SEPTEMBER 2011 ISSUE FROM THE EDITOR · RM: What is the current situation of Brazilian music? DM: Brazilian music is very rich and diverse, and it is also unique. We have many talented

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SEPTEMBER 2011 ISSUEFROM THE EDITORWelcome to Volume 21, Number 7, September 2011 issue of Latin Beat Magazine Online, homeof some of the best Latin music, entertainment, arts, and now also lifestyle. That's right, checkout Rebecca's new section LB Style, full of cool stuff for today's young Latin.

Brazilian superstar Daniela Mercury graces our cover and is featured this month. Anintrospective article by our good friend Ben Lapidus (Latin jazz guitarist/bandleader/educator)focuses on the NARAS issue of dropping the Latin jazz category from the Grammy Awards.

Nelson Rodríguez finds 200 rare salsa LP recordings (vinyl), which have never been released asCDs. As always, enjoy our popular columns from coast to coast and Puerto Rico, plus nationaland international hit parades, CD reviews, calendar of events, music news, video corner,streaming music, and much more.

Latin Beat Magazine is number one in the world of authentic Latin music. For advertisingopportunities in lbmo.com, call (310) 516-6767 or request advertising information [email protected].

Back issues are still in hard copy print and available! Enjoy 19 years of documented Latinmusic history and evolution in the pages of Latin Beat Magazine. Please order through theshopping section or by telephone at (310) 516-6767.

DANIELA MERCURY: THE ECLECTIC QUEEN OFSAMBA-REGGAE

LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html

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Windows MediaQuicktime

Luis GonzálezSpainWindows MediaQuicktime

Rolando SanchezVamonos De FiestaWindows MediaQuicktime

Steve PouchieWatch Ur WalletWindows MediaQuicktime

Somos SonBilongoWindows MediaQuicktime

The Estrada BrothersMr. RayWindows MediaQuicktime

Manny SilveraBassed in AmericaWindows MediaQuicktime

Bobby MatosCuchy Frito ManWindows MediaQuicktime

By Rudy Mangual


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Chembo CornielBuena GenteWindows MediaQuicktime

MañaTranquilitoWindows MediaQuicktime

Johnny Polanco y SuConjunto AmistadEl Gusto de Mi SalsaWindows MediaQuicktime


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Renowned for her phenomenal voice, gifted compositional skills and remarkable dancing abilities,Daniel Mercury is one of the high-quality Brazilian singers that emerged in the 1990s. She begansinging as a teen, influenced primarily by the music of Elis Regina. At age 16, Daniela made hertrio eléctrico debut during the 1981 Bahia carnaval, and showcased her talents in Bahia's largestmusical venue. From the mid-1980s to 1990, she became the lead vocalist of the band "Cheirode Amor," followed by a stint as a backup singer for Gilberto Gil, and by 1989 was fronting onlead vocals the popular pop band "Companhia Clic."

In 1991, Mercury's self-titled debut album - which featured Olodum, Brazilian drum troupe -generated a number-one hit in Brazil with the single Swing da Cor. Another track from the album,Menino do Pelô also topped the country's charts. A year later, Mercury left her record label tobecome an independent artist and have full control of her career.

As of this writing, Daniela Mercury is a Latin Grammy Award-winning Brazilian axé, samba-reggae, Latin pop and MPB singer, songwriter and record producer. Daniela Mercury will performat the landmark Greek Theatre in Los Angeles on October 13, 2011.

The following interview (translated from "portuñol" to English by Luis Tamargo) documents themultiple accomplishments of this fabulous native of Salvador, capital of the northeasternBrazilian state of Bahia…

Rudy Mangual (RM): What is your real name?Daniela Mercury (DM): Daniela Mercuri de Almeida.

RM: When did you develop your passion for music?DM: Throughout my life, I have been surrounded by scores and chords. By the age of 3, I wasalready rehearsing my first ballet steps. Dance and music were always part of my life. I was alsovery influenced by my dad, who exposed me and my siblings to the sounds of classical music. Ibegan to sing spontaneously in family reunions and other social gatherings.


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RM: Could you mention your main musical influences?DM: My influences were always as diverse as possible. During my childhood, I listened to jazz,classical music, MPB (musica popular brasileira)... My dance background also contributedsignificantly to the formation of my own musical discernment. I've always enjoyed experimentingwith new sounds, testing new tone colors. I love to blend different rhythms.

RM: How would you describe your musical style? Is there a genre that you are particularlydevoted to?DM: I'm a very eclectic artist. In all my performances and recordings, since the beginning of mycareer, it is possible to identify such personal characteristic. I've brought about a fusion of rapand batida do candomblé with electronic music, I've mixed rock and reggae, I've recreated the


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MPB and samba classics... As a creative artist, I take pleasure in being receptive to newdevelopments. I love samba-reggae, a rhythm created in Bahia by the percussion masterNeguinho do Samba. In one way or another, samba-reggae is present throughout all my musicalworks, but I prefer not to label them as such.

