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

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

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

Cheo Feliciano’s 1971 album titled Cheo  marked his much-welcomed return from drug rehabilitation.  The album's opening track soon became a classic in the salsa pantheon of standards: 'Anacaona'. The song has been described as the first major hit of the “salsa explosion” [1]. To this day, it remains a much-loved tune for dancers and listeners alike, with its appealing instrumentation, song structure, and alluring atmosphere — but all this is topped by the sublime sound of Cheo Feliciano’s vocals himself.  Cheo (Inca, 1971) - see jacket details at bottom However, the merits of 'Anacaona' are not limited to purely musical aspects. Also important are the lyrics composed by Puerto Rican songwriter Tite Curet Alonso that make the song exemplary as salsa consciente , or "conscientious salsa" [2], a style which defined several salsa songs of the 1970s. Some reflection at the present time on the story of 'Anacaona' might suggest that it is now more relevant with popular awareness than ever before — even after 50+ years.  The lyrics speak of a noble woman who was a music composer and would become chief of the Taínos , inhabitants of the island of Hispaniola, where the Dominican Republic is located today. She repudiated the newly arrived Spanish colonizers, was captured, enslaved, and killed. Her name was Anacaona.  The song remarks on her fight to protect her people and their culture. It also laments at her demise. In a show of conscious inclusivity, national or romantic sentiments are downplayed since the song composer, a Puerto Rican, chose as his subject an indigenous inhabitant of a Caribbean island other than his own [3]; thus, Anacaona is portrayed not only as a noble symbol of her peoples’ resistance and tragedy, but also the story and plight of indigenous peoples across the Caribbean. To point, her confrontation with the Spanish was a form repeated time and again between indigenous peoples and European colonizers across the Americas for the next few centuries.  The execution of Anacaona by Jodocus van Winghen, 1558. Image source: argia.eus It seems that for ages popular awareness was never broad enough to include much historical injustice,  especially the kind experienced by First Nations peoples. However, the topics of settler colonialism and related injustices are now on the rise within a swirling, global consciousness although they are downplayed or ignored by mainstream media; yet, the story of Anacaona is profoundly relevant today. This tribute by composer Tite Curet Alonso, who wrote several songs touching on socio-cultural issues (including one about Anacaona’s husband, Caonabó), is an invitation for more awareness-raising on the injustices of the past and present.  Such is the understanding one can gain from learning the context of certain musical pieces. Salsa songs are no exception; in fact, many are rich in context. References 1. Cesar Miguel Rondon. The Book of Salsa  (Chapel Hill: UNC Press, 2008), 202. 2. Andrés Espinoza Agurto. Salsa Consciente  (East Lansing: MSU Press, 2022), 149. 3. Agurto, Salsa Consciente , 150. Salsa In Context This blog post has been an exploration of Salsa in Context: the example of 'Anacaona', the first segment in a 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 . FURTHER LISTENING The song “Anacaona” was included in Episode 41 of Encanto Tropical: Tite Curet Alonso Tribute , which featured many great songs by the Puerto Rican composer. Click on the image below to open the episode webpage for more information and to replay the show. — JACKET DETAILS First released in 1971 by Inca Records, the 1972 pressing by Vaya Records is the version pictured in this post. It is a gatefold edition with interesting details including a note by Curet Alonso. < NEXT POST PREVIOUS POST >

