La Musica Vive

LA SALSA VIVE [Este mensaje fue editado por victor33 en 02-23-2003 a las 08:48 PM.]
victor33	02-20-2003 01:53 AM
victor33	02-20-2003 02:11 AM
victor33	02-20-2003 02:14 AM
victor33	02-20-2003 02:23 AM CABALLO PELOTERO
Eros2003	Oye Victor>> 02-20-2003 09:51 AM Y que paso con el otro tema de Salsa??? Saludos EROS
victor33	Eros 02-20-2003 09:45 PM Lo que pasa es que mubot.com no esta trabajando y en ese tema casi todo era de ese sitio. Con este vamos a tratar de poner de sitios que esten activos.
victor33	TITO RODRIGUEZ 02-20-2003 10:14 PM Tito Rodriguez came to New York in 1939, where he sang with the orchestras of his brother Johnny Rodriguez, Enric Madriguera, Caney, Xavier Cugat, Noro Morales, and Jose Curbelo. Rodriguez formed a quintet in 1947 and enlarged it in 1948 to a trumpet conjunto. In 1963 his recording of "Inolvidable" in Argentina sold over a million copies throughout Latin America.
victor33	TITO PUENTE 02-20-2003 10:41 PM Ernesto Antonio Puente Jnr., 20 April 1923, Harlem Hospital, New York City, New York, USA. Born of Puerto Rican parentage, Tito began piano lessons when he was seven years old and around the age of 10 he started tuition in drums and percussion, which became his forte. Around 1936, Puente commenced his professional career as a drummer with the orchestra of Noro Morales. In 1941 he played with the Machito band. World War II intervened and Tito was drafted into the US Navy for three years' service. After his discharge he took courses at New York's Juilliard School of Music and did stints with the bands of JosÈ Curbelo and Fernando Alvarez between 1946 and 1947. With Curbelo, Puente performed alongside Tito RodrÌguez, who later became his arch-rival. Tito's reputation as a sizzling arranger quickly grew and led to numerous assignments from prominent bandleaders. Even RodrÌguez hired him to write the charts for four numbers he recorded with his Mambo Devils on Gabriel Oller's SMC (Spanish Music Center) label. In the late 40s, while Tito was performing the roles of contractor, arranger and timbales player with Pupi Campo's orchestra, he organized a group that promoter Federico Pagani dubbed the Picadilly Boys ('Picadillo' meaning: beef or pork hash) after being impressed by their performance of the latin jam style (descarga). With them, Puente recorded a number of sides for SMC. Shortly afterwards, he renamed his aggregation Tito Puente And His Orchestra. Tito used two lead vocalists, Angel Rosa and then Paquito Sosa, before settling for Cuban Vicentico ValdÈs as his resident lead singer. In late 1949, Puente organized a line-up of four trumpets, three trombones, four saxophones and a full rhythm section for a recording session for Tico Records. One recording from this session, leaving out the trombones and saxophones, resulted in a fiery version of 'Abaniquito'. With the help of English translation by disc jockey **** 'Ricardo' Sugar, the song became one of the first crossover mambo hits. Between the late 40s and mid-50s, Puente issued recordings on Tico. During a suspension of recording by the company in 1950 - due to a wrangle between the co-founders, George Goldner and Art 'Pancho' Raymond - Puente recorded for the Seeco, Verne and RCA labels. Along with Tito RodrÌguez and Machito, Puente became one of the kings of the 50s mambo era. His consistent top billing at New York's Palladium Ballroom, the famed 'Home of the Mambo', became one of the areas of friction between himself and RodrÌguez. Puente switched to RCA Victor Records and between 1956 and 1960 he released a string of albums on the label, including the notable Cuban Carnival and his all-time bestseller, Dance Mania. The album marked the debut of Santos ColÛn (b. 1 November, Mayag¸ez, Puerto Rico) as Puente's new lead singer. ColÛn arrived in New York in 1950 and performed with the bands of Jorge LopÈs, Tony Novos and JosÈ Curbelo before joining Tito. He remained with Puente until 1970, when he departed to pursue a solo career and released a series of albums on Fania Records. Several of Puente's Tico and RCA Victor releases between the mid- to late 50s were entirely devoted to the cha cha ch· rhythm, which was enjoying considerable popularity at the time. At the beginning of the 60s, the pachanga style took over. One of the prime-movers of the dance craze was Afro-Cuban singer Rolando La Serie's 1960 smash hit recording of 'La Pachanga' with the Bebo ValdÈs band. The following year, while the fad was still raging at full force, Puente teamed up with La Serie to make Pachanga In New York for Gema Records. In 1960, Tito and His Orchestra journeyed to the west coast of America to record Exciting Band In Hollywood (aka Puente Now! ) for GNP Records. Upon his arrival, Puente contacted Los Angeles-based flautist Rolando Lozano (b. JosÈ Calazan Lozano, 27 August 1931, Cienfuegos, Santa Clara Province, Cuba), an alumnus of Orquesta AragÛn, Orquesta AmÈrica, Orquesta Nuevo Ritmo, Mongo SantamarÌa and Cal Tjader. Puente rejoined Tico Records (and remained with them until the mid-80s) to make Pachanga Con Puente, which yielded the big hit 'Caramelos'. 