RM: Did you take formal music or vocal lessons?DM: No. I did take formal dance lessons at the Universidade Federal da Bahia.


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RM: How do you decide which songs must be included in your concerts and recordings?DM: I work exhaustively on each album. I maintain samba-reggae as the foundation of all myworks, but I mix it with all kinds of exciting new things that I encounter throughout the world. It's avery difficult decision, but I try to find the response in my heart.

RM: Who is your musical director?DM: I've usually functioned as musical director of my own affairs, but my most recent works havefeatured my son, Gabriel Póvoas, as musical director.

RM: What is the current situation of Brazilian music?DM: Brazilian music is very rich and diverse, and it is also unique. We have many talentedartists in Brazil, and they represent our musical culture very well. I'm an artist who came from therealm of MPB, but I adore the percussive music made in Bahia, among many other things… Ialso like jazz, 1980s dance music, rock, Madonna, Shakira, Stevie Wonder, U2, the RollingStones, The Beatles, electronic music...


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RM: How would you define your most recent CD and DVD productions?DM: I launched the CD "Canibália" in 2009, and now I'm releasing the DVD "Canibália: Ritmos deBrasil" (both productions will be available in the U.S. through Four Quarters Entertainment bySeptember 13, 2011). The DVD was filmed in Copacabana, Rio de Janeiro, during the 2011 NewYear celebration, a show viewed by more than two million Brazilians. It was fantastic! In thisperformance, I emphasized the dance elements, while singing rock, reggae, samba, etc. andinterpreting the songs of great MPB artists and even Carmen Miranda, with whom I conducted aduet, thanks to the available technological resources, on "O que é que a Baiana Tem." I should


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say that "Canibália" is my own musical love letter, in the sense that it manifiests many of myreferences. I belong to a generation that was influenced by tropicalismo, Semana de ArteModerna de 1922, Clube da Esquina, and so many other artists, songs and styles.

RM: During your international tours, where have you found the most receptive audiences(outside of Brazil)? And why?DM: This year, I'm celebrating my 16th International Tour. Music is a universal language thatappeals to all peoples. I have performed in many different countries, and each audiencepossesses its own culture, which is inevitably reflected in the way it views the show, in the wayit dances, sings along, or interacts with the artists. I was always impressed with the affection ofthe Portuguese, the compliments of the French, the energy of the Africans, the euphoriadisplayed by various South American audiences… The North American audiences are also verylively… In Israel, it was a marvelous experience. The same applies to Finland, Switzerland, Italy,Germany, or México… Each country has its own peculiar characteristics, but we are alwaysunified by the music, regardless of any language barriers.

RD: What motivates you on a daily basis, as a performing artist?DM: I'm very restless and very concerned about the affairs of our world. This nourishes my souland gives me energy to create and do what I do.

In My Own Words...By Benjamin Lapidus, Ph.D.


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I am a Latin jazz musician, an associate professor of music, and a 10-year member of NARAS(The National Academy of Recording Arts and Sciences), the entity that bestows Grammyawards. Today, I am also a plaintiff in a much-publicized case against NARAS. I write thiseditorial to inform our colleagues, friends and supporters of my reasons for joining the class-action lawsuit.

On April 6, 2011, I, and the rest of the 21,000 members of the academy received an email fromNARAS announcing a major restructuring of the Grammy awards. Chief among these changeswas the elimination of 31 award categories. Some of the cuts included Cajun, Zydeco, NativeAmerican, Contemporary Jazz, Traditional and Contemporary Blues and Gospel. Two dissimilarMexican categories were also combined and Latin jazz was eliminated. I was stunned. It was1994 when Eddie Palmieri finally won a struggle that began 17 years earlier for theestablishment of the Latin jazz category. Since then, the success of Latin jazz as a category(and as a music) has grown nationally and internationally.


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What an insult to all of us (and our supporters) that such a monumental decision was announcedwith an email, after no consultation and no chance for an informed debate! Not even the chaptergovernors in the 12 Grammy Chapters around the United States, who are elected by themembership to represent us, were consulted. A little history of my involvement with NARAS mightbe appropriate at this point.