This episode contains 28 tracks (2:00:22). Replay it near the bottom of this page . If you browse through DJ mixes online labeled "salsa brava," you might wonder what exactly makes them "brava." As someone who's been spinning salsa music for over two decades, I've noticed this term gets used quite liberally, sometimes without a clear understanding of its origins or meaning. What is Salsa Brava? Salsa brava  literally means "brave" or "rough" salsa and can be aligned with the music of the so-called salsa scene from the late 1960s through the late-1970s as a harder-edged, more aggressive variety when compared with other styles in what now constitutes the salsa universe after several decades of evolution. Distinguished by its faster tempos, powerful brass sections, and often socially conscious lyrics, salsa brava  represented the raw energy of barrio life and the struggles in Latino communities. About Episode 51: Salsa brava from my perspective as a DJ When considering the origin or relevance of the term salsa brava , the Oxford Spanish Dictionary defines  brava  as "fierce" or "rough" (Oxford University Press, 2013). This perfectly captures the bold, uncompromising nature of this musical expression through the character of the brass section, the percussion, the vocals, and more. Manny Orquendo Y Libre: a pivotal group with a repertoire of more than 30 years of exemplary salsa brava.  The Golden Age of salsa brava Salsa brava  flourished primarily in the early to late 1970s, a period often referred to as salsa's "golden age." New York-based musicians channeled the spirit of Spanish Harlem and the South Bronx during a time of social upheaval and cultural awakening. This is not to say that the salsa brava  expression did not include musical activity elsewhere. What salsa brava  is not is the sweet-sounding  salsa romántica that dominated the 1980s with its softer arrangements and love-focused lyrics. It is also distinct from the more polished commercial salsa of later decades or the fusion styles that exploited elements of pop and other genres. Some of the music on Encanto Tropical 51 - "Salsa Brava" EXAMPLES OF Salsa Brava Below are six tracks included in the playlist of Episode 51. I believe they exemplify rather well the power and essence of salsa brava . 1. "Aquellos Rumberos" - Orchestra Dicupé 2. "El Rey de la Conga" - Joe Madrid   3. "Tremenda Bronca" - Danny Gonzalez Y Su Orquesta Sensacional 4. "La Cazuela" - Kako   5. "Mi Ritmo Está Bueno" - Javier Vazquez Y Su Salsa 6. "Ha Llegado El Momento" - Brooklyn Sounds These are just six examples of salsa brava in context. Check out Episode 51 in its entirety through the replay link at the bottom of this page . FEATURED Artists Listed below are the artists and bands selected for Episode 51. Full attribution is provided on the show. Babo Jimenez Y Su Banda Brooklyn Sounds Cesar Nicolas Y Su Orquesta Chaparro Y Orquesta (x2) Chino Rodriguez Y La Consegración Conjunto Candela Danny Gonzalez Y Su Orquesta Sensacional El Negrito Truman Gilberto Cruz Ismael Miranda Y Su Orquesta Revelación Javier Vazquez Y Su Salsa Jimmy Urbina Y Su Orquesta Revolucion 70 Joe Acosta Orquesta Joe Madrid Johnny Ventura Y Su Combo Kako Kiki Rosa & Orquesta La Renovación Los Megatones de Lucho Luis Santi Monguito Santamaria Orchestra Dicupé Orchestra Harlow Primitivo Santos Y Su Orquesta Ralphy Santi Sexteto Juventud The Tony Rojas Ochestra N.B.: Missing from the list is Manny Oquendo Y Libre, a stalwart example of the salsa brava style. I originally passed them over due to their songs being too long; however; if I could redo the show, I would definitely consider a good example in spite of song length. Conclusion This theme-based episode of Encanto Tropical focuses on salsa brava in a continuous two-hour set. While the radio format can allow for this sort of structure, when I am spinning salsa at an event, I prefer to mix salsa brava  with other styles rather than playing a purist set. My reason is because the raw energy of these tracks can be too much or even lost if not tempered by contrasting styles. In fact, salsa brava  serves as great juxtaposition to smoother styles, creating dynamic tension on the dance floor, which can emphasize different styles and veer away from monotony. This can be very important for a successful salsa set (assuming that one's tastes line up somewhat with the dancers). It is this dynamic of contrast and juxtaposition which fittingly suggests how salsa music thrives on evolution and dialogue among its different styles.   