1962's El Rey Bravo was essentially a descarga set: an untypical Puente album, it stands as one of his strongest recordings. The disc featured Cuban violinist/flautist Pupi Legarreta and spawned the original version of Puente's perennial classic 'Oye Como Va', which was given a latin-rock treatment by Santana in 1970. Around 1965, Tito linked up with Alegre Records for Y Parece Bobo, which was produced by the label's founder, Al Santiago, and featured Chivirico D·vila on lead vocals. Santiago also co-produced Cuba Y Puerto Rico Son...on Tico, Puente's first in a series of collaborations with the 'Queen of Salsa' Celia Cruz. Tito also recorded a string of successful albums with La Lupe between 1965 and 1967, and made a couple of albums with Beny MorÈ's widow, Noraida, at the beginning of the 70s. On his late 60s releases, 20th Anniversary and The King Tito Puente, Tito was obliged to bow to the overwhelming popularity of the R&B/Latin fusion form called boogaloo. 'The Boogaloo meant nothing to me. It stunk', he said forthrightly in 1977. 'It hurt the established bandleaders. It was a dance Eddie Palmieri, I and other bandleaders didn't want to record but had to in order to keep up with the times' (quote from Latin Times ). Panamanian vocalist Miguel 'MeÒique' Barcasnegras, who worked previously with Kako and Willie Rosario, did a brief stint with Puente's band in the early 70s. After performing on Tito's Pa'Lante!/Straight! and Para Los Rumberos, MeÒique departed to work as a solo artist (Puente arranged and directed his 1972 solo debut MeÒique ) and with Santos ColÛn, Charlie Palmieri, Charanga SensaciÛn de Rolando ValdÈs and Conjunto Chaney. In 1977, Tito and Santos ColÛn reunited on The Legend, the title track of which was written by RubÈn Blades. The album, which was nominated for a Grammy Award, was produced by 'The Genius of Salsa', Louie RamÌrez. The following year, Puente's first tribute album to Beny MorÈ (in a series of three volumes) won a Grammy Award. The trio of albums featured a galaxy of vocalists from the Fania Records stable, including Cruz, ColÛn, Cheo Feliciano, Ismael 'Pat' Quintana, Adalberto Santiago, HÈctor Lavoe, Pete 'El Conde' RodrÌguez, Ismael Miranda and Justo Betancourt. In 1979 and 1980, Puente toured Europe and recorded with the Latin Percussion Jazz Ensemble (LPJE), members of which included Argentinian pianist Jorge Dalto (1948-87), violinist Alfredo De La FÈ and conga player Carlos 'Patato' Valdez. This group was a precursor of his own Latin jazz outfit, which debuted on the Concord Picante label in 1983 with Tito Puente And His Latin Ensemble On Broadway. He garnered another Grammy Award for the album. Tito released a further seven albums with his Latin Ensemble on Concord Picante between 1984 and 1991, two of which - Mambo Diablo and Goza MÌ Timbal - received Grammys. However, Puente's work with his Latin Ensemble woefully sank into tired recycling of his earlier material. At concerts Tito and his high-calibre musicians often appeared just to be 'going through the motions'. For 1991's The Mambo King: 100th LP on RMM Records, Tito returned to a full big band line-up to back an assortment of the label's vocalists (including Oscar D'LeÛn, Tito Nieves, Tony Vega, JosÈ Alberto and Domingo QuiÒones) plus Santos ColÛn and Celia Cruz. Although the album is purported to be his 100th, the actual total of his recordings in 1992 exceeded that figure. In addition to those mentioned, Puente has recorded with an array of Latin music and jazz names, including the Tico All-Stars, Fania All Stars, Bobby CapÛ, Ray Barretto, Camilo Azuquita, Gilberto Monroig, Sophy, Myrta Silva, Manny Roman, Doc Severinsen, Woody Herman, Buddy Morrow, Cal Tjader, Terry Gibbs, George Shearing, Phil Woods, Pete Escovedo and Sheila E. (Escovedo's daughter).
