Nestor's Best of 1998
This time last year, I got lots of angry e-mails and belligerent phone calls from many people that
felt that I had too many RMM artists on my 1997 Best of. Well guess what? This year there is not
much of a difference. Why? Well ask yourself, "Is Nestor on my mailing list?" :-).
Of course there have been some very good entries in to the salsa arena from other guys.
Servando & Florentino captivated audiences all over the world....The Sir George roster is
growing in leaps and bounds....Sony & Omar Alfanno are marketing Son By Four (the Boyz II
Men of salsa)....Kevin Ceballos....Porfi Baloa's Adolecentes are back with what I believe is a
monster production (I have not gotten it...Sony what's up?)...Musical Productions seems to
be going back to basics (about time!)....Here are my choices for best of 1998:
10) Eddie Palmieri,
El Rumbero Del Piano (RMM) ****
Aside from being Eddie's first and allegedly his last straight up tropical dance recording in over
ten years, El Rumbero Del Piano is the essence of a balanced 70's recording. With Wichy
Camacho & veteran sonero Herman Olivera on vocals, Eddie Palmieri brings la rumba and el son
montuno to centerstage. Eddie's simple arranging style brings back the basics of our music. Music
that is alive and kicking.
9) Orlando 'Maraca' Valle, Sonando (Ahi Nama) ****
This is the first time I hear of this guy. Real Cuban music aficionados have been hearing about
this man for several years now. Notice I said "real Cuban music". After listening to several
Cuban groups, and several experts on the subject of "what is Cuban music?", it's clear to hear that
Maraca is the real thing. No complicated rhythmic patterns, no wacky back beats, and no singers
that rap instead of singing the traditional Cuban music. Maraca offers a mixed bag of harmonies
and melodies that come from American jazz, Puerto Rican & New York salsa, without selling out
the Cuban flavor.
8) Jimmy Bosch, Soneando Trombon (Riko Latino) ****
One of this years most celebrated recordings belongs to Jimmy Bosch. According to people that
know people that know, this CD was recorded with all the musicians (trumpets, trombones, saxes,
and baritone) in the studio playing at the same time; ergo LIVE! I guess that is why there a
certain purity in the sound of this record. I don't have the credits for this record, however I am
certain that Jimmy Sabater & Herman Olivera (he had a good year!) are on vocals. There is a
third voice that is quite funny to listen to...I can't seem to recognize. Jimmy Bosch is, as
expected, super inventive in his Libre-esque trombone solos and incredible with the ability of
creating moņas out of thin air.
7) Tony Vega,Hoy Quiero Cantarte (RMM) ****
Musically speaking, most Tony Vega records have been somewhat too mellow, too bland, too
syrupy, too everything. At best, his productions have been entertaining. Not this one though. This
production in my opinion is Tony Vega's best since "Yo Me Quedo" and "Lo Mio Es Amor".
Period! "Si Tu Supieras" is the well deserved hit off this production. And while it has enjoyed
massive radio play, it's by far not the best track on the CD. There is Ismael Rivera medley that
leaves a little bit more to be desired, but overall Tony Vega has a winner in this 1998 release.
6) Raulin Rosendo, Llego La Ley (A&E) ****
Please ignore what has to be one of the worst CD covers in salsa's history. With that out of the
way, let's talk about the music. Even though the order of the songs could've been different, this
CD is Raulin Rosendo's best in terms of energy and force. Raulin's singing and soneo style is so
unique and different from anything that is out there. He reminds me of soneros like Chamaco
Ramirez, Marvin Santiago, and Pupy Torres. The band smokes! With guys like Luisito Quintero,
Papo Pepin, Rey Colon on percussion; Leopoldo Pineda, Luis Lopez and Pablo Santaella on
trombones; Lucho Cueto & Lizandro Arias on piano. You really can't go wrong with these cats.
5) Tito Nieves, Dale Cara A La Vida (RMM) ****
This is Ricky's first all salsa production for Tito and it's not at all bad! It feels as if Ricky has
reinvented Tito. Tito seems to be much more loose and at times his voice goes up to a range
reminiscent to his Conjunto Clasico days, where he was the true canario. The only problem I find
with this production is that every song is a straight salsa. The arrangements are tight! There is
some vintage Ramon Sanchez on Amaneci En Tus Brazos, Enseņame, and Dejame Demostrate.
A versatile Ricky Gonzalez on Tuyo, Y Que De Mi, and Te Lo Prometo, and a surprisingly playful
Luis Garcia gives Tito Un Fin De Semana along with one of the biggest hits of 1998 - Como Un
Niņo Celoso. This is Tito Nieves' best recording since Sergio George's departure!
