Podcasts about fania all stars

Remenem els arxius del segell Fania, un far de la m

Ens hem llevat tropicals i ballarucs. Per aquest motiu hem anat a cercar la influ

Villancicos de T. Rex, Brian Stezer Orchestra, los Sirex, Compay Segundo, Otis Redding, Johnny Cash, Marisol, Annie Lennox, the Pogues, Amancio Prada, Edwin Hawkins Singers, Fania All Stars, Cristina y los Stop, Tom Petty And The Heartbreakers, Jarcha y Darlene Love.

The music festival promoters hustle hard to secure a plane to Zaire. Finally on board, all the artists are nearly killed by James Brown and his oversized ego. Despite the high drama, the flight is a magical experience for all aboard when the musicians turn the plane into an epic jam session. This shared joy carries the crew through to Zaire. Upon arrival, they are greeted by the drums and voices of The Motherland. Meanwhile, fight promoters scramble to rearrange the weekend after Foreman’s cut and, in doing so, find out who President Mobutu really is. LITERARY REFERENCES “The Greatest, My Own Story”by Muhammad Ali (autobiography) “By George” by George Foreman (autobiography) “Hit Me, Fred” by Fred Wesley (autobiography) “LATIN NY” (Magazine, Issue No. 20, Nov 1974 Editor-in-Chief, Diane Weathers) Courtesy of Lola! Love OTHER MEDIA US State Department cables (available online in the US State Dept Archives and Wikileaks: https://wikileaks.org/plusd/cables/1974KINSHA07638_b.html) See omnystudio.com/listener for privacy information.

Spéciale consacrée au concert qui a eu lieu avant le « combat du siècle », celui de Mohamed Ali contre George Foreman, le 30 octobre 1974, au stade du 20 mai, à Kinshasa. Du 22 au 24 septembre, six semaines avant la victoire de Mohamed Ali, le musicien sud-africain Hugh Masekela et le producteur américain Stewart Levine organisent le festival Kinshasa 74. Trois jours de concerts réunissant sur scène 31 artistes africains et afro-américains incluant BB King, James Brown, Bill Withers, Sister Sledge, Fania All Stars, The Supremes, Miriam Makeba, TP OK Jazz, Manu Dibango, Tabu Ley Rochereau, Abeti Masikini, Franco Luambo… Joseph Kabasélé African Jazz - Succès african jazzAbeti Massikini - Mobutu praise songThe Spinners - Could it be I'm falling in loveTabu Ley Rochereau - AnnieJames Brown, Maceo Parker and the Macks - Soul powerManu Dibango - Soul MakossaMiriam Makeba - UmkhokozoFranco et T.P. Ok Jazz - MosalaThe Jacksons - I'll be thereRetrouvez notre playlist sur Deezer. 

Spéciale consacrée au concert qui a eu lieu avant le « combat du siècle », celui de Mohamed Ali contre George Foreman, le 30 octobre 1974, au stade du 20 mai, à Kinshasa. Du 22 au 24 septembre, six semaines avant la victoire de Mohamed Ali, le musicien sud-africain Hugh Masekela et le producteur américain Stewart Levine organisent le festival Kinshasa 74. Trois jours de concerts réunissant sur scène 31 artistes africains et afro-américains incluant BB King, James Brown, Bill Withers, Sister Sledge, Fania All Stars, The Supremes, Miriam Makeba, TP OK Jazz, Manu Dibango, Tabu Ley Rochereau, Abeti Masikini, Franco Luambo… Joseph Kabasélé African Jazz - Succès african jazzAbeti Massikini - Mobutu praise songThe Spinners - Could it be I'm falling in loveTabu Ley Rochereau - AnnieJames Brown, Maceo Parker and the Macks - Soul powerManu Dibango - Soul MakossaMiriam Makeba - UmkhokozoFranco et T.P. Ok Jazz - MosalaThe Jacksons - I'll be thereRetrouvez notre playlist sur Deezer. 

  | Johnny Hartman  | Slow Hot Wind | Grant Green  | Sometimes I feel like a motherless child | Sarah Vaughan w Oscar Peterson  | How long has this been going on | Paquito D Rivera  | Calzada Del Cerro | Fania All Stars  | Coro Miyare | Fela Kuti  | Zombie | Ripple  | I dont know wha it is | Steely Dan  | Night By Night

Now back to our regular scheduled programming!!! The guys were joined this week by the one and only Ramon Labrador!! Ramon is a bit of a survey celebrity that is for sure. He is the Deputy Surveyor, DC Department of Buildings – Washington, DC...the FIRST Hispanic Deputy Surveyor, DC! In his free time, Ramon is also the NSPS Director and NGS Coordinator for DC as well as the Get Kids Into Survey Ambassador for Maryland. We covered too many topics to list...give it a listen and get to know Ramon better! Music by the Fania All Stars!

La primera vez que Nelson Albareda promovió un espectáculo en el legendario complejo de entretenimiento Madison Square Garden de Nueva York (no en el arena propiamente dicho, sino en el teatro con capacidad para 5.600 personas que se encuentra debajo) todos le dijeron: “Vas a perder hasta el culo”. Albareda, un cubano nacido en Miami, había reunido lo que para él era un cartel de ensueño: una celebración del 50 aniversario del innovador artista de salsa y cofundador de Fania Records, Johnny Pacheco, con Pacheco y los Fania All-Stars. Aun así, sus detractores tenían razón: Albareda perdió 200.000 dólares en aquel show en el año 2006. Pero después de que el evento terminó, el promotor seguía entusiasmado. A medianoche, llevó a sus padres, que habían asistido, a una tienda de delicatessen cercana, donde su padre le preguntó: “¿Porque te ríes? ¡acabas de perder 200 mil dólares!. “Bueno, es parte del negocio”, le dijo Albareda a su padre. "Seguimos avanzando". Diecisiete años después, Albareda, defiende esa opinión. “En este negocio se pierde dinero, y lo importante no es la rapidez con la que se cae, sino la rapidez con la que se recupera”. --- Send in a voice message: https://podcasters.spotify.com/pod/show/checkingconmauro/message

Sintonía : "Sr. Lobo" - LOS 3001. "Sonetos de bailadores" - COMBINACIÓN PERFECTA2. "El guarachero” - LA SALSA MAYOR3. "Todo tiene su final" - WILLIE COLON & HÉCTOR LAVOE. 4. "Limeña” - FRUKO Y SUS TESOS5. "Carnaval” - ORQUESTA ESENCIA6. "Mi gente" - FANIA ALL STARS7. "Total pa qué” - EL GRAN COMBO DE PUERTO RICOTodas las músicas seleccionadas y presentadas por el Sr Lobezno (Isidro Sánchez Marín) desde RNE en Granada. Muchísimas gracias a Juan Carlos y Jose por su buen hacer y predisposiciónsrlobezno@afrodisiaclub.comEscuchar audio

