recording on cbs labels. here is une most time the tremendes sax players from venezuela johnny sedes on his 1979 lp's title, vuelo colavotion djcarvin from moisaoco mundosalsero
track consuelate como yo moliendo cafe azucar pa un amargao bonito guaguanco exodo nostalgia la bien paga adriana baila rumbero la despedida
Saturday, May 23, 2009 Time: 5:00pm - 9:00pm Location: Franco Dance Studios 1222A Bloor Street West (at Brock, between Dufferin and Lansdowne) Toronto, ON
Join the Franco Dance Studio team at their wonderful open space studio & gorgeous dance floor, for a fun & sensual Rhumba lesson from 5pm - 6pm
Salsa dance with DJ Nilson until 9pm!
Best 'Dirty Dancing' Dressed Guy and Gal will each win a Kathleen Campbell Events Season VIP Pass (includes free cover to DJ Nilson's Perfect Salsa Fridays at Acrobat!)
$5.00 Cover includes the lesson Rsvp @SalsaDuraTo@aol.com $10.00 at the door Cash BarParking and close to TTC!
Repressed deluxe LP version, in beautiful gatefold sleeve. Originally released in 2006 on Honest Jon's. A scorching compilation which features the brilliant, hybrid array of styles which burned up Latino dancefloors during the '60s in New York. The '60s were years of explosive transition for Latin music in New York: in tune with the times of strident political protest and cultural affirmation, new rhythms like the pachanga, boogaloo, típico and salsa signaled significant changes in musical sensibility among a new generation. By the early 1960s, the heyday of the great mambo era was passing, and by the end of the decade, the catch-all phrase salsa had been implanted on the rich variety of styles and rhythms that made up the repertoire. In between, throughout the 1960s, a thousand flowers bloomed in the Latin music field, with the bands conversant in the traditional Afro-Cuban styles of son and guaguancó and cha cha chá, Latin jazz and bolero, while also trying their hand at a range of newly-emerging styles, beginning with the pachanga in the opening years through to boogaloo and shingaling, until the roots sounds of típico as the decade ended. This array of styles came together in those heady years, and the eclectic tastes of those dynamic times are all here, from "Tanga," the first recorded example of Cubop and the classic "Descarga Cachao," to the jaunting guaguancó of Ray Barretto and Bobby Pauneto. But while some of the selections represent the preceding musical generation, and others anticipate the salsa sound of the key Fania years of the early 1970s, the focus here is on the boogaloo and Latin soul sound which was the most characteristic soundtrack of the period. Listen to the two Willie Rosario cuts, "Cool Jerk," and the pieces by Joe Loco and Willie Bobo, and you'll hear the trademarks of the style: the raucous hand-clapping, the party exhortations, the back-beat drumming, the African-American street English -- the result was a crazy, motley style named after the African-American dance craze of the moment, the boogaloo. Boogaloo and related styles of Latin soul were the first real crossover sounds that broke the language and style barriers, and the first to make it onto the Billboard charts as top sellers nation-wide. However, it was a genre not destined to last long, soon eclipsed by the more commercially-durable salsa boom of the early 1970s. But notwithstanding the brief life-span of boogaloo, to this day many of its top hits are loved by dancers everywhere.
After Joe Panama left the band after recording The Explosive Side of Joe Panama, 1956.
Joe Cuba, the conga player, became the leader of the band, and renamed it Joe Cuba Sextet. He recorded I Tried To Dance All Night on Mardi -Gras Records in 1958. It is the only one of his albums featuring a horn section. Joe Cuba passed away this year, 2009. We continue playing his music, his legacy, that he left to us.
