can recognize the accessibility that polyrhythm, melody, phrasing, and syncopation have. What is interesting, however, is the role that lyrics play in the sound of salsa as a whole. The lyrics are, by default — with few exceptions — sung in Spanish, a language inaccessible to most dancers you may see at an event in Berlin, London, Istanbul, Nairobi, Tokyo, Taipei, Montréal, San Francisco, or (your city here).  Yet the lyrics are an integral component of a salsa song. They are intended to be more than just a sound like that of an instrument to juxtapose or work in tandem with other instruments. They are the carefully composed ideas, observations, or pronouncements that are heart-fully expressed by vocalists, and often the central force of the song. It is in the lyrics where we find a message, however simple, poignant, or profound it may be. Furthermore, beyond the words and phrases which make up the song composition, there is a background story to that composition, with roots in varying degrees of social, cultural, and historical contexts, giving it even deeper meanings to explore. Dancing to "Balafon" (Calle Vapor) and "El Aguacatólogo" (Manny Martinez) at 2024 Taiwan Salsa Carnival We can note then that salsa music has powerful appeal and can be enjoyed immensely without understanding a word of the lyrics — and of course, that is fine. No one can say that you cannot dance to your heart’s content or physically interpret salsa in your own unique way without understanding the lyrics. However, one might add that there is much to be appreciated when you actually know the meaning of a salsa song. In fact, knowing a song’s message allows a dancer to appreciate it more and to find inspiration for physically interpreting it with more feeling.  Simply put, context matters. This blog contains a few posts about songs that have already been discussed with regard to context.  Cheo Feliciano’s “Anacaona” (1974) is particularly interesting for its historical background as well as its relevant message today ;  “Pueblo Latino” by Spanish Harlem Orchestra (2002) is important for the cultural identity it celebrates ; “Volare” by Cortijo y Su Combo (1960) is interesting for its interpretation of a popular Italian song at a time when the term "salsa" was not in use to describe a musical style . Salsa in Context You cannot go very far when exploring context in salsa songs before being amazed by all the incredible information and depths of meaning involved. This is what inspired me to deliver an introductory presentation titled "Salsa in Context" at the 2024 Taiwan Salsa Carnival (Nov 22-24), where I also selected tunes for the dance floor on Friday and Saturday night. The event featured many international attendees, including performers, instructors and DJs. It was an absolutely fantastic experience; however, it was also a great opportunity to have an audience to share some ideas about context in salsa. I kept it simple and had modest expectations in the form of an introductory presentation because I don't claim to be an expert; I just wish to share what I can. Presenting 'Salsa in Context' at the 2024 Taiwan Salsa Carnival Thirteen songs were spotlighted, some in more detail than others. All the songs contain fascinating context to raise awareness about the importance of meaning and the background story in salsa. First, I presented the relevance of two songs, one by Ray Sepulveda with Johnny Rivera, and one by Jimmy Saa. "No vale la pena" is what started me thinking about context, as this song was incredibly popular in Japan when I started deejaying, and it was intriguing how dancers would joyfully react to what they must have assumed was just a cheerful, romantic song. While the song indeed had an upbeat vibe, the message in the lyrics could not have been more contrasting, with lines such as "it's not worth falling in love" and "love gives you life, but it also takes your life away". "No vale la pena" -- the Spanish lyrics and the English translation The song "Si Dios Quiere" by Jimmy Saa has always been a personal favorite, but it was not until I went over the lyrics carefully that I grew even fonder of the song. It has a deep connection with me. The video below is illustrative as a live performance, but the studio version is better. Live version: Studio version: "Si Dios Quiere" -- the Spanish lyrics and the English translation Additionally, eight songs were discussed briefly, covering a range of contexts, each represented by their album covers, pictured below. Anacaona, Cheo Feliciano Indestructible, Ray Barretto Rebelion, Joe Arroyo Sujetate la Lengua, Eddie Palmieri Otra Oportunidad, Jimmy Bosch Juanito Alimaña, Hector Lavoe Salao, Grupo Niche El Mundo al Revés, Tromboranga Focus on “La Profe” The main spotlight was on the song “La Profe” by Manny Martinez. It is very impressionable, not just for dancing but also as an entertaining and well-crafted music video. “La Profe” was a good choice of material to focus on at this early stage in my exploration of context in salsa, while I leave more profound songs for later. Manny Martinez spent most of his childhood in Puerto Rico but resided in New York and San Francisco before moving recently to Cali, Colombia, where in the last two years he has found the space and time to focus on music. He