Ray Viera was born in Rio Piedras, Puerto Rico. During his childhood he grew up listening to the recordings of the great "Soneros", such as Hector Lavoe, Ismael Rivera, Ismael Miranda, Chamaco Ramirez and Marvin Santiago. Collectively, these artists inspired Ray to pursue his goals, combining their musical influences into his own vocal style and sensibility. At the age of 11, Ray was sent to live with his father in the "Barrio" of Philadelphia.  Where he was exposed to many other musical genres.  Although he lived outside of his native Puerto Rico, he never lost his cultural roots and musical influences. Ray has worked with many Latin music legends, including Johnny Pacheco, the late Celia Cruz, Yomo Toro, Adalberto Santiago, Papo Lucca, Justo Betancourt, Eddie Palmieri, Spanish Harlem Orchestra, Jimmy Bosch, Chino Nunez, The Fania All Stars, and many other greats. He recorded his first album for ATI Records in 1997 produced by Johnny Pacheco with Jovanny Diaz and his Orchestra.Ray has logged over 20 professional recordings where his discography includes background vocals in various genres, including the soundtrack of an Off-Broadway musical entitled "Quien Mato a Hector Lavoe" starring Domingo Quinones, that would later become a major motion picture starring Jennifer Lopez and Marc Anthony titled “El Cantante”. He sang background vocals for the late Celia Cruz's Grammy winning "La Negra Tiene Tumbao", her final CD; both Eddie Palmieri's 40th anniversary CD, "La Perfecta II" (Grammy nominated) and "Ritmo Caliente", and is the lead singer in Johnny Pacheco's 50th anniversary CD "Entre Amigos"(2004). He also participated in Ricky Gonzalez's "Oasis", singing lead in the songs "Timbalero" and "Ya Era Tiempo". Over the years, he has toured throughout the United States, Canada, Mexico, South America , Africa, and Europe.While striving to realize his dreams, he has continually performed with intense passion and emotion. Many consider Ray one of the new generation of artists who can blend the traditional style of singing with the flexibility of a crooner and a progressive, modern outlook. After many years of being in a background role to some of Salsa's greatest legends, Ray released his debut album, Aqui Esta Ray Viera in 2002. He shows his talent as composer in songs like "Lo Mio Es Cantar", "Borinquen y Cubanacan", and "Corazon Cerrado". He also composed "Tun Tun Suena El Tambor" in Spanish Harlem Orchestra's Grammy award winning album "Across 110th Street". Ray has been a lead singer for the legendary Johnny Pacheco's Tumbao Añejo since 1998. In 2007 Ray released “TROMBAO which he produced and composed nine of the ten songs. “TROMBAO” made it to the second round of the Grammy nomination process in 2008. Ray Viera y Trombao presented its latest work to the public that provided a cultural blending of rhythm that is bursting with Caribbean flavors titled "SAMBUMBIA RADIOACTIVA" in 2013. Today, Ray Viera is taking his talents to the production side and continuing to compose for various projects.Support the show

Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de "Así la escuché yo..." En 1988 fue éxito mundial una rumba flamenca interpretada por la agrupación Gipsy Kings la cual fue grabada con el título “Bamboléo”. Fue tal el éxito de la canción de los Gipsy Kings que de inmediato otros artistas también sacaron sus versiones como la vocalizada por la legendaria intérprete cubana Celia Cruz, acompañada por la orquesta Fania All Stars e incluida en el álbum homónimo de 1988 “Bamboleo”. Al año siguiente el reconocido cantante español de talla mundial Julio Iglesias, incluyó su versión de esta canción en su álbum “Raíces” de 1989, bajo el título “Caballo viejo/Bamboleo”. Los anteriores temas musicales son en realidad una mezcla de dos canciones: - en primer lugar, toma los versos de la tonada llanera compuesta por el venezolano Simón Díaz, quien la grabó en 1980 con el título “Caballo viejo”. Así la escuché yo… - y para el coro utiliza el estribillo la canción compuesta por el brasileño André de Sá Filho, la cual fue grabada originalmente en portugués en 1932 por la artista brasileña Carmen Miranda bajo el título “Bamboleô”. ¿Y tú, conocías las canciones originales “Caballo viejo” y “Bamboleô”? Autor: André de Sá Filho (brasileño) para “Bamboleô”. Autor: Simón Díaz (venezolano) para “Caballo viejo” - Acreditado erróneamente a los miembros de Gipsy Kings (Tonino Baliardo & Jahloul Bouchikhi & Nicolás Reyes) Bamboléo - Gipsy Kings (1988) "Gipsy Kings" álbum (1988) Gipsy Kings (grupo francés) Ritmo: Rumba flamenca Bamboleo - Fania All Stars & Celia Cruz (1988) “Bamboleo” álbum (1988) Canta: Celia Cruz (nombre real Úrsula Hilaria Celia de la Caridad Cruz Alfonso de la Santísima Trinidad, cubana) Género: Salsa Caballo viejo-Bamboleo - Julio Iglesias (1989) "Raíces" álbum (1989) Julio Iglesias (nombre real Julio José Iglesias de la Cueva, español) Ritmo: Rumba flamenca Caballo viejo - Simón Díaz (1980) “Golpe y pasaje” álbum (1980) Simón Díaz (nombre real Simón Narciso Díaz Márquez, venezolano) Ritmo: Pasaje llanero Bamboleó - Carmen Miranda (1932) "Carmen Miranda" álbum (1932) Carmen Miranda (nombre real Maria do Carno Pinto Monteiro, portuguesa) Ritmo: Samba ___________________ “Así la escuché yo…” Temporada: 7 Episodio: 51 Sergio Productions Cali – Colombia Sergio Luis López Mora

In this episode of Fritanga, Antonio Tijerino kicks it with "El Padrino" of alternative Latino music, Felix Contreras. As the co-creator and co-host of Alt.Latino, the groundbreaking NPR radio show and podcast celebrating Latin music and culture, Felix's work with NPR has introduced some of the most unique, indie musicians to mainstream radio, while also showcasing chart-toppers like Kali Uchis and Becky G.Join us as we explore Felix's career, from being an early Latino journalist in Sacramento to a leading voice in today's dynamic music landscape. Diving headfirst into the industry's evolution, spanning from Ritchie Valens to Omar Apollo, and from boogaloo to reggaeton, Antonio and Felix revisit timeless classics and explore artists pushing musical boundaries today.SHOW RESOURCESListen and Subscribe to Alt.Latino Watch the Latest Video from NPR's "El Tiny" - the Latino takeover of Tiny Desk Concert. EPISODE OVERVIEWRepresentation and early careerHaving mentors or a fellow 'justice league'Music taste and Fresno growing upBiculturalism and the Early Bay Area sceneRock and Roll Hall of Fame controversyCuration: Pursuit of the New while honoring legendsFelix's early career: Carnaval team + Carving out a space for LatinosThe Latino Influence: Ellington and ClementeThe Viral Spread of Spanish language music todayThe curious curator: how that curious spirit leads him to discover talentActivism and journalism - using your platformCulture comfort moment 

Con Karen Souza ft Los Panchos, Daniel Me Estás Matando ft Rita Payés, Blanca Rosa Gil, Alfredito Linares y su Orquesta, Fania All Stars, Antonio Machín, Mª Teresa Vera, Littel Peggy March, Los Gandules, Imperio Argentina, Estrellita Castro, Amalia Rodrigues, Los Juniors, Penélope Cruz, Paquita Rico, Angela Molina, Mark Knopfler, The Manhattans y Simple Minds.