I joined NARAS at the behest of NARAS member Bobby Sanabria in 2001-2002, when I released"Tres Is The Place," the third album of Sonido Isleño, my Latin jazz group. I quickly submitted"Tres Is The Place" for Grammy consideration in the Latin jazz category, a process that I havegone through for each of the following two Sonido Isleño albums. Since I joined NARAS in2001-2002, I have also participated on many recordings as a leader or sideman that have beenentered in the Grammy process not only for Latin jazz, but for other categories such as worldmusic, tropical, and children’s, to name a few. I myself or the other artists submitted thesealbums with complete faith in the Grammy process, thinking it was transparent, and neverdoubting that our submissions would be taken seriously.

On April 8, 2011, two days after the email announcement regarding the restructuring, I receivedanother email with an attached PDF document inviting me to attend a NY Chapter meeting at theNew York Institute of Technology on April 11, 2011 where the restructuring would be explained.There was no announcement to RSVP, only to show up, which many musicians decided to do.


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However, many of those attempting to enter the meeting were denied access, despite showingthe flyer. Even Eddie Palmieri and Larry Harlow who were one time NY Chapter Governors, weredenied entry until a commotion was made!

There was absolutely no consultation with any Latin jazz musicians about the elimination of theLatin jazz category; it seems apparent that NARAS members in the other 30 categories werealso caught by surprise with the "restructuring." As a dues-paying member of NARAS, I have theright to know who made this decision, why they made it, and to know how and when theyconsulted the membership of NARAS. At no time in the last 10 years did I ever receive a singleemail or piece of mail that made mention of any process to eliminate categories. The decisionwas made by a secret sub-committee of 12 who met for 18 months and was then endorsed bythe NARAS board of trustees and current Grammy President/CEO Neil Portnow. It is myunderstanding that NARAS, as a not-for-profit entity, is required under applicable law to operatein a clear and transparent manner. It certainly did not do so in arriving at the determination toeliminate the 31 categories of music.

This court case, therefore, is about the transparency of the organization, the process by whichdecisions are made that affect all of us, and the rights of NARAS members like myself to takepart directly in a system that we support financially. Paying my dues afforded me the right to beinvolved in this decision-making process on some level and both the President and the Board of


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Trustees of NARAS denied me this right. To win that argument, I don’t have to convince anyoneof the validity or historical importance of Latin jazz nor do I need to provide the history of Latinjazz. Nor, for that matter, should Hawaiian, Native American and musicians from the other cutcategories need to explain the legitimacy of their music. Advocates for each eliminated categoryhad already won the struggle for recognition years ago when their categories were established.

It is not my nor my fellow plaintiffs (Eugene Marlow, Mark Levine and Bobby Sanabria) wish to"harm the Grammys" as some critics of the lawsuit have claimed. Rather, I want the organizationto be accountable, to be fair, to be responsible, and to represent us, all of us. The GrammyAwards are about excellence in music. It is neither about sales, nor about the awards show,itself, as some might believe. It is a nonprofit organization whose mission is to champion,celebrate, nurture and propagate all forms of music, particularly American music. Its mostimportant mission is to educate the public about all of the musical forms that form our nationalmusical character. It is the behind-the-scenes activity of the Grammy Foundation, which isresponsible for many amazing programs to help educate our youth, preserve old recordings ofhistorical value, and a host of other activities that bring good things to people’s lives that wouldnormally not be afforded such help.


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Some may say that the Grammy action was not intended to be exclusionary, culturallyinsensitive or, even worse, racist. It is very difficult to interpret it in any other way if you are in acategory that must now compete with hundreds of entries, from other dissimilar musical genresthat have been condensed into single categories. For example now Latin jazz must compete inone category, jazz alongside instrumental rock, contemporary jazz, and instrumental country—think apples, oranges, grapes, and mangoes.

Clearly, the people who worked to make these cuts obviously were insensitive and they did notthink about how the non-pop music realm would interpret their actions. How could a communitywhose category or categories were eliminated not wonder about the message that is beingconveyed? YES, we will come to your schools and help your community BUT your music andyour culture are not worthy of a Grammy.

In the past, some members in the Latin music community felt a real need to make their ownrecording academy and awards entity. So LARAS (The Latin Academy of Recording Arts andSciences/The Latin Grammys) of which I am also a member, was formed. This is not really asolution because it means we are separate but equal, which as we all know is not legal in theUnited States. The categories of music that were cut represent a cross-section of the UnitedStates’ musical culture that is vibrant, historically important, and culturally relevant. They areeach a part of the musical legacy of the United States. Although pop music speaks to themoment and generates tremendous revenue (important for television), its excellence is separatefrom traditional musical genres that are in themselves excellent.

Pop music receives tremendous mainstream exposure, but the traditional genres represented bythe 31 eliminated categories don’t. The Grammy Awards act as a means of leveling the playingfield and they bestow prestige, visibility—and subsequent work opportunities—for artists who donot work in the pop field. The Academy’s decision to eliminate these categories is so detrimentalto traditional musicians because we musicians will no longer be able to receive institutionalrecognition for our work.

