Nestor's Best of 2011
Salsa as we know it in New York City, the music or sound that is not so much about the poetry of a song, a story, or its message but more about swing, musicianship, dancers, and DJs that get off on playing the most obscure, un-commercial, shit-music from yesteryears they can find, is still around; though not so readily available or easily accessible. Bachata, reggaetton, and to some degree merengue and banda/norteña picked up what salsa in NY left. It is what it is, an aging demografic and the influx of a new immigrant class. Thankfully the internet (piracy), for my taste, has blown my doors open to new music and provided me with salsa music that is truly the absolute perfect blend of great songwriting, inspired arranging, awesome musicianship, the one I remember as a kid with songs that ran the gamut of love, hate, family, politics, poverty, crime, the hustle, and good times; matched with superb music that formed part of the absolute Latin American experience – which actually meant something beyond what country we’re from.
After ten years, here are my best salsa downloads for 2011:
10) Haila Maria Mompie, Mala.
Short of covering the tango and a ranchera this record, Haila Maria Mompie’s third, sounds like a well produced audition tape that aims and throws something, anything at any wall, with the hopes that something sticks. Luckily for her out of 12 tracks there are about 6 or 7 salsa tracks out of which 2 or 3 are really worth the kbps and minutes spent downloading them. Haila, should she stick to doing salsa (and with such strong voice she should), Cuban styled salsa or any other format that is well done, could be a serious artists with a huge international following. This record has nuggets which can lead to a huge career.
9) Diana, Acariciame.
I don’t know from what hole this chick crawled out of but her mildly raspy voice along with her Spanish accent mixed with Venezuelan speech patterns did me in. Yes this records falls very short of what anyone would consider salsa dura. No one in NYC is going jump in excitement to cut the rug (dance). With balada classics like Acariciame and Amame this is the definition of salsa monga. Still the reason I enjoyed this record so much, beyond her soothing voice is, the songs are masterfully and beautifully arranged to match the mood they are supposed to set. This record is so well done that you’ll find yourself grooving to it without noticing. It’s that type of record.
8) Orquesta La Diferencia, Baila Conmigo.
On the same vein as that of the previously mentioned Diana, this record could be deathly boring if we were to only consider the songs; they’re all salsa romantica. Though the singers are, aside from having the basic ability to carry a tune, not the least bit charismatic – there’s just nothing memorable about them - Orquesta La Diferencia is a three trombone Venezuelan band with some bite. The percussion and their accent marks are clearly defined and very audible, thus making their entire repertoire consisting of mid-tempo songs more than just good salsa songs to the average listener vacationing in Latin America who probably heard their song in passing, but an awesome songs to the true salsero.
7) Carlos D'Castro (Todo Tiene Su Momento), Angelito (Amor A Primera Vista), Irving Manuel (Todo Mi Amor Eres Tu).
No, I didn’t make a mistake nor did I get lazy and included three reviews in one. The fact is these records, aside from being pretty good, are produced by the same guy who seems to be drumming up some serious business from former salsa icons like Willie Gonzalez, Alex D’Castro, and Pupy Santiago – that guy is one named Irving “who the heck is this guy?” Manuel. All three records are big and heavy bottomed, in the pocket, crisp, and sterling-ly recorded. Sadly, the counter argument is all three records sound alike. As a friend of mines would say “that’s what happens meng.” Still, these records are not boring, they are aggressive, very catchy, and danceable. The song themes range from stopping domestic abuse to forbidden love / lust. Some are rough translations of American ballads only identifiable by their melodies. All are the essence of life which can’t be captured in a simple let’s dance tune.
6) Sol, La Que Manda Soy Yo.
This is without a doubt a hard hitting salsa dance record that musically speaking could be one of Ernie Acevedo's better finds / productions. It could be said that he has stricken gold by finishing this record for Sol, a beautiful young lady with a mesmerizing voice and an ability to sing in spite of her “newyorican” accent and R&B delivery on virtually every song. With eleven tracks, there are enough musical nuggets that may appeal to a wide audience; including the ever so coveted American English speaking audience. "Impossible", a killer tune arranged by Rene Leyva, is by far the best tune in the record and should serve as great template to follow.
5) Pelusa Y La Banda Caramba, Escuela De Salsa.
Good music is good music, and this clear cut approach taken by Pelusa is worthy of admiration. Pelusa y La Banda Caramba are simply doing music that's unlike anything done locally in NYC by any band. This record is a modern mixture and homage to every popular salsa song done since the seventies. However, this is not a tribute recording or cover band, is a band that does original material with hints that may or may not be subtle reminders of tunes we all know – or at least should know.
4) Villariny Salsa Project, En Tu Tiempo.
Hokey and noticeably contrived is the overall feeling I get while listening to this record done by Oscar Villariny, son to trumpeter, producer, and arranger of some of the most memorable salsa songs ever Tommy Villariny. The singing, though pleasant and on key, is almost insipid. Look, I come from the old school, where the manly voices of Maelo and Betancourt were the benchmark; these pretty voices don’t do it for me. Nevertheless this record is number 4 on my list because, similarly to José Lugo’s Guasabara, it’s a complete mixture of songs, themes, and emotions, set to music that swings.
3) José Lugo’s Guasabara, Poetic Justice.
In a perfect world people would be aware they’re consuming the musical vision of a producer, it is them who shape the musical goals and careers of vocalists and so called soneros. Branding is the word and in this game no producer since Sergio George captures the essence of musical branding as José Lugo. Poetic Justice, the latest offering by a smaller incarnation of José Lugo’s Guasabara, is an overwhelming record that has everything great songwriting, inspired arranging, and awesome musicianship. There’s some salsa romantica, salsa de vacilon, salsa de calle, salsa with a message, bolero, mambo, son montuno, instrumental / descarga. Fronted by Pepito Gomez (really? Pepito?), a total unknown with a versatile sonero timbre, is easy to wonder how much can get done with so little? Evidently, José Lugo can do a lot.
2) Choco Orta, Choco Swing.
I missed reviewing Choco’s previous record (Ahora Mismo) because I was told it wasn’t that good. So much for opinions. Luckily I heard it this year, along with this one, and all I can say is wow! Choco Swing is her fourth production as solo artists and first self financed, a step that speaks volumes about who Choco Orta is, her vision towards her art and, more importantly, faith in her talent, her ability, and herself. This record is pure salsa energy that serves as the perfect vehicle that lets loose her prowess as a vocalist (she can sing) and more importantly as a sonera (she can improvise like no one else!). There’s one negative in this record that I cannot let go unchecked, to do so would be to lose all credibility. Why on earth would Choco do a half assed version of “Rata De Dos Patas”? There’s an un-written rule in music that says, If you can’t improve on a classic leave it alone. There! I said it! Still this record should place her as the absolute best sonera out there.
1) Williamsburg Salsa Orchestra, Williamsburg Salsa Orchestra
This self titled CD is aggressive New York salsa with a twist, the kind no one here (not the so called local salsa bands, and to some degree the Puerto Rican or other Latin bands) has heard since Machito circa 1976. Not since Tito Puente or Willie Rosario in the late 90’s have a I seen such a huge band play anywhere in New York, much less in Brooklyn. This band is incredible, with such a big sound it is undoubtedly a band to hear. Throbbing percussion anchored by one of the most pronounced sounding bass lines I’ve heard in a long time. The horn charts were simply not your average tired salsa charts – Neither it is your average salsa CD. It is simply my best for 2011.
Nestor A. Louis
©Nestor A. Louis ALL REVIEWS ARE SOLELY THE OPINIONS OF THE AUTHOR.