Con Gelu, Dúo Dinámico, Luis Brea, Trio los ornelas, Nueva Heneración, Paula Ribas, Esteman, Don Swan and His Orchestra, El Gran Combo De Puerto Rico, Celia Cruz ft Johnny Pacheco, Fania All Stars, Juan Luis Guerra 4.40, Martox, Macha y el Bloque Depresivo, Asere, Eliades Ochoa & Alma Latina

This week we celebrate FANIA RECORDS, the legendary label that brought us legends of Salsa and Boogaloo including the Fania All-Stars, Eddie Palmieri, Ray Barretto, Cheo Feliciano, Ismael Rivera and countless others. 

¿Te perdiste el programa especial de dos horas por los #50Años del concierto de la #FaniaAllStars en el #YankeeStadium de #NuevaYork? ¿Quieres disfrutar lo mejor de ese show lleno de rumba y sabor? ¿Has escuchado "#MiGente" o"#BembaColorá con una constelación de estrellas salseras gozando, disfrutando y bailando sobre el escenario? Revive esto y mucho más en #ElSolarDeLosAburridos.

It's hot out here! Hope everyone is staying cool in this climate change madness. Here's some salsa-related tunes to rock with the windows down or the AC blowing. Featuring (not necessarily in order): Bobby Matos, Fania All Stars, Latin Tempo, Ray Barretto, La Monumental, Joe Cuba Sextet, Orquestra La Corporation Latina, Eddie Palmieri, Rafael Solano, Mongo Santamaria

En 1982 Bárbaro, uno de los últimos sellos creados por Fania Records, ya bajo el nombre de su editora Música Latina Internacional, lanzó el disco Música para el Mundo Entero, del popular cuatrista puertorriqueño Yomo Toro, esta vez acompañado por la orquesta La Evolución. Yomo había grabado poco en solitario desde que firmó con Fania, así que el disco era casi una obligación con un artista muy querido en el mundillo, muy admirado entre el público. La gente lo conocía sobre todo por sus actuaciones con la Fania All Stars. Había grabado con Bárbaro el disco Romántico y ahora se metía con la música bailable. Así que hoy hablaremos de Música para el Mundo Entero de Yomo Toro en La Hora Faniática.

Con dos conciertos de la #FaniaAllStars, claves en la historia de la #salsa, comienza la rumba en #ElSolarDeLosAburridos. ¡Gócenlos, disfrútenlos y báilenlos! #ContigoEnLínea Viernes y sábado 8:00 p. m. https://buenosmomentosradio.com#CeliaCruz #FaniaAllStars #RayBarreto #RubénBlades #HéctorLavoe #WillieColón #SammyMarrero #RaphyLeavit #AlbinoDivino #NéstorSánchez #RobertoRoena #LouiRamírez #Kako #TitoPuente #IsmaelMiranda #AdalbertoSantiago #WilfredoVargas #TitoRodríguez #BobbyCruz #BobbyValentín

*Rubén Blades nació en el barrio de San Felipe de la Ciudad de Panamá, en el seno de una familia donde el arte siempre ocupó un lugar privilegiado. Sus padres fueron el colombiano Rubén Blades Bosques nacido en Santa Marta y la cubana Anoland Bellido de Luna del pueblo de Regla en la Habana. Desde pequeño, Blades estuvo en contacto directo con la música ya que su madre tocaba piano y cantaba y, su padre era percusionista.1​ La música de la radio tenía una constante presencia en el hogar de los Blades quien se nutrió de variados estilos musicales* El año 1970 marca su debut como cantante y compositor cuando publica el disco de larga duración De Panamá a New York/From Panama to New York, con Pete Rodríguez.4​ Un año antes Rubén Blades había participado en un disco con el grupo panameño Los Salvajes del Ritmo, donde el timbre de su voz se asemejaba a la del cantante José Cheo Feliciano. Posteriormente culminó sus estudios de Derecho en Panamá y por problemas políticos se trasladó a Miami y posteriormente a Nueva York, buscando la oportunidad de introducirse en el ambiente musical. Allí buscó trabajo en la compañía discográfica Fania, que lo contrató en el servicio de correos de la empresa. Esto le permitió entrar en contacto y conocer a las figuras más importantes del sello disquero, y en esa época Richie Ray y Bobby Cruz, Ismael Miranda, Roberto Roena y Bobby Rodríguez cantaron temas de su autoría.3​ Su oportunidad se presentó cuando Ray Barreto, buscando un vocalista para ocupar un puesto en su orquesta, le hizo una audición y lo contrató. Con esta banda participó en los discos Barreto (1975) y Tomorrow Barreto Live (1976). También grabó dos temas de su autoría ("El cazangero", en 1975 junto a Willie Colón, y "Juan Pachanga", en 1977 con la Fania All Stars) e hizo los coros de muchas producciones discográficas del sello Fania.

Whether it was salsa or boleros, his time with Joe Cuba, the Fania All Stars or his later collaborations, one thing that never changed was his sentimiento. And he wasn't just a romantic bolerista, his skill at interpreting in soneo, as an improvising sonero was remarkable. No matter what he sang, he interpreted it with feeling and sincerity. Thank you for tuning in to the third and final part in a three part podcast series about Cheo Feliciano.  Songs: El Dia Que Me Quieras with Eddie Palmieri 1982 Bello Amanecer with Tito Rodriguez and La Rondalla Venezolana 1996 Mi Ultimo Fracaso with La Rondalla Venezolana 1984 Ausencia with La Rondalla Venezolana 1996 Controversia with Jimmy Sabater 1987 Por Nuestra Felicidad 1998 Coincidencia 1990 Una En Un Million 1990 Me Fascina Esa Mujer Que Si Cantaban Bien 2000 Yo No Tengo Corazón Para Olvidarte 2002 Esa Es Tu Fortuna 2002 Hacerte Venir 1990 --- Send in a voice message: https://podcasters.spotify.com/pod/show/anani-kaike/message

