origini salsa

The origins of salsa

The common use of the word "salsa" to designate a danceable Latin music began in 1933, when the Cuban singer Ignacio Piñerio wrote the song "Échale Salsita".

Lately Alfredo Valdés SR., whom I interviewed in 1974, said, "The July 6, 1933 married Anita Purmuy, female guitarist The Anacaona. I didn't have a honeymoon because a few hours later I was on a ship with Nacional (Septeto) conducted before in Miami and then at the World's Fair in Chicago. On the train I tried the new artwork of Ignacio Échale Salsita, who came up with the idea after tasting Cuban food without spices. His was a protest against the food tasteless. "
In the late 30 's, while the Hispanic community burgeoned in Spanish Harlem, Gabriel Oller, owner of Spanish music Center Tatay, corner of 110th Street and 5th Avenue, could hear the shouts of "échale pique, caliéntalo, menéalo lyrics link que se empelota", describing the exciting rhythms of afro-Cuban dances rumba and guaracha. The sauce has remained latent until 1962, when the Dry Records released the LP Stepping Out of Joe Cuba. Salsa y Bembé pattern of Jimmy Sabater, the vocalist Cheo Feliciano wanted his little dance group dance salsa in addition to bembé when dancing. From the text it is understood that the dancer requires that his performance is more animated and tasty. "When I wrote this reason" said Sabater, "I was defining the music like salsa, that is something exciting. When asked the musicians to add flavour to the music, he felt shout guataca; When the band performed the part of mambo, I hear you cry guapachosa. Were hitherto never established labels. The term salsa, in fact, I wanted to describe the music and not the food. "
A year later the Alegre Records released the album charanga Salsa Na Ma of Charlie Palmieri. In the reason of Henry Alvarez "Salsa Na Ma", the chorus of Victor Velásquez and Willie Torres suggested that when they danced with their partners was Salsa na ma, i.e. "qué cosa rica" (a joy). Instead, in the notes to the Santiago, the music is described as a sauce when he writes: "La Duboney (Palmieri's band) is a musical aggregation that functions as an individual unit and owns that sauce important needed to satisfy the most demanding of taste in music. For this reason, this LP is called Salsa Na Ma ".
The November 20, 1964, the Cal Tjader Quintet plus 5 had just finished recording a long version of Guachi Guaro, another version of the first recording success of Tjader of 1954, Wachi Wara. After having listened, Tjader was dissatisfied, something was missing, but didn't know what. Creed Taylor, the producer of the album (which at the time had nothing on) suggested a shorter version and a new title, since Guachi Guaro would be difficult to pronounce and meaningless. Tjader invited Willie Bobo to rechristen the jawbone (quijada) and as he did, his inspiration of Sabor, Sabor, Salsa Ahi Na Ma, not only met Tjader, but also gave the idea for the name of the album Soul Sauce (sauce of the soul). Bobo explained to Tjader that this track and the other (Pantano, Maramoor, Tanya and Leyte) were spicy and exciting like a well seasoned sauce. For this the album Soul Sauce shows a fork on a plate of red beans and chili next to an open bottle of Tabasco sauce with a label, Cal Tjader-Soul Sauce. For the third time, the music has been described as salsa and Mexican fans of Tjader in San Francisco have started using this word to describe the type of music of Tjader. Spread in Los Angeles and other cities and eastward through the Spanish rhythm and blues and jazz programs in the United States, which helped Cal Tjader to sell 150,000 albums. First, the Latin music had never been transmitted by radio stations with different music formats.
In 1965 while the Mexican West Coast population was using the sauce as upbeat Latin music, the African American population of New York started another trend. What was the sauce on the West Coast was azucar in New York City. "Please, Eddie (Pa), addolciscilo. put a little sugar ", this was a request to add flavour to the music with a single montuno, Palmieri. Palmieri has composed and recorded the highly successful Azucar but the term never asserted outside New York. Four years later, "Oye Como Va" by Santana attracted young people of any race to his music and the instrument of Congas was sold in all of the United States as never before.
On August 26, 1971, Fania artists gathered at the Club El Cheetah in Midtown Manhattan for a concert and a dance that appears in the film "Our Latin Thing". In the film, the sauce is never mentioned. The film was released on July 19, 1972 al teatro Line 2 to 48th and 7th Avenue in New York City. He received favorable reviews from Daily News and the New York Times, but nobody made the sauce. In 1972, LP Mexicana Rey Roig Aqui Llegó, the text sung by vocalist Julian Llano spoke of salsa to define his attractive neighbor bomb-son Traigo sauce. In January 1973, Peter Rios gave the artist artist Izzy Sanabria the right to use the title of the magazine Latin New York, that Rios had obtained between 1967 and 1968. The number 4 of 16 April 1973 the magazine Latin New York had an advertisement for the cover of the LP Alegre of Guaya Roberto Angelero sauce. In the number 5 dl May 28, 1973 there were advertising images of Salsa Hits from Orq 70 Power and time (LP Mexicana) and Mas Salsa que Pescao of United artists by Louie Colon. In the number 8 Sept/Oct 1973, there were advertising images of "Chetaah, Home of the sauce" and label the new exit of Tico, Amor con Salsa di Vicenza Valdés. In issue # 9, in November 1973, there was an advertising image of the vocalist Roberto Torres LP Mexicana El Castigador is the New Salsa Sensation Roberto Torres. There was also an image of Izzy Sanabria in cartoon form with an announcement: "a new show on WXTU Salsa music TV Channel 41 will be released Saturday, November 17, 1973 at 18.30. In the same issue there was an advertising image of Dj Polito Vega that reads "100% Salsa WBNX Mon-Fri from 19.30 to 21.30. In issue 12 of February 1974, there was an advertisement of an entire page of the fifth Latin American Music Festival, with the first name of Celia Cruz, Ray Barretto, Johnny Pacheco, a typical 73, Machito Orquestra and Apollo Sound. However, the sauce has been nominated once.
In March of 1974, la Mexicana Records released the LP of Rey Roig Otra Vez in which Julian Llano sang Pescao en Salsa. In the same month, the Fania Records released Larry Harlow Salsa, registered on 26 and 27 November 1973. This album placed Harlow in the top five most popular leaders and the LP has received numerous sales. Later, almost all recordings of afro-Cuban rhythms and any Latin music that was exciting was labeled with the name salsa and the British market, abandoned the music of Cha-Cha-Cha, followed by the popularity of mambo in 1956, headed toward bankruptcy. In Billboard magazine of 12 June 1976 dedicated to Latin music, there was a 24-page supplement called "the explosion of salsa". Examining the testimonies of this article, Jimmy Sabater coined the term salsa to designate a upbeat Latin music. Soul Sauce of Cal Tjader and Santana's "Oye como va" gave an impulse to the salsa movement, whose origins are must to Mexicans in San Francisco. The use of the word, however, did not become popular until the word was used by the magazine Latin New York several times in commercials and in the stories and the Fania All Stars to describe his music outside New York. After that in the first scene of the film Our Latin Things, the baby kicked the can and the synthesizer by Luis Cruz Jr began to reproduce Cocinando Suave of Ray Barretto, giving me goosebumps, then yes that is the real explosion of salsa and its cloud of smoke has contaminated all over the world.

The origins of Salsa
by Max Salazar

Based on the book "Mambo Kingdom"-Schirmer Trade Books
Translation by Paul Carter

About Stefano Bognolo

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