Salsa Talks.
1
BY ABEL DELGADO Anumber of folks have written books about salsa, a fiery form of Latin music whose roots are still currently a matter for heated debate, with some claiming it’s Cuban music under a different name and others seeing it as a pan-Latin creation that synthesizes a number of different musical styles, including jazz, Brazilian rhythms and even R&B. Mary Kent’s Salsa Talks! may not end the debate on salsa roots once and for all, but it does something equal- ly remarkable: it allows the salseros—the creators and practitioners of this music—to tell their individual sto- ries. Kent spent years tracking down a host of performers, ranging from legends like Tito Puente, Celia Cruz and Eddie Palmieri to lesser known but key artists like Louie Ramírez, Canelita Medina and Juan de Marcos González. She also included some of the non-musicians who were key players in the music, such as producer Al Santiago and Jerry Masucci, head of the Fania Records salsa empire during the 1970s. While recording their stories, she also captured their images to give readers vivid pictures of these men and women. What initially draws the eye in Salsa Talks! are Kent’s superb, beautifully composed portraits of the salseros, all framed in a slick, vibrant design. The musicians’ stories take it from there: fans will learn more about the sad story of salsa’s clown prince, Héctor Lavoe, whose antics delighted audiences, bemused colleagues and ulti- mately took him on a path to self destruction; Celia Cruz, universally acknowledged as salsa’s queen, who sur- prises with her account of how fans reacted angrily to her replacing singer Mirta Silva in La Sonora Matancera in the early 1950s; and Joe Cuba, who explains how he—born to Puerto Rican parents in Manhattan—acquired his stage moniker, details his remarkable crossover to the American market in the 1960s and sheds some light on what the scene was like in his highly competitive day, which in his case included duels between his band and that of the legendary Tito Puente. But the anecdotes do more than amuse, surprise or inform: they offer a variety of insider perspectives that give salsa fans a new understanding—and much deeper appreciation—of this unique art form. It’s important to note that Salsa Talks! may well be the first book on salsa to be compiled professionally in terms of both the editorial and design, in marked contrast to other books on this music. This book offers a complete package of historical and cultural insights presented in a handsome volume, making it a welcome addition to anyone’s per- sonal library. To obtain a copy of Salsa Talks!, go to salsatalks.com. 30 NOVEMBER | DECEMBER Salseros Have Their Say { B OO KS } A TRAVELER’S FEAST
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Transcript of Salsa Talks.
BY ABEL DELGADO
A number of folks have written books about salsa, a fiery form of Latin music whose roots are still currently amatter for heated debate, with some claiming it’s Cuban music under a different name and others seeing it asa pan-Latin creation that synthesizes a number of different musical styles, including jazz, Brazilian rhythms andeven R&B.
Mary Kent’s Salsa Talks! may not end the debate on salsa roots once and for all, but it does something equal-ly remarkable: it allows the salseros—the creators and practitioners of this music—to tell their individual sto-ries. Kent spent years tracking down a host of performers, ranging from legends like Tito Puente, Celia Cruz andEddie Palmieri to lesser known but key artists like Louie Ramírez, Canelita Medina and Juan de Marcos González.She also included some of the non-musicians who were key players in the music, such as producer Al Santiagoand Jerry Masucci, head of the Fania Records salsa empire during the 1970s. While recording their stories, shealso captured their images to give readers vivid pictures of these men and women.
What initially draws the eye in Salsa Talks! are Kent’s superb, beautifully composed portraits of the salseros, allframed in a slick, vibrant design. The musicians’ stories take it from there: fans will learn more about the sadstory of salsa’s clown prince, Héctor Lavoe, whose antics delighted audiences, bemused colleagues and ulti-mately took him on a path to self destruction; Celia Cruz, universally acknowledged as salsa’s queen, who sur-prises with her account of how fans reacted angrily to her replacing singer Mirta Silva in La Sonora Matancerain the early 1950s; and Joe Cuba, who explains how he—born to Puerto Rican parents in Manhattan—acquiredhis stage moniker, details his remarkable crossover to the American market in the 1960s and sheds some lighton what the scene was like in his highly competitive day, which in his case included duels between his band andthat of the legendary Tito Puente.
But the anecdotes do more than amuse, surprise or inform: they offer a variety of insider perspectives that givesalsa fans a new understanding—and much deeper appreciation—of this unique art form. It’s important tonote that Salsa Talks! may well be the first book on salsa to be compiled professionally in terms of both theeditorial and design, in marked contrast to other books on this music. This book offers a complete package ofhistorical and cultural insights presented in a handsome volume, making it a welcome addition to anyone’s per-sonal library. To obtain a copy of Salsa Talks!, go to salsatalks.com.
30 NOVEMBER | DECEMBER
SalserosHave Their Say
{BOOKS}
A TRAVELER’S FEAST