Whether it was salsa or boleros, his time with Joe Cuba, the Fania All Stars or his later collaborations, one thing that never changed was his sentimiento. And he wasn't just a romantic bolerista, his skill at interpreting in soneo, as an improvising sonero was remarkable. No matter what he sang, he interpreted it with feeling and sincerity. Thank you for tuning in to the first part in a three part podcast series about Cheo Feliciano. . waswith. Feliciano would also travel and perform with the Fania All Stars and record memorable hits with them, such as his rerecording of his composition, 'El Raton'. Learn about all this and more in this week's episode. Songs: Mano Caliente 1971 Si Por Mi Llueve 1971 Pienso en ti 1971 Medianoche y Sol 1971 Ansias de Amar 1972 Enfriamento Pasional 1972 Mirada de Amor 1974 El Raton (live with the Fania All Stars) 1975 Canta 1976 Tiempo Muerto 1978 Lucero 1978 Amada Mia 1980 Sobre una tumba humilde 1980 Sentimiento 1982 Trizas 1982 Anacaona (live) 1985 --- Send in a voice message: https://podcasters.spotify.com/pod/show/anani-kaike/message

Whether it was salsa or boleros, his time with Joe Cuba, the Fania All Stars or his later collaborations, one thing that never changed was his sentimiento. And he wasn't just a romantic bolerista, his skill at interpreting in soneo, as an improvising sonero was remarkable. No matter what he sang, he interpreted it with feeling and sincerity. Thank you for tuning in to the first part in a three part podcast series about Cheo Feliciano. . Young Cheo did not dream of being a singer, his first dream was to play guitar, however the Escuela de Musica Juan Morel Campos, a free music school was underfunded and had only 2 guitars and 40 students. Feliciano, then chose trombone, however there was only 1 trombone and 40 students, leading him to study music for 2 years before Cheo and his family were forced to move to the US due to the increasingly difficult economic situation on the island. Now in New York, Cheo turned to percussion, playing whenever and wherever he could. Soon after he would meet Machito who introduced him to Tito Puente and Tito Rodriguez, the latter who would give him an opportunity to sing live in front of an audience at the Palladium ballroom. Soon after, Feliciano would be hired by Joe Cuba and sing with his sextet for 9 years. Sadly, Cheo struggled with addiction at this time. Hear about all this and more In today's episode. Songs: A Las Seis Yo Vine Pa Ver Te Adoro Macorina Callejero Lo Bueno Ya Viene Mujer Como Rien Aunque Tu Quieres Volver Cachondea Bailadores Guaracha y Bembe Ay, Milagro Oriente Quinto Sabroso Busca lo Tuyo (with Eddie Palmieri) --- Send in a voice message: https://podcasters.spotify.com/pod/show/anani-kaike/message

Hola mi gente! Welcome to Siempre Pa'lante! Always Forward. I'm your host, Giraldo Luis Alvaré. Gracias for listening. In this episode, our guest is a Badass Bori from the Boogie Down Bronx. A self-taught DJ who moves the crowd from el corazón. Her relentless pursuit of perfecting her craft is the reason why she's one of the best to do it. A champion of the people. Always moving forward. Pa'lante como un elefante. From park jams to arenas, she brings that sofrito to every mix leaving the people wanting more. please welcome, two-time DMC US Champion, the Queen of the 1's & 2's, DJ Perly. Gracias for listening. Don't forget to rate, review, follow, subscribe, like and share. Check out my Linktree for more info. Pa'lante! https://linktr.ee/sp.alwaysforward DJ Perly Artist DJ Perly site | Linktree | YouTube | Instagram | Twitter | Facebook | Soundcloud DJ Perly site - https://www.djperlymusic.com/ Linktree - https://linktr.ee/djperly YouTube - https://www.youtube.com/djperly IG - https://www.instagram.com/djperly/ Twitter - https://twitter.com/djperly FB - https://www.facebook.com/DJPerly/ Soundcloud - https://soundcloud.com/djperly Frosted Perlz Snow Vid - https://www.youtube.com/watch?v=2kwnH-b_vtg 2017 DMC USA Finals - https://youtu.be/mD6ws_c9nXo 2022 DMC USA Finals - https://youtu.be/-T5r7kfJo-o NOTABLE MENTIONS DJ Perly, Badass Bori, Puerto Rico, Technics, DMC USA National Championship, Spanish Harlem, Fania All-Stars, Johnny Pacheco, Ray Barretto, La Lupe, Héctor Lavoe, Willie Colón, Marc Anthony, Studio 54, Elvis, Motown, Diana Ross, The Beatles MTV, TRL, Hot 97, Hip-Hop, Salsa, Park Jams, Native New Yorker, Odyssey, Frankie Avalon, Can't Take My Eye's Off You, Deee-lite, Groove is in the Heart, Q-Tip, Bootsy Collins, De La Soul, Trugoy the Dove, 3 Feet High and Rising, Delorean, Wu-Tang, A Tribe Called Quest, J Dilla, Lady Gaga, Madison Square Garden, MSG, EDM, Mark Ronson, A-Trak, Aaron LaCrate, Milkcrate Athletics, Kobe Bryant --- Support this podcast: https://anchor.fm/spalwaysforward/support

A comienzos de 1973 Roberto Roena grabó con su Apollo Sound su disco número 5 y que fue titulado simplemente así, 5, para el sello International. Fania Records había creado International Records en 1968. La intención la decía su nombre: internacionalizar la compañía, especialmente en Puerto Rico. International estaba regentado en Puerto Rico por el empresario argentino Charles Tarrab y tenía una sociedad con Rafael Viera, representante de Fania Records en la isla. Tarrab fue el responsable de los grandes espectáculos de su tiempo en San Juan, entre ellos, el concierto de la Fania All Stars en el Coliseo Roberto Clemente en ese mismo año, 1973. O sea, una época decisiva era Roena, de quien hablaremos hoy en La Hora Faniática.

EDDIE RODRIGUEZ; Celia Cruz RIP Black History Month special series honoring Black Artists in Latin Music  Cruz's first recordings were made in 1948. In 1950, her singing career started its upward journey to stardom when she began singing with celebrated Cuban orchestra Sonora Matancera. Initially, there were doubts that Cruz could successfully replace the previous lead singer and that a woman could sell salsa records at all. However, Cruz helped propel the group — and Latin music in general — to new heights, and the band toured widely through Central and North America throughout the 1950s. Celia Cruz first gained recognition in the 1950s, as a singer with the orchestra Sonora Matancera. Relocating to the United States after the ascent of Fidel Castro, Cruz recorded 23 gold records with Tito Puente, the Fania All-Stars and other collaborators. Cruz died in New Jersey in 2003, at the age of 77.