Thank you for supporting Encanto Tropical through World Salsa Radio . FURTHER REadinG Aparicio, F. R. (1998). Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures.  Wesleyan University Press. Berríos-Miranda, M., & Dudley, S. (2008). El Gran Combo, Cortijo, and the Musical Geography of Cangrejos/Santurce, Puerto Rico. Caribbean Studies, 36(2), 121-143. Glasser, R. (1995). My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940 . University of California Press. Hagedorn, K. J. (2001). Divine Utterances: The Performance of Afro-Cuban Santería . Smithsonian Institution Press. Moore, R. (2010). Music in the Hispanic Caribbean.  Oxford University Press. Morales, E. (2003). The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond.  Da Capo Press. Oxford University Press (2013). Brava . In  Compact   Oxford Spanish-English dictionary . (1st Edition). Pacini Hernandez, D. (2010). Oye Como Va!: Hybridity and Identity in Latino Popular Music . Temple University Press. Quintero Rivera, A. G. (2009). Cuerpo y cultura: las músicas 'mulatas' y la subversión del baile. Editorial Iberoamericana. Rondón, C. M. (2008). The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City.  University of North Carolina Press. Washburne, C. (2008). Sounding Salsa: Performing Latin Music in New York City. Temple University Press. REPLAY EPISODE 51 Encanto Tropical 51 - Salsa Brava from a DJ's Perspective (Click on the link above if the embedded player does not display) PREVIOUS POST >

Last Saturday I had the pleasure of dropping the world debut -- or one of them! (lol) -- of the latest release by Don Ruiz Orquesta -- 'Bailar Contigo' -- at the Mambongo Salsa Social in Tokyo. Check out Don Ruiz Orq uesta on Facebook! Click below to see a short clip on YouTube.

AFTER-SHOW POST | PRE-SHOW POST Episode 46 looked back at the year 2000 for some of the best salsa songs released as the 20th century came to a close. The replay is available at the bottom. (26 tracks, 2:03:42). The show, titled "Then the Millennium", was inspired by memories of all the concern caused by the Y2K bug exactly 25 years ago this month. Read more in the pre-show post . Artists The 26 songs in the playlist are by the artists below. Listen to the show for full attribution. Africando All Stars Alfredo de la Fé Bobby Valentin Celia Cruz Conjunto Azabache ¡Cubanismo! Don Adolfo and his Orquesta Organizacion Estrellas Caiman José Mangual Jr Mamborama Maraca Orquesta La Palabra Orquesta Tabaco y Ron Puentes Brothers Puerto Rican Power Quinto Mayor Ray Santiago And His Orquesta Rey Ruiz Ricardo Lemvo & La Makina Loca Saxomania Son Boricua Sonora Carruseles Tito Nieves Tito Puento & Eddie Palmieri Tony Vega Wayne Gorbea's Salsa Picante CHOICES The song selection is certainly more of a 'personal favourites'-list rather than an authoritative "best salsa" list. These are mostly songs I found myself playing on repeat as a budding salsa DJ -- most of them are danceable and have not aged. It was a fun, nostalgic trip digging through my old CDs to gather material for this project. Theme-BaseD Encanto Tropical shows are usually based on a given theme rather than a random set of songs pulled together. Making theme-based shows such as Episode 46 fosters my growth as a salsa DJ with a deeper appreciation of the music. I hope listeners can find meaning in this approach as well. Check the Archives for all Encanto Tropical theme-based episodes (with the hashtag "theme-based show"). OTHER YEARS Check out other "Best Salsa" lists by Encanto Tropical: Best Salsa of 2024 Best Salsa of 2023 Best Salsa of 2022 REPLAY Encanto Tropical 46 - Best Salsa Songs from the Year 2000 (Click on the above link if the embedded SoundCloud player does not display) < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST The "2024 Songlist" features 25 tracks (2:00:24). Replay at the bottom of this page. It was great fun compiling and programming the songs for this last episode of 2024, where I looked back on the year to select my favourite twenty-five songs of the year. It was not an easy task trimming my initial shortlist to just 25 items, however. There were several outtakes that I would love to share as well. All 25 songs are pooled from a Spotify