is most well-known for the groundbreaking album Azabache (2000) which he co-produced with his brother. Several solo albums followed, most recently In the Zone  (2024). Fortunately, he agreed to an interview on short-notice just before my trip to Taipei. I was keen to listen to his insight behind three of the songs included in the latest album, one of which is "La Profe". Click below to watch the interview. Main points of the interview Salsa can be enjoyed regardless of whether you understand a song’s meaning. A song's lyrics represent a composer’s observation of life and is part of a story-telling art form. A deeper appreciation of a song can be achieved by understanding its meaning. Cultural, social, and historical contexts are areas to look into as well. Three songs from Manny Martinez's latest album In the Zone (2024) are provided with a background story and some context. The song "La Profe" ("The Teacher") was inspired by the Van Halen song "Hot Teacher". The wit, meaning, and context of "La Profe" can be better appreciated by watching the music video. "El Aguacatólogo" ("The Avocado Expert") was the result of Manny's wife commenting on how good he was at knowing which avocados were perfectly ripe; also relevant are the charm and appeal of street vendors hawking their products: both his local avocado-seller where he currently lives as well as the neighborhood bread-seller from his childhood in Puerto Rico. "Los Buenos Somos Más" ("There Are More of us Good People") was a phrase he overheard a salsa DJ saying, and the song reiterates the point that despite the general negativity around us, we should be confident that everything will be fine because there are more good people than bad people. Community, Awareness, and More Knowing the meaning of a song and understanding its context are avenues to enrich the dancing experience, develop a dancer’s artistic expression, and deepen their connection with the salsa community — not only in the present but also in the past. That is to say, acknowledging the forerunners of this global community we now belong to is also significant. This belonging obliges recognition of those who passed the music down to us. Such recognition could extend further into the past, to the crossroads of 19th century Cuba where the rich musical traditions of Africa and Spain/Europe were set to meet. This may culminate perhaps even with a spiritual experience, where some wisdom develops a deeper appreciation of Afro-Caribbean music that promotes respect, awareness, and peace both on and off the dance floor.  Conclusion While salsa music evidently has universal appeal within an inclusive, global community, it is noteworthy that many of its enthusiasts probably do not understand the meaning of the songs they are dancing to. This is not a critical judgement; it is just an observation. However, as explained in my presentation at the 2024 Taiwan Salsa Carnival, being aware of a song’s meaning and context can elevate a dancer’s experience — spotlighting Manny Martinez’s song "La Profe" is a simple example. Acknowledgements Heartfelt thanks to Manny Martinez for his talents, insights, and sharing time with me. Thanks as well to the Taiwan Salsa Carnival, and especially its organizer, Calvin Wang, for providing support and a setting for my presentation.  Manny Martinez Instagram | Facebook | TikTok | YouTube Taiwan Salsa Carnival Instagram | Facebook < NEXT POST PREVIOUS POST >

Episode 40 highlights salsa songs with a great solo section, whether with piano or other instrument types like strings, brass, percussion, and bass. Replay below (2:05:07, 24 tracks). I will guess that most DJs and salsa enthusiasts are in agreement that songs with a solo part have special appeal compared with those without a solo. It is certainly a thrill to hear a musician given some time during a song to add their personal flair on the instrument of their choice. At times, a solo comes across as the work of a genius. This episode of Encanto TropicaI contains 24 such tracks which especially ring true for me -- I emphasize the selection is highly personal in nature and not meant to be authoritative. Surely, there are hundreds of amazing salsa songs with 'fabulous' solos. While the most common kind of solo in salsa might be with the piano, I wanted to also include solos with other instruments, such as the trombone, trumpet, saxophone, congas, bongos, contrabass, violin, cuatro/tres and electric guitar. Featured artists include Larry Harlow, Mongo Santamaria, Alfredo de la Fe, Israel Lopez 'Cachao' and José Mangual Jr, to name only a few well-known salsa musicians. Some of the music on Encanto Tropical 40 There is so much material to work with that I can easily imagine a Part 2 on this theme. Stay tuned. In the meantime, I hope listeners can enjoy these 24 tracks -- some of which are commonly known, but others may not be. Full attribution is provided on the show. Replay below. Pa' gozar! REPLAY EPISODE 40 < 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. 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] 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. 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. 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'. "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 >