Jose GO YE Maldonado is an award-winning Christian artist. Born in NYC, he was always surrounded by music. His Father played in Latin Salsa bands. He grew up listening to salsa greats like, Tito Puentes and Fania All-Stars. Jose was a Hip Hop Breakdancer in the early '80s. A couple of his favorite hip-hop artists were Big Daddy and KRS One. In 1990, in Germany, he gave his life to Christ while serving in the U.S. Army. He remembered his love of hip-hop and began writing and doing gospel rap ministry in 2018. His first project (self-titled) Go Ye Mark 16:15 debuted in September of 2020. Since then, he has dropped over 10 singles and featured in over a dozen collaborations worldwide. Signing with artist Russ Shanks of Madd Saint Entertainment Records out of Baltimore, Maryland. He is now a father of five and married to Minister Sonja Maldonado of 13 years. He loves doing outreach ministry, touching the lives of the lost with his personal testimony. Go Ye Facebook Page https://www.facebook.com/GOYE.maldonado Live Interview Link   https://youtu.be/94bqNVjRipg To learn more about WCG go to www.worldlychurchgirl.com

Meridian Brothers, founded by musician Eblis Álvarez, fuses a love of classic salsa with cumbia, vallenato, spacey psychedelia, and wacky samples for a playful dance party. With a body of songs containing some poignant social commentary about our obsession with technology, fear of war, police brutality, and other issues, the music hearkens to the salsa dura era (think Fania All-Stars); even the legendary Ansonia label took note and invited Meridian Brothers to be their first new signing in more than 30 years. With an interplay of sax, guitar, plenty of percussion, spoken/sung cartoon vocals (pitch-shifted and processed), and sound effects, Meridian Brothers plays their fantasy salsa-cumbia fusion, in-studio. - Caryn Havlik Set list: “Salsa Caliente” “Puya Del Emprasario”, “Metamorfosis”  Watch "Salsa Caliente": Watch "Puya Del Emprasari": Watch "Metamorfosis":

Grabado a comienzos de 1981 y publicado a mediados del mismo año, Social Change de la Fania All Stars fue el último de los proyectos que envolvieron el acuerdo entre Fania Records y la Columbia Broadcasting System, CBS, en 1976. En el lapso de este tiempo el equipo de ritmo de la Fania había colaborado en proyectos conjuntos y la propia Fania había grabado cuatro discos de salsa funky antes de este: Delicate and Jumpy en el 76, Rhythm Machine en el 77, Spanish Fever en el 78 y Cross Over en el 79. Hoy contaremos la historia de Social Change en La Hora Faniática.

A SOUTH BRONX TALE PT 5  spotlight on Salsa dance Music recordings adding string arrangements in the 70's most notably by Fania Records. We just heard the best best Salsa singers of all times heard Hector Lavoe RIP and Ruben Blades.  we will hear more Salsa music with Strings from a Latin Opera called Hommy by Larry Harlow and by the Fania All Stars. Fania All Stars tours the world sells millions of records and tapes to become the definitive Best Salsa Orchestra in the World. Celia Cruz, Pete El Conde Rodiguez, Hector Lavoe, 

Hey there, cowpokes! I just got hitched, which meant I got a liiiittle behind working on the podcast. But, I think this interview with Violet Bell is well worth the white. The North Carolina duo, consisting of Lizzy Ross and Omar Ruiz-Lopez, just released their gorgeous new album, Shapeshifter. The album retells the ancient story of the selkie from many perspectives. Not only is the album beautiful musically, but Violet Bell use the story to make connections to dysphoria, power, imperialism, and liberation -- all from an old fisherman's tale.   The bad news is the duo got COVID right after when the album was released, but the good news is you still have time to see their rescheduled album release show in December, so check out their website to find out where you can catch them.   Support Rainbow Rodeo by joining the Patreon, and get early access to the podcast for as little as $4 a year!   SONG   "All The Stars" -- Violet Bell (1:35) "Mi Gente" -- Hector Lavoe and the Fania All Stars (16:03) "Fisherman's Daughter" -- Violet Bell (20:32) "I Am a Wolf" -- Violet Bell (34:53) "Free Leonard Peltier" -- Joe Troop (50:54) "Mortal Like Me" -- Violet Bell (56:40)  

spotlight on Salsa dance Music recordings adding string arrangements in the 70's most notably by Fania Records. We just heard the best best Salsa singers of all times heard Hector Lavoe RIP and Ruben Blades.  we will hear more Salsa music with Strings from a Latin Opera called Hommy by Larry Harlow and by the Fania All Stars. Fania All Stars tours the world sells millions of records and tapes to become the definitive Best Salsa Orchestra in the World. Celia Cruz, Pete El Conde Rodiguez, Hector Lavoe, 

Hello Yacht Rockers! Yacht Rock meets Salsa...and the Spanish/Cuban grooves Come aboard... it's funky latin grooves infused with the yachty elements...of Jazz R&B and Disco! Fania All -Stars crew with it's Spanish fever! Join us as we dive into the late 70s with Fania Records and give you the lowdown on The Fania All-Stars Get on board! It's Hot! --- Support this podcast: https://anchor.fm/the-yacht-rock-show-with-eddie-ganz/support

I have said two things all season long. The first is that we're going to be exploring a single topic for ten episodes, and that topic is fusion. But the second thing I've been saying is that what I'm talking about when I say the word fusion isn't a style or a genre, but a state of mind. It's not what you play, it's how you approach music-making.In previous episodes, we've talked about what people typically think of as fusion, which drummer Lenny White, who appeared in episode two of this series, prefers to call jazz-rock. That's the version that more or less starts with Miles Davis's Bitches Brew and Tony Williams' Lifetime and branches out to include Mahavishnu Orchestra and Return To Forever and Weather Report. But my version of that continuum also includes early Seventies Santana, it includes the Fania All Stars collaborating with Jan Hammer and Billy Cobham, it includes adventurous funk and R&B fusion, like P-Funk and Earth, Wind & Fire and the Ohio Players and Slave, and it includes jazz-funk acts like Donald Byrd and Freddie Hubbard and George Duke.Vernon Reid is a guitarist who was born in England but grew up in New York. He's best known as the leader of Living Colour, and one of the co-founders of the Black Rock Coalition along with the late writer Greg Tate, but he's got a long and varied discography that encompasses solo material, duo and trio work with other guitarists like Bill Frisell, David Torn and Elliot Sharp, and guest appearances with a ton of groups from Public Enemy to the Rollins Band, Mick Jagger, Janet Jackson, Mariah Carey, Santana, and many, many more. His solo album Mistaken Identity from 1996 is the only album to carry co-producer credits from Prince Paul and Teo Macero. Back in 2012, he made an album with a group called Spectrum Road which featured John Medeski on keyboards, Jack Bruce on bass, and Cindy Blackman Santana on drums — it was conceptually a tribute to Tony Williams Lifetime, but it's very much its own thing as well, so definitely check that out.Reid got his start, though, with drummer Ronald Shannon Jackson's band the Decoding Society. He played guitar, banjo, and guitar synth with that group, which had two bassists: Melvin Gibbs, who was on this podcast a couple of years ago, and Reverend Bruce Johnson, and then some horn players, mostly Zane Massey on saxophones and Henry Scott on trumpet. It's high-energy music that's also really melodic in a kind of post-Prime Time way — jazz, funk, rock, Texas blues and West African music all swirled together and thrown straight at your face at a hundred miles an hour. Their albums Nasty, Street Priest, Mandance, Barbeque Dog, Montreux Jazz Festival and Earned Dreams are all incredible. They're all out of print right now, too, but some of them are on streaming services, so dig up whatever you can. Reid has a new record out with the group Free Form Funky Freqs, a trio with bassist Jamaaladeen Tacuma, who's also been on this podcast before, and drummer Calvin Weston, and as he explains in this conversation, it's full-on improv, starting from zero every time they play together, and because it's so limited – no rehearsals, no soundchecks with all three members – they know exactly how many times they've played together. The album represents their 73rd encounter. It's called Hymn Of The 3rd Galaxy, sort of a tribute to Return To Forever there, who had an album called Hymn Of The Seventh Galaxy, and you'll hear a little bit of the music late in the podcast. I think you'll really enjoy this episode. I've been a fan of Vernon Reid's music for about 35 years. The first Living Colour album came out when I was in high school, and I saw them play on the first Lollapalooza festival in the summer of 1991. And I interviewed him once before, about 10 years ago, when he was doing a multimedia presentation called Artificial Africa. So in this conversation, we talk about his work with the Decoding Society, about the Free Form Funky Freqs, about the whole wave of guitarists who came up at the same time he did, including Michael Gregory Jackson and Kelvyn Bell and Jean-Paul Bourelly and Brandon Ross, as well as older players like James "Blood" Ulmer and Pete Cosey and Sonny Sharrock… we talk about a lot of things, and I'm just gonna end this introduction here, so you can dive in.MUSIC IN THIS EPISODE:Living Colour, “WTFF” (from Stain)Ronald Shannon Jackson and the Decoding Society, “Iola” (from Mandance)Vernon Reid & Bill Frisell, “Size 10 1/2 Sneaks” (from Smash & Scatteration)Free Form Funky Freqs, “Outer Arm” (from Hymn of the 3rd Galaxy)