It is my sincere hope that this case will result in the reinstatement of the Latin jazz category, andthus encourage musicians who represent the other 30 categories to pursue similar legal actionso their categories are also reinstated. Even if the suit is unsuccessful, I will be able to hold myhead high and know that I stood up for what I believed to be just in 2011.

Joe Bataan / Johnny Colon / DJ TurmixPhotos © by Allen SpatzAugust 10, 2011 was a Summerstage (Central Park) event that won't very soon be forgotten,either by the crowd of thousands, Johnny Colon and Joe Bataan, nor the musicians who played


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with them at Central Park/Mainstage as part of NYC’s 2011 Summer Stage events.

Joe Bataan, aka the "King of Latin Soul," was propelled to fame by Fania Records during theLatin Boogaloo era of the 1960s in NYC. Singer/musician/songwriter Bataan has also performedrhythm and blues, salsa, disco, Latin funk, Latin jazz, Latin R&B, even rap. He is best known forGypsy Woman and Subway Joe. Ordinary Guy was a smash hit for Fania and set the tone forBataan’s success in the 1960s.


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Johnny Colón, founder of the East Harlem Music School came to fame as a pioneer of the LatinBoogaloo movement. Boogaloo Blues is a classic album that set the boogaloo movement onfire. His music school is devoted to the teaching of "Salsa." Over the years the school has hadmany students from other countries and at one time has boasted an enrollment of 1,500students. It has provided classes to over 20,000 students in piano, bass, guitar, flute,saxophone, trombone, voice, bongo, conga and timbal. The school has produced six orchestrasover the years.?


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Opening for Bataan and Colón, DJ Turmix spinned many of the best known Boogaloo hits. Afteran 18-year career in Spain and Europe, he packed up his records from Barcelona and hit theNYC scene. He has since played at some of city's hippest nightspots. Officially sponsored byFania Records, he is a vinyl collector and specialist in Boogaloo and Latin Soul from the 1960s.

Introducing Johnny Colon and Joe Bataan was "Bronx Flavor's Baron Ambrosia".


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Johnny Colon, Joe Bataan & Dj Turmix appeared on WABC TV "Tiempo" on Sunday August 7th


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Salsa Collectors' Corner: Vintage LPDiscoveriesBy Nelson RodríguezThrough the ever-changing world of the Internet, we have discovered great ways to share andcheck out the most recent releases, as well as any rare recordings available. Through theInternet, we can access the sites that sell music, in addition to the artists' own sites, and thosesites dedicated to salsa, Latin jazz, mambo, etc. But more importantly, we can access the sitesspecialized in rare recordings that only a few collectors in the entire world have ever heard of.We also have new ways of communicating with other collectors and getting a glimpse of theserare recordings while sharing historical information about such unique items.

While I was growing up in the late 1960s and early 1970s, the east coast's tri-state area hadseveral hundred Latin bands and recordings coming out every year. Record stores were inabundance and LPs sold anywhere from $2.99 up to $3.47. Needless to say, those who had


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begun to collect LPs in the 1960s felt that vinyl prices were outrageous and expensive in thefollowing decade.

Add to this the LPs released each month as a result of the salsa explosions that also occurred inPanamá, Perú, México, Venezuela, Colombia and every other Latin American country that fell inlove with the Afro-Caribbean sounds previously popularized in New York City (Never mind thatmany of such south-of-the-border albums never made it to the U.S.A.). I could not keep up with allthese releases, and in the past five years, I have literally discovered hundreds of vintagerecordings that I have never heard of. By the 1980s, if any LP did not sell at a regular recordstore, it went to the $ 1.99 cutout bins at Woolworth, where it was destined to quickly vanish.With Fania ruling the airwaves in the 1970s, 90% of these recordings had no chance of properdistribution, store placement, or promotion, inside or outside the U.S.A.

As it turned out, much of the music recorded on vinyl will never make it to the CD format, at leastin its original state, unless it surfaces either illegally or as part of compilations. Let’s face it: Wehave become a compilation society, and in some of these cases, the compilations are betterthan nothing at all. It is the only way to ever hear many great old recordings by Leyo Peña, MichiSarmiento, Willie Meléndez, Rey Roig, Los Dementes, Guaco, Rafael Labasta, El Afro-Combo,Pijuán y su Sexteto, The Latin Dimensions, Belisario López, Wito Vélez, Conjunto Libre, RaySantiago, Gabino Pampini, the TNT Band, Típica’73, and Los Hermanos Colón. Add to this the“greatest hits” compilations issued in recent decades, pertaining to artists such as MarcAnthony, Victor Manuelle, Gilberto Santa Rosa, Grupo Niche, Eddie Santiago, Tony Vega, OscarD’León, Maelo Ruiz, and Charlie Cruz (plus all the merengueros and the Fania re-issues).