playlist co-curated with DJ Rem of France, and most were included in the monthly top-10 charts of the year. The list, Contemporary Salsa (2024 Releases) , contains more than 650 songs. ARTISTS The following artists were featured, and I extend my heartfelt thanks to all of them for their amazing songs. If you are not familiar with them, do check them out. Boyacá Calle Vapor Carlos Pérez y Su Orquesta DJ Isaia "El Profeta" DJ Mirco, Merlino DJ & DJ Pepe El Rumbero EL Equipo Del Norte El Santos El Vikingo de la Salsa Felipe Debrand Ivan Venot feat. DJ Pepe El Rumbero Johnny Ray Salsa Con Clase La Maxima 79 & DJ Fabrizio Zoro Lios Choko Luis Blasini Y Iroko La Banda Manny Martinez Papo Medina Radio Bembe Orquesta Robertito Hernandez feat. Maximo Rivera Son Con Ron Son Horizonte Spanish Harlem Orchestra Take Two Bros (El Timba y Roberto Sabroso) Willie Panamá Yemaya La Banda The 25 songs are played in a random order on the show to best suit the programming of tracks. I was not interested in ranking them. Full attribution of artist and track is provided on the show and below. Featured on Encanto Tropical 47 Best SALSA Songs of 2024 (The Encanto Tropical Songlist) Below are the songs featured on the show -- my so-called best salsa songs of 2024! See the important note about choices further down. The songs are listed in alphabetical order. CHOICES Let's be clear, the song selection is certainly more of a 'personal favourites'-list rather than an authoritative "best salsa" list. These songs are basically what I found myself playing on repeat either while deejaying or while commuting to work! See the pre-show post for details about criteria. CHARTS To see the monthly salsa charts (commencing from January 2023) see the Charts  page. Click on image to see the 2023-24 Charts OTHER YEARS Check out other "Best Salsa" lists by Encanto Tropical: Best Salsa of 2000 Best Salsa of 2022 Best Salsa of 2023 FINAL NOTES 2024 has been a wild year, with lots of distressing news, and as the new year approaches, there is a some trepidation for how certain events may unfold. Well, at least we have music -- and salsa is where it's at... It was a good year for salsa. REPLAY EPISODE 47 Encanto Tropical 47 - Best Salsa Songs of 2024 (Click on the above link if the embedded SoundCloud player does not display) < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST This salsa session comprises 30 tracks (1:57:41). Replay near the bottom of this page. Long on my to-do list has been a show entirely dedicated to salsa from the 1970s outside of the Fania Records catalog and generally unknown (or at least considered rare) among salsa dancers and listeners: so-called "underground salsa". Certain DJs and collectors really excel in this category of salsa. I am not an expert, and I am limited in resources for collecting much rare material since by default it is a rather expensive pursuit. Context For more discussion on the term "underground salsa" as well as my plans for this episode, please see the pre-show post . Why the theme 'underground salsa'? The development of my branding over many years as a salsa DJ suggests a rather wide scope of salsa material, I think (and hope). My repertoire is not limited to a particular style, with an extensive collection in both vintage and contemporary salsa, whether salsa brava or romantica. It includes music of several origins, whether Peru, Colombia, Venezuela, Puerto Rico, Europe, the USA, and elsewhere. There is also Cuban music, whether of the golden age, contemporary (songo and timba) and traditional (son cubano, etc). I thrive in this diversity, despite the obvious disadvantage of not having an established niche nor being known as an expert in any one style although some dancers have labeled me as a DJ catering to on2 dancers. This is fine; however I am interested in the wide spectrum which makes up salsa, finding both fulfillment and rewarding challenges in switching among the various defining traits that constitute the differing modes of the salsa musical style. Inevitably, my approach -- whether at the club or on the radio -- usually results in a mingling of different material in my DJ sets, for better or for worse. So-called "underground salsa" usually gets some play