As we finally come to the end of our series on Afro-Psychedlia, Tim and Jeremy bring us back to New York, David Mancuso and the dancefloor of The Loft via Puerto Rico, Salsa and the Latin influence on the city in the early '70s. We hear about the mighty Fania Records - a classic example of the sort of small labels who found a commercial audience while still releasing amazing music - and the band they fostered, the Fania All-Stars. We also spend time exploring the catalog of Ray Barretto, who's track Acid featured at the very beginning of the LITM project. Jeremy and Tim also interrogate the idea of New York as a 'melting pot', consider the construction of the Nu Yorican identity, and contrast it to the other cultural and musical formations of the late '60s we've heard about in this series. We're also introduced to Boogaloo, 'the Watusi', and close with Eddie Palmieri's fantastic, epic track 'Un Día Bonito' - a worthy place to end for now. We'll be taking a bit of a summer break and back with a new series in the Autumn - but keep an eye on the feed, we'll be throwing out some extra bits for patrons to tide you over. Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Become a supporter of the show for as little as £3pcm by visiting www.Patreon.com/LoveMessagePod Tracklist: Estrellas de Chocolate - Fania Pacheco - Cañonazo Fania All Stars - Guatacando (Live at the Red Garter) Joe Cuba - Bang Bang Ray Barretto Y Su Charanga Moderna – El Watusi Ray Barretto - Despójate Ray Barretto - Acid Ray Barretto - Tin Tin Deo Bobbi Humphreys - Harlem River Drive Ocho - Oriza Eddie Palmieri - Un Día Bonito

In Part III of my four part celebration of Celia Cruz, after the 19th anniversary of her passing. In 1974, Celia recorded the pivotal album, 'Celia y Johnny' with the Dominican musical marvel, Johnny Pacheco. The album included hits such as 'Quimbara' and 'Toro Mata', quickly endearing her to yet another generation of fans. She even traveled to Zaire with the Fania All Stars and performed in front of 80,000 fans! Hear all this and more, in this week's episode! Songs: Quimbara (Live in Zaire 1974) El Paso de Mulo (with Johnny Pacheco) Celia y Johnny 1974 Tengo El Idde (with Johnny Pacheco) Celia y Johnny 1974 Tres Dias del Carnival (with Johnny Pacheco) Tremendo Cache 1975 Ritmo, Tambor y Flores (with Johnny Pacheco, Justo Betancourt, Papo Lucca) Recordando El Ayer 1976 El Yerbero Moderno  (with Johnny Pacheco, Justo Betancourt, Papo Lucca) Recordando El Ayer 1976 Raices (with La Sonora Ponceaña) La Ceiba 1979 Y Volveré (with La Sonora Ponceaña) La Ceiba 1979 Encantigo (with  Fania All Stars, Pete 'El Conde' Rodriguez) Commitment 1980 Herencia Africana (with La Sonora Matancera) Feliz Encuentro 1982 Nadie Se Salva de la Rumba (Ray Barretto, Adalberto Santiago) Tremendo Trio 1983 --- Send in a voice message: https://anchor.fm/anani-kaike/message

Hi my name is Taylor and I am going to be discussing the amazing life of the Queen of Salsa, formally known as Celia Cruz. Celia Cruz was born (real full name) on October 21, 1925 in the musically diverse city of Havana, Cuba. She grew up in an extremely important time for tropical music in cuba and eventually became one of the most renowned artist of that genre and more not only in her own country but throughout Latin America. She did grow up in a very weird time for Cuba. Not only was music changing for the better, political, the country was at it's worst. But she used the one thing that brought everyone a sense of euphoria, her voice. Celia has always been a musical person. As she got older she would compete in singing competitions and win. She even did small commercial jingles. But it wasn't until the late 40s and 50s she got her big break. During that time, an Afro Cuban group famously known as La Sonora Matancera was at it's peak. This band was famous for singing with other singers like Bienvenido Grada, Celio González, and Benny Moré. Their lead singer, Myrta Silva, had wanted to leave the group to start a family in her country of Puerto Rico which left her spot open. Celia auditioned, and with hard work she became the groups first black front woman. Celia first record with La Sonora in August 1950 and wasn't received well by the public because she was black. But she persevered and kept doing what she loved most. She stayed with La Sonora for 15 years and recorded songs like Juancito Trucupey and Yerbero Moderno. They also made songs in honor of the Saints of the afro-Cuban religion, Santeria. The most populars were, Palo Mayimbe, yemaya, and Guede Zaina. As year passed, living in Cuba become a lot more tense. The Castro regime didn't like how La Sonora accepted gigs in other countries, so once the group flew to Mexico for a concert in 1960, the regime banned them from ever returning to cuba again. Celia COULDNT even attend her parents funerals. She then moved to the United States, found a home in New York, and then became a citizen. She stayed with La Sonora until 1965 and then began her solo career. She was contacted by Tito Puente who was very important in the making Latin Jazz in New York. That was the beginning of the next chapter of musical career Celia and Tito puente made a few albums together which weren't so successful. So she left for Fania records and joined the Fania All-Stars with Johnny Pacheco and debuted her most popular album Celia & Johnny. With Fania, Celia career skyrocketed. She had joined Fania in the 1970s which was also the time salsa was extremely popular. With them she record hits like Bemba Colora, Toro mata, and Quimbara. Salsa evetually died like most genres but Celia's popularity didn't. Years lster she made another hit entitled “La Negra Tiene Tumba'o”. A few months after releasing final album Regalo Del Alma in 2003, celia passed away. Her career lasted a little over 50 years and her impact on music in the Spanish speaking world is still seen in recent years. Celia as well as some of the Fania All-Stars paved the way for the popularity of genres such as Salsa, merengue, and reggaetón.