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I must thank many good friends who have shared their collections, insight and love for the music,while making me aware of the rare gems I had missed. Thanks to Philadelphia’s radio host DavidOrtiz (who has shared his impressive collection for decades) and to the awesome collector NickAguirre, whose "salsa dura" items are featured on Andrés Padua’s Hard Salsa website. Andrés isone of the Internet’s salsa pioneers, and his show includes new artists or rare recordings thatlack distribution and airplay (commercial radio fails to provide any airplay to many of the newartists), and have little or no promotion. Since 1999, the lack of any kind of marketing (a perfectformula for failure) has hurt many of these vanishing recordings. On the positive side, goodmusic has no expiration date, so the same recording can be promoted years after its releaseand achieve some sort of sales success that helps the artist recuperate his/her investment. It isalso fair to say that in the early days the same lack of promotion did occur in the realm ofcommercial radio, resulting in the labeling of such albums as "rare recordings". And as it happensnowadays, the non-commercial college stations could not play the music if they didn’t receive it.At the present time, there is no commercial radio airplay for new artists recording hardcoresalsa, and they have to rely on non-commercial radio and the Internet as long as they servicethese programmers directly.

In Los Angeles, Carlos Velásquez’s ’La Otra Salsa’, Eric González’s ’Herencia Latina’ and DJMoreno have been helpful in turning me on to many classic recordings. Their love for the musicgave me a renewed desire to pursue these older recordings and properly document them into thehistorical archives.

No visit to Puerto Rico was ever complete without a trip to Viera Distributors, where I wasblessed to talk to Rafael Viera in the midst of his immense record library, while also chatting withthe collectors that hung out at such location. The education I gained from Rafael was trulypriceless!


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In the past few years, my biggest influence has been derived from the Cali-based DJ El Chino'sSolar Latin Club. Along with Andrés Padua's "Hard Salsa" network, this Colombian DJ (whosereal name is Felipe Valero) has become a powerful force in introducing the masses around theworld to vintage and new salsa provided by many contributors from all regions of our planet. Allthis could only be done through the Internet, and DJ El Chino has given great promotionalexposure to artists from all continents on his website, featuring the original covers and as muchinformation as he could acquire, plus tracks from many of the recordings. Many of the Solar LatinClub's contributions come from DJs and collectors (DJ HeCu, Jeffer Quiñones, etc.). I havecompiled a list of 200 recordings submitted by many collectors' websites (Salsero de Acero, AquíLa Buena Salsa, Jllanos 9 Records, El Imperio del Guaguancó, Salsabrosura del Barrio, ElPalacio del Guaguancó and Solar Latin Club) that I felt were well deserving of exposure. Theserecordings had small print runs or were issued by small labels or have simply disappeared.

Here are my top 200 picks (in no particular order!)...

Alfredito Valdés and his Popular Charanga: “Pachanga Orbit” (Celly)1.Cabrerita y sus Hijos: “La Rumba Que Tumba” (Sacodis)2.Joey Pastrana: “El Verdadero/The Real Thing” (Cotique)3.Lobo y Melón con su Grupo: “Concierto Tropical” (RCA Victor)4.Mike Hernández y su Sonora Casino: “Dime Tú” (Parnaso)5.Orquesta Caribe: “No Te Voy A Querer” (HR)6.Pijuán y su Sexteto: “En El Tradewinds” (Borinquen)7.Orquesta Monte Adentro: “Con Todo y Para Todos” (Julimar)8.Félix del Rosario y sus Magos: Del Ritmo (Montilla)9.Los Hermanos López: “El Muerto” (Rico)10.Cheo Rosario y sus Imperiales: “Descarga de Los Hermanos López” (Patty)11.Orquesta Zodiac: “Sinceridad” (Horóscopo)12.Alfredo Gutierrez y sus Corporales del Magdalena: “Así Es Alfredo Gutierrez—Con Salsa”(Costeño)

13.

Rubby Haddock-Orquesta Haddock: “Así Me Llaman” (Uniart)14.Suprema: “Voy Pa’ Borinquen Con La Salsa De La Suprema” (Sound Triangle)15.