victor33	02-20-2003 10:50 PM
Eros2003	VICTOR>>> 02-21-2003 12:46 PM ME TIENE CANSADO ESE MUBOT,,DESDE HACE DIAS NO FUNCIONA,,,DE TODAS MANERAS YA TENIA PENSADO ABRIR OTRO TEMA DE MUSICA ROCK - ALTERNATIVO SALUDOS EROS
victor33	Pana 02-21-2003 06:29 PM Hazlo tambien sacando las mejores canciones que veas esten trabajando de los otros temas que tenemos de rock.
victor33	CELIA CRUZ 02-23-2003 11:13 AM Celia de la Caridad Cruz Alonso, 21 October 1924, Santa Suarez district, Havana, Cuba. Described as the "Queen of Salsa" - just one ofher several superlative epithets - Cruz is the most influential female in the history of Afro-Cuban music. Her family and neighbours became aware of the young Celia's singing ability from listening to her croon lullabies to her younger relatives. While she was training to become a literature teacher, an older cousin entered her in a competition on the talent show La Hora Del T on Radio Garc°a Serr , in which she won first prize. Her 1983 biography refers to 1947 as the year when this contest occurred, but the sleeve notes to two of her early albums, Canta Celia Cruz (Celia Cruz Sings) and Cuba's Queen Of Rhythm, mention 1935. Celia's father, Sim¢n Cruz, viewed music a dishonourable career for a woman, but he was overridden by his wife, Catalina Alfonso. Professional radio work followed. Celia concluded her teacher training and did some classes at Havana's National Conservatory of Music. She eventually switched to singing full-time when a trusted teacher advised her that she would be foolish to do otherwise. Cruz first appeared on Santero, an album of Afro-Cuban cult music on the Panart label. (Two of her later bestselling albums on Seeco, Homenaje A Los Santos and Homenaje A Los Santos Vol. 2, contained recordings of sacred songs, and her association with Santeria or Yoruba has been highlighted in UK media coverage though she claims to be a practising Roman Catholic). In addition to radio, Cruz worked with the group Gloria Matancera and in small theatres and cabaret. She befriended Roderico "Rodney" Neyra, later choreographer at the famous Tropicana nightclub in Havana, who helped her get work there as a singer during the club's winter seasons. She toured Mexico and Venezuela with him and his dance troupe, Las Mulatas De Fuego (The Fiery Mulattas). Neyra introduced Cruz to Rogelio Mart°nez, the director of the popular band Sonora Matancera. On 3 August 1950, Cruz replaced Myrta Silva, who had returned to her native Puerto Rico, as lead vocalist of Sonora Matancera on their weekly show on Radio Progreso. Cruz made her recording debut with Sonora Matancera on a 78 rpm single released in January 1951 entitled "Cao Cao Mani Picao" (later included on Canciones Premiadas De Celia Cruz, her biggest hit album on Seeco), with the flip-side "Mata Siguaraya" (later contained on Homenaje A Los Santos Vol. 2 ). She made a long list of records during her 15-year tenure with the band. During the 50s, Cruz and the band appeared on television, topped the bill at the Tropicana and toured the Caribbean, South and Central America and the USA. She made her first appearance in New York at the old St. Nicholas Arena in 1957. Cruz and Sonora Matancera left post-revolutionary Cuba permanently in July 1960. "We gave them the impression we were just going on another temporary tour abroad. That's how we got out" (quoted in her 1983 biography). They worked in Mexico for one-and-a-half years, during which time they made their fifth Mexican movie appearance. "Castro never forgave me", she said in a 1987 interview. The Cuban government refused her permission to return home to attend her father's funeral. A lengthy commitment at the Hollywood Palladium, Los Angeles, in 1961 enabled Celia and Sonora Matancera to apply for US residency. In July 1962 she was able to dispense with her chaperone (a female relative), when she married the band's first trumpeter, Pedro Knight, who became her manager and on-stage musical director. After finishing with Sonora Matancera in 1965, Cruz switched to Tico Records - then a division of Morris Levy's Roulette Records - and released a series of 12 albums (excluding compilations) between 1966 and 1972, including seven in partnership with Tito Puente and four recorded in Mexico with the band of Memo Salamanca (issued by Tico in the USA under license from the Mexican Orfeon label). A combination of poor promotion and a young Latino