4) Victor Manuelle, Ironias(Sony Tropical) ****1/2
'Al Cesar, lo que es del Cesar', I got to give credit where credit is due. Except for the original
light touches of bomba, tambora, tres guitar, and Ramon Rodriguez prominently heard on coros;
the producer of Victor Manuelle's "Ironias" pulled off yet another Sergio George production.
Hey, it seems that to get that sound all you need to do is copy the same engineering scheme, and
hire the musicians Sergio usually works with. In this record, Victor Manuelle occasionally sounds
a bit rushed and slightly off key. Nevertheless, for all purposes intended (those being hard core
heavy handed aggressive salsa) this record jams from beginning to end! If you loved his two
previous productions, you will definitely like this one.
3) Gilberto Santa Rosa, De Corazon (Sony Discos) ****1/2
Didn't Gilberto change his sound last year? Well guess what? He changed it again. This time
around his sound is a bit more diverse. Gilberto, under the musical guidance of Jose Lugo,
captured the musical substance of all the mayor regions of North America, Central America,
South America, and The Caribbean bank without changing the core that makes Gilberto Santa
Rosa the singer, the sonero, and the artist that he is. The band is superbly awesome. They're like
a fine tuned indy race car that, while it travels at incredibly high speeds; it hugs every curve and
sharp turn with surgical precision and extreme control. Gilberto just doesn't seem to go out of
style.
2) Tito Puente, Live At Birdland Dancemania 99 (RMM) *****
This is the first Tito Puente CD I review. I never thought I would want to review any of his
records because, it is common knowledge that all T.P. CD's are for the above average fan. I
mean, aren't his records for the overly eccentric Afro-Cuban/Latin jazz/mambo, listener &
dancer? Not at all! Especially when referring to this CD. This CD is the best Tito Puente
production in over ten years! The energy is unbelievable! With the full Tito Puente Orchestra on
deck, we can't expect any less. Not since Concord/Picante's "Mambo Diablo", has T.P.
produced such tremendous record in the Latin jazz arena. Musicologist, music historians, and
Tito Puente fans agree that the first Dance Mania is a must have. However, if you can't seem to
find that record, "Dancemania 99" should suffice.
1) Miles Peņa, Mis Ideas (RMM) *****
When I first heard this record, I was in total shock. I called many of my fellow music fans. Many
of them told me that my musical taste is questionable. Interestingly enough, some of them have
actually come around to say "the record is not a bad record, is just that they could've done this
better, and clean this up here" etc, etc, etc. Other industry people have said that it is a very good
record that unfortunately is not going to get much attention from the media - Mainly, New York
radio. How unfortunate. To me this is the best record for 1999. Below is my review of the CD,
which was published in LaMusica.com early this year.
"On my way to work one morning, my neighbor's young son running catches up to me yelling
mister, mister. Something is seriously wrong when a 15 year old is calling you mister. Anyway
he hands me this manila package from RMM. Like Pavlov's dog I start salivating. I opened it in
the subway station while waiting for the D train to arrive. I pulled the CD out, and discovered
that is Miles Peņa's latest. Oh wow, I saw him at The Copa. There he played some new stuff that
sounded kinda cool. Sure it had that back-beat-snare-drum thing going on. But it wasn't that
obnoxious. So I start reading the credits on the CD, and a sudden feeling of terror chilled my
spine. I read: Productor Musical: Miles Peņa & OSVALDO PICHACO. I was saying to myself,
"NOW WHAT THE HECK IS GOING ON HERE!!! NOW I KNOW - THIS IS GOING TO
SUCK THE BIG ONE". The reason behind my reaction was obvious (at least to me). Sergio-
George-carbon-copy Osvaldo Pichaco with what-on-earth- does-Miles Peņa-know-about-
producing-music Miles Peņa spelled a guaranteed musical fiasco. That was until I popped the
disk in the player. Boy was I shocked! I was JACKED OUT MY MIND! This CD blew me
away! I was in such disbelief that I immediately paged a good friend of mine. I told him that I
couldn't believe how good this record was. This thing does not sound like anything I've heard.
This record is pure energy! This is the CD I knew Miles could do! He sonea his a__ off on top
of coros. The songs are super upbeat. This CD is Victor Manuelle to the next level! Track
number 7 is a son that's very tasty. Miles Peņa's Mis Ideas is the CD that will earn him, for once
and for all; a place in the hall of true soneros."
Happy New Year!
Nestor A. Louis
RATING SYSTEM:
***** EXCELLENT (Must Have!)
**** GREAT (Very Impressive!)
*** GOOD (Safe Investment)
** AVERAGE (Not a Priority)
* POOR (Don't Waste Your Money)
ŠNestor A. Louis ALL REVIEWS ARE SOLELY THE OPINIONS OF THE AUTHOR.