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Orquesta de Arturo Núñez: “Mambo Festival” (SMC)16.Conjunto La Perla de Ponce (Promo Sound)17.La Banda y su Tremenda Salsa (Top Hits)18.Pipo y sus Estrellas: “Primer Impacto” (Carnaval)19.Wuelfo: “Y Sigue La Salsa” (Sonolux)20.The TNT Band: “Mission Accomplished” (Cotique)21.Orquesta Ideal: “Contigo Besos Salvajes” (FM)22.Los Cuchillos: “Salsa Mexicana” (RCA Victor)23.Willie Rodríguez: “At The Happening” (Fonseca)24.Nelson de Jesús: “En La Brocha” (Gema)25.Alci Sánchez (Discomoda)26.El Gran Apolo: “Qué Paso Más Chévere” (Codiscos/Scorpios)27.Los Imperiales: “A Ritmo Con Los Imperiales” (Velvet)28.Luis Gomez: “Descarga” (Tropical)29.Melón y El Gran Pasto De Luisito Martí “Salsa Con Descarga” (Rex)30.Cantina y su Combo: “Mango Candela” (Philips)31.Los Satélites: “Aquí Se Paga” (OLP)32.Orquesta Epa: “No Podrán Destruirme” (Corpodisco)33.Grupo La Justicia: “La Justicia, Vol.2” (Gas)34.Los Afroins: “A Gozar, Salsómanos” (Ins)35.Octava Dimensión: “Colombiana, Vamos A Ver” (Ins)36.Puerto Rican Power: “La Pura Naturaleza de la Salsa” (Melón)37.Carlos Muñoz y su Sonora: “The MAG All- Stars” (MAG)38.José Quintero: “El Negrito Del Ritmo” (Fonodisco)39.Los Corraleros: “Esta Sí Es Salsa” (Fuentes)40.Pedroza y su Orquesta Show: “Charanga y Bembé” (Orbe)41.Perfecta: “La Perfecta 76-77” (Musique Antilliase)42.Orquesta Barlovento (Beta)43.Conjunto Cristal: “A Tiro Limpio” (Mate)44.Los Barbarians: “Por El Libro” (4 Points)45.Modesto’s Charanga Kings (Featuring Alguita) “Pachanga, Anyone?” (World Pacific)46.Toby Muñoz y su Orquesta (Tamayo)47.Willie Salsero: “Sí Me La Tocas” (CBS)48.Orquesta Madison: “Mucha Salsa—Ritmo En El Callejón” (Audio Latino)49.Orquidea Robinson y su Orquesta Tropical: “A Ritmo De Salsa” (Marfer)50.Rey Texidor: “Let’s Do It” (RT)51.Orquesta Riviera: “No Dejes Camino Por Vereda” (West Side)52.Steve Hernández: “Presents The Booga-Mambo Beat” (Latino)53.Conjunto La Perla: “Llegamos” (Gema)54.Orquesta Nater: “Él Que A Hierro Mata, A Hierro Muere” (Mariel)55.La Banda Salsa: “Viva La Salsa” (CBS)56.Johnny Nelson: “Sí Me Ves Diferente” (Mia’s)57.Piro Mantila y su Conjunto: “Mala Cara” (Velvet)58.Orquesta Hidalgo: “El Sonido 80 de la Orquesta Hidalgo” (Ten Hits)59.


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La Renovación: “En La Salsa” (Yaré-Codiscos)60.Joe Madrid: “Pesadísimo” (Polydor)61.Rafi Val: “Fuerza Brava” (Vaya)62.Orquesta Santurce: “Salsamanía” (EG)63.Pepe y su Banda: “Pa’ Romper Los Huesos” (Orion)64.Los Hermanos López Orchestra: “A Güiro Pelao” (Rico)65.Mon Rivera y su Orquesta: “El Desayuno Musical” (Maseda)66.Quinto Benítez: “Mi Trompeta Está De Fiesta” (Sono Radio)67.Sexteto Imán: “Descarga Soul” (Philip)68.Orquesta Puerto Rican Power: “Mi Guajira Con Tumbao” (Bronco)69.Luisito Martí con El Combo de Johnny Ventura (Mate)70.Sexteto Fantasía: “Estamos En Algo” (Palacio/Fuentes)71.Orquesta Zodiac: “Belleza Espiritual, Vol.2” (HR)72.Orquesta La Fuerza Latina (Discolando)73.Orquesta Biltmore: “B” (Velvet)74.Imperial Sextet: “Pa’ Piñones” (Lozano)75.La Poderosa: “En Inmenso Dios” (Nydia)76.La Tortuga de María (Orion)77.Los 7 del Swing: “Con Cariño” (Carattini)78.Mike Enseñat & his Orchestra: “Let’s Be In” (Remo)79.Jorge de Gracia y su Impacto’71 (Gem)80.Cherry Jiménez y su Tercera Brigada: “La Banda Que Manda” (Karen)81.Super Combo Bellamar: “Guaguancó Internacional” (Verde)82.El Clan de La Salsa: “A Millón El Clan de la Salsa” (Venus)83.Félix del Rosario: “La Batalla” (Borinquen)84.Sonia López y sus Estrellas (Fragoso)85.Conjunto Century (Sound Triangle)86.Bisoña Jr. y su Sexteto: “Llegó” (Verde)87.Anibal Abreu y su Piano: “Pianocarpicho” (Kubaney)88.Heriberto y su Saoco: “Sabiduría” (NA)89.La Progresiva: “Pa’lante” (IEMPSA)90.Julián y su Combo Sabor: “En Su Epoca Dorada” (Archivo Musical)91.Joe Acosta and his Empresarios: “Soul and Latin Jazz” (SMC)92.Irving y su Quemazón: “El Africano” (Disco Gas)93.Andy and The Riverside Sextet (ORC)94.Luis Santí y su Conjunto: “Mi Nueva Generación” (Metro Golden Lion)95.Roque Cora: “La Salsa de Roque Cora” (Rio Piedras)96.Naldo Campos y su Conjunto: “El Nazareno” (Onix)97.Sonora Santanera: “A Bailar Con La Sonora Santanera” (CBS)98.Luis Sánchez y su Combo: “La Cuevita” (Karen)99.Dimas Pedroza y su Orquesta Alegría (El Palacio de la Salsa)100.Argenia Carruyo: ”Yo Los Pongo A Bailar” (Palacios)101.Los Virtuosos: “No Me Empujen” (Kubaney)102.Yeyo y su Orquesta: “Yeyo y su Salsa” (RCA Victor)103.