audience more interested in other music styles than music from the old country, meant that her Tico releases clocked up poor sales. However, by the early 70s, young Latinos "in New York, New Jersey and Miami began to take a new pride in their roots, and salsa became the musical symbol of that rediscovered identity" (quote from Elizabeth Llorente, 1987). Jerry Masucci, who co-ran the successful salsa labels, Fania and Vaya, with bandleader Johnny Pacheco, had his eye on the Tico catalogue and was especially interested in developing Cruz's talents. He struck a deal with Levy, and Tico became part of the Fania fold. Cruz was touring in Mexico in 1973 when it was decided that she would sing the part of Gracia Divina on Larry Harlow's Latin opera album Hommy on Fania, a version of the Who's Tommy. Cruz's outstanding performance at the all-star Carnegie Hall presentation of Hommy on 29 March 1973 served to re-launch her career and connect her with a new, younger audience. Her new-found popularity was consolidated the following year. The summer of 1974 saw the release of Celia & Johnny, the first of a series of six successful collaborations with Pacheco on Vaya, which went gold. Masucci thought of alternating Cruz with other top leaders on his roster, like Willie Col¢n, Papo Lucca and Ray Barretto, whose bands each had their own trademark sound. Cruz made her album debut with the Fania All Stars in 1975 on the two-volume Live At Yankee Stadium. Bobby Valent°n's re-arrangement of her 60s track "Bemba Colora" ("Red Lips", originally from Son Con Guaguanco produced by Al Santiago ) on volume two was a show stopper with the hypnotized audience chanting the single word chorus "colora" and calling Cruz back for an encore. Film footage of this performance was featured in Masucci's movie Salsa. She continues to use Valent°n's chart of "Bemba Colora" to close her live shows. Cruz toured Africa and Europe with Fania All Stars and recorded with them up until 1988. [Este mensaje fue editado por victor33 en 02-23-2003 a las 08:34 PM.]
Rico	Mubot no funciona 02-23-2003 11:30 AM Tienen razon...y es probable que de aqui en algun tiempo los otros sites de musica tampoco funcionen....pero sigamos con lo nuestro no matter what..
victor33 Miembro - Fan Fútbol Ecuatoriano Registrado: 05-23-2002 Mensajes de fútbol: 529	02-28-2003 02:27 PM Que pasa entro al poco y ya no hay mensajes alguien sabe? ¥îÇtØ® [This message was edited by victor33 on 05-15-2003 at 10:14 PM.]
DONSATANAS Miembro - Amigo de Colombia Registrado: 07-10-2001 Mensajes de fútbol: 2855	Victor, usted xcuando pone salsa es de lo mas bacano que hay 02-28-2003 03:45 PM yo soy de Cali, Colombia, la salsa es lo maximo, mas con una linda caleñita, no papaaaa, lo maximo..
Pallas Member Registrado: 02-15-2001 Mensajes de fútbol: 248	si la salsa vive 02-28-2003 10:51 PM en especial hoy Viernes,asi como tamien un poco de latin Jazz,suerte a todos esta noche. pallas
edwincito Miembro - Fan Fútbol Ecuatoriano Registrado: 10-03-2002 Mensajes de fútbol: 60	Victor!!! como estas panaita! 02-28-2003 11:01 PM dame una llamada! acabo de entrar! panita tu siempre sacando la cara por la musica! me encanta la salsa! llamame! edwin.
victor33 Miembro - Fan Fútbol Ecuatoriano Registrado: 05-23-2002 Mensajes de fútbol: 529	Que tal rumberos 03-01-2003 09:55 AM Donsata,Pallas,Edwin saludos!!!
victor33 Miembro - Fan Fútbol Ecuatoriano Registrado: 05-23-2002 Mensajes de fútbol: 529	A ver si saben que orquesta es? 03-01-2003 10:02 AM
victor33 Miembro - Fan Fútbol Ecuatoriano Registrado: 05-23-2002 Mensajes de fútbol: 529	hu ah hu ah!!!!! 03-01-2003 10:11 AM
victor33 Miembro - Fan Fútbol Ecuatoriano Registrado: 05-23-2002 Mensajes de fútbol: 529	Si estas tres ultimas canciones es la Sonora Carruseles 03-01-2003 10:17 AM
AbuelaChili2003 Member Registrado: 07-01-2002 Mensajes de fútbol: 256	Hola chicuelo mi dj favorito 03-01-2003 12:09 PM como estas? no te he oido hace un siglo... has de estar muy ocupado con tus nuevos proyectos eh? chaulin
victor33 Miembro - Fan Fútbol Ecuatoriano Registrado: 05-23-2002 Mensajes de fútbol: 529	Abuelita 03-01-2003 03:05 PM Bien y Ud que tal? Que esta desaparecida gusto en saber de su persona. Salsaludos.
Mauricio% Miembro Junior Registrado: 11-17-2001 Mensajes de fútbol: 14	. 03-01-2003 04:02 PM HOlA, Victor me gusto el tema, La Sonora Carruseles es una de mis orquestas favoritas, como pusistes las canciones de ellos aqui?