'Celia Cruz en Cuba - 1925-1962', un libro biográfico esperado por mucho tiempo, ve la luz finalmente en Amazon y en CUBAkústica FM nos honramos con la reseña de su autora, la investigadora y escritora Rosa Marquetti, quien nos brinda varios apuntes tras cuatro años de meticuloso trabajo. La banda sonora a cargo, por supuesto, de la Guarachera de Cuba donde sobresalen sus presentaciones históricas en la radio independiente: Mil Diez, Radio Cadena Suaritos, CMQ Radio Centro y Radio Progreso, entre las décadas de los años 40 y 50. Entre los diversos respaldos musicales escuchamos a la orquesta de la Mil Diez, la orquesta Atómica de Suaritos, bajo la batuta del pianista Obdulio Morales, y las jazz bands "Riverside", Ernesto Duarte, Bebo Valdés, Adolfo Guzmán, el conjunto Sonora Matancera, y la Fania All Stars.

Ray Barretto was born on April 29 1929 in El Barrio, New York. His childhood wasn't an easy one, as his father left the family when Barretto was just 4 years old and returned to Puerto Rico. Barretto's mother moved the family to the Bronx and struggled as a single mother to raise Ray and his 2 siblings, yet she was still able to instill a love of music in Ray. From a young age Ray showed an interest in percussion, banging on pots and pans. In 1946, at the age of 17, he joined the Army and while stationed in Germany heard the seminal song, 'Manteca'. Ray knew he wanted to be a musician. Upon his return he joined jam session and perfected his sound. He soon found work with José Curbelo. Soon after, Ray joined the Tito Puente Orchestra at the recommendation of Santos Colon (former singer for Jose Curbelo). After four years with the Puente Orchestra, he became a house musician for Prestige, Blue Note and Riverside labels. Barretto started his band, Charanga La Moderna in 1962 and had his first big hit, 'El Watusi'. In 1967, Ray joins the Fania roster and becomes part of the Fania All Stars upon their founding. After success with his Salsa albums, Ray decided to record a Latin Jazz album in 1972, however, unfortunately it was not well received. The following years were filled with turbulence in Barretto's life as 5 members of his orchestra left the band form Tipica 73. Just two years later, Ray was in a car accident and could not play for several years. Despite these hardships, Ray came back better than ever with an album titled, 'Rican-Struction'. In the early 90's Ray again decides to pursue "the other road" again and forms 'Ray Barretto & New World Spirit'. This time he enjoyed great success his Latin Jazz ventures. Ray joined the ancestors on February 17, 2006, at the age of 76. He has left an immense legacy and impact. Hear about all this and more in this week's celebration of Ray Barretto on what would have been his 93rd birthday. Follow me @voiceofthewaterlily Leave a comment and let me know what you think! Aurora Flores' interview with Ray Barretto Songs Ancestral Messages Hot Hands 1993 The Other Road The Other Road 1972 The Lucretia the Cat The Other Road 1972 Bomba-Riquen Hot Hands 1993 Autumn Leaves my summertime 1995 New World Spirit Hot Hands 1993 The Summer Knows Contact! 1998 Time Was-Time Is Time Was-Time Is 2005 Triangle Handprints 1991 Cancion Pa'l Yunque Hot Hands 1993 Beautiful Love Hot Hands 1993 On a Sunday Afternoon Hot Hands 1993 --- Send in a voice message: https://anchor.fm/anani-kaike/message

The stories of Salsa Continue..In this episode of Mambo in the City Salsa Podcast: El Cantante Frankie Morales stops bye to shares stories of Joe Bataan, growing up around Ismael Miranda, Pete El Conde Rodriguez and the Club Corso,  where he began singing coro for "El Cantante de Los Cantantes" Hector Lavoe! Frankie talks about growing up in El Barrio in New York City, working w/ Conjunto Clássico, travels with Ismael Rivera and Eddie Montalvo, Recording with Jimmy Sabater,  Tito Allen!  Frankie also talks about being hired by "The King" Tito Puente life on the road w/ Tito Puente, recordings and being the last singer for the King of Latin Music.Hosted by Adrian Montanez & DJ Broadway!BIO Learning from Salsa's legends such as Joe Bataan and Hector Lavoe, Frankie was primed to step it up when the greats like Celia Cruz, Ismael Rivera, Ismael Miranda, Pellin Rodriguez and Cheo Feliciano, among others, came knocking. Starting on the streets of "El Barrio", New York City's Spanish Quarter, Frankie has come a long way, and to this day, continues to grow. His first recording "Sabor Del Barrio" led the way to a ten year association with Bad Street Boys. With an inherent desire to return to his roots, and with a firm work ethic rooted in the philosophy that "growth comes to a Salsero through ‘work, work and more work' Frankie parted ways and started focusing on the Salsa genre once again. Proving that it was the right choice for him, Frankie was ready when the Lebron Brothers invited him to sit in and record with them.The recording was so impressive, that Caiman Records then produced two albums featuring none other than Frankie Morales as a solo artist, entitled "Frankie Morales: En Su Punto" and "Standing Out". These two albums exposed Frankie to greater audiences and enhanced both his experience and reputation resulting in what he thought to be a dream when he was invited as an independent vocalist to join the great legends of "The Fania All-Stars."Continuing to grow his experience, and after singing back-up for Tito Nieves, the late visionary, Ralph Mercado recommended Frankie to Ernest "Tito" Puente, who was in search of a lead vocalist. Traveling the world with Master Puente, "El Rey Del Timbal," was definitely one of the highlights of Frankie's career and famed him as a Grammy Award winner with the recordings of "Tito Puente Mambo Birdland" and "Masterpiece", Puente's final album and collaboration with "The Great" Eddie Palmieri. Still today, even after "El Rey's" passing, Frankie holds the position of Lead Vocalist with the Tito Puente Orchestra.Bio Credit: klaveLatina.comSupport the show (https://cash.app/$AdrianLMontanez)