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Orquesta Universidad: “Llega La Salsa” (DCM)104.Orquesta Rumba’76: “Desde El Centro Con Sabor” (Centro)105.Luis Griñán y su Orquesta: “Quimbombó” (Suave)106.Jorge Beltrán y su Orquesta Los Peñiques: ” Qué Falta De Respeto Es Esa” (Discomoda)107.Los Blanco: “Sensacional” (Philip)108.Orquesta La Justicia: “Salsa Con Nostalgia” (Ebriac)109.Al Ramos y su Orquesta: “Bloque Uno” (Canal)110.Orquesta La Combinación (HR)111.Grupo Santa Garchia: “La Familia Santa Garchia” (Producciones Karina)112.Cheché Abreu: “Pruebe y Compare Mi Salsa” (Discolor)113.Javier Vázquez: “Yo Creo En Música” (Alegre)114.Tito Chicoma: “Fiebre De Salsa” (Bambú)115.César Concepción: “At The Flamboyán” (Seeco)116.Rafaelito Cruz: “Ya Llegó” (Montilla)117.Ciriano y Los Cacos: “¡Ay Toño, Que Vacilón!” (GRC)118.Juaneco y su Combo: “Aquí Están Los Reyes De La Salsa” (INS)119.Carlos Miranda y su Latin Combo: “El Men De La Salsa” (????)120.Rafael Mancedo y su Combo: “Qué Era Lo Que No Llevaba” (Cuña/Modiner)121.Carlos Muñoz: “Cumbias De Buenaventura” (Adria)122.Enrique Lynch: “Charanga Pachanga” (Sonoradio)123.Los Supremos (Fuentes)124.Luisín Landaez y Enrique Lynch y su Orquesta: “Oiganlo Sabroso” (Sonoradio)125.Peter Delis: “Presenta A Los Capos Fuera De Serie” (Virrey)126.La Ritmo Tropical: “Sube Un Poquito Más” (Funche)127.Rafael Labasta: “Con su Salsa..y Basta” (Real)128.Orquesta Regis: “Y Punto” (Fonica)129.Elliot Romero: “Pachangas Que Matan” (Ammex)130.Joe Valle & Rico All-Stars Orchestra: “El Regreso” (Rico)131.Típica Tropical: “El Extranjero” (Güiro)132.Michi y su Combo Bravo: “Tremendo” (Fuentes)133.Kuky y su Orquesta Son y Sabor (Zuni)134.Los Salseros: “Los Más Grandes” (Sarafín Sound)135.Napoleón y su Conjunto: “Brumas Del Mar” (Palacio Eco)136.Los Virtuosos de la Salsa: “Cachetoncita” (Infopesa)137.Orquesta Panamericana: “Moderna Y Espectacular” (Borinquen)138.Jorge Beltrán y su Orquesta Los Peniques: “Bailando Con Jorge Beltrán” (El Palacio de laMúsica)

139.