but it has never served as the common denominator in a set. This got me thinking about dedicating an entire show to it. Episode 48 is the result. Objectives Important to point out is that this project is not an attempt to provide an authoritative selection (or definition) of underground salsa. Rather, I just wanted to explore and provide some simple examples while ideally promoting some discussion with like-minded readers and listeners. Without a doubt, I could learn from DJs who excel in the underground variety! So I advise everyone to take my underground session with a pinch of salt - qnd see my invitation below for feedback and comments. Some albums on Encanto Tropical 48 DJ Nik Worth noting is one particular DJ who has been exemplary and amazingly resourceful, consistent, and talented with great taste in salsa of the underground variety. I am referring to DJ Nik of San Francisco ( Instagram | Facebook ). Be sure to check out any of his fantastic sessions on Facebook, some of which are provided below as personal favourites of mine. (Clicking on an image will open the video on Facebook). I also acknowledge DJ Nik's editing suggestions when he reviewed a draft of my pre-show post. DJ Nik was a guest on Encanto Tropical 10 . Check it out for an interesting interview. An important Note It might go without saying, but to make something clear, deejaying salsa is not an easy-to-define pursuit. Certainly reading the crowd is important and so is playing what dancers of a certain style expect or are familiar with. Then there is the famous adage of playing what dancers didn't know they wanted to hear! Balancing a unique impression of one's DJ style with a practical appeal for the dance floor is the ultimate aim although all people cannot be pleased all of the time. As for rare and vintage salsa, especially the kind unrecognizable by apps such as Shazam, it appears to be an effective tool for providing "uniqueness" to one's DJ image. The merit of playing such songs one after another is up to debate, however. Instead, using it wisely and sparingly is what I imagine the most successful DJs do. Then of course there are the different personas that DJs may have. DJ Nik for example, excels in underground salsa in his online sets; however, as a dancer's DJ, he has been very clear to play other styles in his personal repertoire. He mixes it up, so to speak. This is an important point. In the same vein, the radio format can allow me to focus on underground salsa as a theme*. Therefore, this episode is not meant to imply that underground salsa is my focus as an event DJ. *Note: A thematic show  is the general template for Encanto Tropical -- as opposed to a session of random songs. Feedback Readers' comments are always welcome on this topic -- from whichever perspective, whether a casual or serious listener, dancer, or DJ. Please let me know your thoughts in the comments section below! Artists Featured in Episode 48 are the following artists/groups, listed in alphabetical order. Full attribution is provided on the show but, to my regret, I failed to point out much information about the artists. Sorry about that. Alfredo Vargas y Su Orquesta La Liberación Carlos Barberia y Su Orquesta Kubavana Cesar Nicolas y Su Orquesta Combo Fascinación Cuadra Latina El Clan Antillano Eugenio Barada Grupo Yakambu Hermanos Lano Jorge Brown y Su Orquesta Creacion La Banda y Su Tremenda Salsa La Banda de los Felinos La Nueva Combinacion Los Demonios del Salado Los Hermanos Armas Los Pankis Los Perfectos Los Watusi Orquesta Expose 1 Orquesta Internacional Orquesta La Ampliacion Orquesta Riverside Panchito Nalmy Ray Pérez y El Grupo Casabe Roberto y Su Nuevo Montuno Rodrifo Mendoza Roy Herrera y orquesta La Monumental The Golden Brass Victot Irizarri y Su Orquesta Win & Macai Prudencia & Su Salsa Antiyana REPLAY EPISODE 48 Encanto Tropical 48 - Underground Salsa Session (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 . Subscribe  to receive the email newsletter (see a sample ). < NEXT POST PREVIOUS POST >

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 . Subscribe  to receive the email newsletter (see a sample ). < NEXT POST PREVIOUS POST >

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 >