The hard sauce is fashionable? Of course, in Europe, but perhaps for lack of information many Italian DJs suonanobrani taken from vinyl made in the years 60 and 70 ʻ ʻ. A sound old and little dynamic, often very ugly, mostly unknown songs, and it's a fuorvianteche trend exists only in Italy, a serious mistake (we think of Latin!) they're doing away from the world of Salsa many fans tired of snobbery (out of place) of some famous Clubs and schools.
A confirmation? When some famous artist caribeño arrives at these evenings regularly asks us "… hey but that strange music is this?" evidence of the ʼ italianità of the strange trend. for years in Italy often some DJs try (with little success in truth) to "italianise" salsa, bachata, here l ʼ yet another attempt … We wonder: why work with records so old though there are many valid contemporary artists offering quality hard sauce? Our Alejandra Vega tells us the State of things. Classic sauce, salsa brava, salsa de calle, hard sauce … There is a flashback between these genres and recently produced worldwide. This is a joyous fact in the international music scene, I'm joyful, because with these sound did this music. A return to roots that are creating interesting proposals and offers a valid alternative to the timba cubana, at very old recordings (poor quality) that often are played in clubs, and commercial sauce sometimes lacking in content. This new musical wave is giving a breath of fresh air to the "bailadores" who find in it an engaging rhythm track that inspires "them" regardless of their setting as dancers. New songs and old hits with sounds, arrangements or modern remixes but somehow maintain the authenticity and charm of the original tracks. Just think of the double cd of the Gran Combo de Puerto Rico with their successes remixed and remastered became a classic among professionals; or to the soundtrack of the film "El Cantante" that once again masterfully performed by Marc Anthony some of the successes of the great Hector Lavoe. These recordings allow younger people or those who approached the world of salsa to listen and learn about the work of great artists who have made important historical path of this music. Also emerging Cuban artists as Tirso Duarte and many others have ventured into a valid album tribute to the "Fania All Stars" into which they interpret great successes of this legendary orchestra. The spokesmen of this interesting proposal are making a difference for some time. I speak of orchestras such as the Spanish Harlem, Jimmy Bosh, Grupo Mandinga, Descarga Boricua, Edwin Bonilla, La Palabra, 33, La Excelencia, Johnny Cruz, El Klan de Porfi, Cheo Navarro y su Orquesta, Federico Betancourt Jr. y Magia Caribeña, Orquesta Sensació n, Robert Incelli, Souvenirs, Gerardo Rosales, Jesus Bailatino, Orquesta s Pagán y su Orquesta to name but a few. These groups with the sound they make us go back to swing salsero scratchy, kinda aggressive and typically 70 ' urban who so liked and likes about the musical quality. The wind speeds (especially the trombones), piano and percussion solos of timbales, congas or Bongo take us back to the fascinating "descargas" of the past. Oddly and beyond what you might think most of these groups do not come from Puerto Rico to New York, Los Angeles, Colombia and Venezuela because it is in these locations that there is now a musical ferment and the rediscovery of this way of making salsa. Often these formations do not give importance to the singer. What becomes important is the arrangement, rhythm and lyrics of the song. This brings us back to social content typical of "salsa de calle". I think this "rebirth" of the primary sound salsero renewed and enriched from a musical standpoint is not due to lack of creativity on the part of groups and orquestre that offer it but out of a desire to redeem the artistic style and attitude that has left a mark in music history Caribeña
Premise of Farey
Article by Alejandra Vega-Lady Vega DJ