Laba Sosseh: “El Sonero de Africa’ (N’Dardisc)140.Conjunto Africa: “La Casita” (Peerless)141.Conjunto Bárbaro: “Azúcar” (Lob)142.Chacho Medina: “Cantan Yindo Rodríguez y Villo Acosta” (Cham)143.Grupo Atlantis: “El Sabor de Atlantis” (Discomoda)144.Rubén Rivera: “El Señor del Sabor” (RP)145.Los Dementes: “Soneros Somos” (Velvet)146.


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Los Papasotes: “Traigo Salsa” (Orion)147.Orquesta New Breed: “Jala Jala Woe Woe Baby” (Fonseca)148.Orquesta La Moderna (Horóscopo)149.La Sonora Casino de Hugo Macedo: “Pochita” (MAG)150.Aguilo y su Combo: “Salsa Latina” (Kubaney)151.Orquesta Monumental: “Swing Monumental” (MFP)152.Combo Miami Brass: “Danger- ¡Alto Contenido En Salsa!” (Kubaney)153.Los Megatones de Lucho: “Sussi La Coquetona” (Odeon)154.Orquesta Hermanos Lasso: “Picazón Con Salsa” (Remo)155.Rey Tex y su Orquesta: “Baile Salsa con Rey Tex y su Orquesta” (INS)156.Grupo Liberación de Panamá: “Bus de la Salsa” (Gecu/SCP)157.Billy, Willie & Bachiche: “Salsa, Salsa, Salsa” (Dorado)158.Guerra ’78: “Soul Makossa” (Discomoda)159.Los Rumbaney: “Sabrosa Salsa” (Infopesa)160.El Son de Trini: “Abriendo Puertas A La Salsa” (Toro)161.Conjunto Calisón: “Canta Alci Acosta Jr.” (Sonolux)162.Orquesta Éxito: “Sazonando La Salsa” (Profono)163.Príncipe y su Sexteto: “Sigue La Salsa” (DM)164.Rubén Lema y su Sonora: “Y Ahora..La Salsa es Rubén Lema con su Sonora” (Estelar)165.Kilo Pacheco y su Charanga’80: “El Manguero” (RCA)166.Orquesta Café: “Nuestro Aroma Llega y se Queda” (RS)167.Los Caribes (Sonolux)168.Integración Latina: “Salsa…Más Salsa” (Raices)169.Angelina y sus Latinos: “Salsa y más Salsa” (Son-Art)170.Toño y su Combo: “Bailemos” (Fuentes)171.Rafael Reyes: “Es Salsa” (Diana)172.Carlos Miranda y su Latin Combo: “¡La Salsa la Traigo Yo!” (SonoRadio)173.Quintanar y su Clan Sonero (Panamá)174.Betico Salsa y su Orquesta: “Baile Usted” (Delujo)175.Orquesta Nater: “Destrampe de Salsa Melódica” (Disco Rex)176.Candelario y su Combo: “Salsa Vallenata” (Costeño)177.La Combinación’77: “La Salsa de Hoy” (Velvet)178.Juan Cavero y su Orquesta: “Guayaquil está de Salsa” (Discolando)179.Combo Aragua: “Ritmo Caliente” (Sono Radio)180.Ralph Robles Octet: “Caliente Brass” (Audio Fidelity)181.Cheché Abreu: “El Príncipe de la Salsa” (Discolor)182.Frank y sus Inquietos (Fonograma)183.Cantina y su Combo: “Mango Candela” (Philips)184.Johnny Sedes y su Orquesta: “Cuando Quiero Grabar No Grabo” (Discomoda)185.Grupo Maya: “Salsa Antillana” (Fonososa)186.Itty Torres y su Orquesta Sabor Latino: “Canto A Puerto Rico” (Acuarios)187.La Cuadra Latina: “Para El Publico Presente” (Discomoda)188.La Bandita: “Libre Soy” (Zeida)189.La Comparación (RCA/ Victor)190.


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Josito y La Salsa Guay: “Salsa Pa’ Rato” (Seminola)191.Ariza y su Combo: “Bailando Con Ariza y su Combo” (Tropical)192.Meñique: Presenta la Orquesta Tropical (Tropical Magic Entertainment)193.Orquesta La Clave: “La Salsa Hecha Orquesta Es…La Clave” (Iempsa)194.Daniel Santos: “Salsa Para Todos” (INS)195.Conjunto Bakiano (Foca)196.El Gran Pepín y su Combo (Venevox)197.Ramoncito y su Salsa (Discophon)198.Porfirio y sus Ases: “Con Salsa” (Mayra)199.Ñico Estrada: “Bailemos con la Sonora de Ñico Estrada” (Odeon)200.

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SEPTEMBER 2011 ISSUE FROM THE EDITOR · RM: What is the current situation of Brazilian music? DM: Brazilian music is very rich and diverse, and it is also unique. We have many talented