Episode 73 of the Burning Ambulance podcast features an interview with pianist Cameron Graves.I have a single subject we're going to be exploring through all ten episodes that I'm going to be presenting this season, and that subject is fusion. Fusion means much more, I think, than just the music that most people probably think of when they hear the word. Of course, it immediately brings to mind bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex-members of Miles Davis's band, playing extremely complex compositions that blurred the lines between progressive rock and jazz, while still leaving room for extended improvisation. But if you think of fusion as a process rather than a style, the discussion gets a lot more interesting. Because then you can pull in the music being made by Yes, King Crimson, Emerson, Lake & Palmer, Santana, etc., all of which gets filed under just plain rock. And you can talk about the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All Stars were making at the same time. Or the really adventurous funk and R&B that was being made by Sly and the Family Stone, Parliament, Funkadelic, the Isley Brothers, Earth, Wind & Fire, the Ohio Players, Slave, which then leads you to jazz-funk names like George Duke, Billy Cobham, the Crusaders, Donald Byrd, Freddie Hubbard, Eddie Henderson, and of course Mwandishi and the Headhunters. This is how I prefer to think about fusion. It's not just a specific, narrow slice of music, it's the sound of walls being knocked down across the landscape.So that's the kind of philosophical starting point for all the interviews I'm doing this season, and that's what makes Cameron Graves such a perfect person to talk to. Because he's a guy who crosses all sorts of musical boundaries. He's had a lot of classical music training, as I learned during this conversation, he spent several years studying Indian music, and obviously he's got a deep jazz background starting out as a member of the Young Jazz Giants with Kamasi Washington and the Bruner brothers, Stephen aka Thundercat on bass and his brother Ronald on drums, which evolved into the West Coast Get Down and all the albums that they've made over the last half dozen years or so. But Cameron's also a lifelong metalhead — in fact, he played keyboards and guitar in Wicked Wisdom, the nu-metal band fronted by Jada Pinkett Smith in the early 2000s. So he's not only toured the world with Kamasi Washington and with Stanley Clarke, because he's a member of Clarke's band, too — he also played Ozzfest.And here's an interesting connection: the drummer for Wicked Wisdom was Philip “Fish” Fisher, the drummer for Fishbone. And when you talk about fusion as the kind of big-tent/umbrella sort of conceptual thing that I'm talking about, you have to include them in there. They mixed funk and hard rock and punk and metal and ska and reggae and jazz into one big swirl, particularly on their most ambitious album, 1991's The Reality of My Surroundings. There's all kinds of music on there, from Bad Brains-style hardcore to Last Poets-style abstract jazz poetry. And of course they were the best live band on the planet from the mid '80s to the early '90s.Fishbone were never as big as they deserved to be, but they were absolute heroes in L.A., and they were a huge inspiration to all kinds of open-minded musicians who came up in their wake. Last year, I interviewed Terrace Martin, who's an alto saxophonist affiliated with the West Coast Get Down but is also a hip-hop producer who's worked with Snoop Dogg for years — in fact, he put together a live band for Snoop in about 2010 that included Kamasi Washington, Thundercat, Ryan Porter, who's been on this podcast before, and other people from their circle as well. Anyway, when I talked to Martin, he expressed a lot of love for Fishbone. And he's now a member of Herbie Hancock's band, in addition to being part of R+R=NOW, a group that also includes Robert Glasper and Christian Scott. And Thundercat and his brother, Ronald Bruner Jr., were both members of Suicidal Tendencies, playing straight-up punk and thrash, for years. There are so many connections between jazz and funk and metal, when you look for them, and bands that combine them in various really fascinating ways. It's all fusion, in the broad sense.Another thing that's really interesting, to me anyway, is that there are so many direct connections between the West Coast Get Down guys and the Seventies fusion artists. Like I said, Cameron Graves is in Stanley Clarke's band. Terrace Martin is in Herbie Hancock's band. Ronald Bruner Jr. played with George Duke before Duke died. Thundercat covered a George Duke song on one of his albums, and had Steve Arrington from Slave on his most recent record. It really is like they're the next generation of fusion. And we talk about all this and a lot more in the interview you're about to hear. This was a really fun conversation that went in some very interesting directions, and I hope you enjoy listening to it.Music in this episode:Cameron Graves, “Planetary Prince” (from Planetary Prince)Cameron Graves, “The Life Carriers” (from Seven)Cameron Graves, “Red” (from Live From the Seven Spheres)

This season on the Burning Ambulance Podcast, we're going to have a single subject we're going to be exploring through all ten episodes, and that subject is fusion.Fusion, of course, is a term that means different things to different people. When most people hear it, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex members of Miles Davis's band that played extremely complex compositions that were sometimes closer to progressive rock than to jazz, but which still left room for extended improvisation. What's interesting about that positioning is that it's very easy to draw lines between that stuff and the music being made by Yes, King Crimson, Emerson, Lake & Palmer, and Santana, all of which gets filed under just plain rock. And if you extend the boundaries out just a little bit further, you get to the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All-Stars were making at the same time. Or think about some of the really adventurous funk and R&B that was being made by Earth, Wind & Fire, Parliament and Funkadelic, the Ohio Players, Slave, the Isley Brothers... This is what's so interesting to me about fusion, is that at its best it's about all kinds of musical boundaries being knocked down.I recently spent some time listening to a whole bunch of albums by keyboardist George Duke, released on the MPS label between about 1971 and 1976. Duke was a really fascinating figure, because he traveled between worlds to really unprecedented degree. He had his own trio in the late 60s, and somehow or other hooked up with electric violinist Jean-Luc Ponty. They made an album together, and the gigs they played in L.A. brought them to the attention of Frank Zappa and Cannonball Adderley, two people who couldn't have been doing more different things. But Zappa hired Ponty to play on Hot Rats, and then wrote and produced an entire album, King Kong, on which Ponty played Zappa's compositions, and George Duke was the keyboardist on that record. And after that, both Zappa and Cannonball Adderley – who, don't forget, had Joe Zawinul in his band before that, who composed “In A Silent Way” and played with Miles Davis, and formed Weather Report with Wayne Shorter – both Adderley and Zappa wanted George Duke in their bands. He wound up taking both gigs, doing two years with Zappa, then two years with Adderley, then going back to Zappa's band for three or four more years. He had left the group by 1975, though, so he was not part of the concerts recorded for the album Zappa In New York. But Randy Brecker was.Brecker and his brother, saxophonist Michael Brecker, who died in 2007, worked together in dozens if not hundreds of contexts from the late Sixties to the Nineties. They were both part of that Zappa concert, which was related to their being part of the Saturday Night Live band at the time; they played on a million recording sessions for everyone from Aerosmith to Bette Midler to Aretha Franklin to Lou Reed to Dire Straits to Donald Fagen. They were part of drummer Billy Cobham's band in the early to mid '70s, playing on Crosswinds and Total Eclipse and Shabazz and A Funky Thide Of Sings. And right around that same time, they formed the Brecker Brothers band and made a string of albums for Arista that were extremely successful. Now, what matters for the purposes of this introduction is that the side of fusion the Brecker Brothers represented was very different from the Mahavishnu Orchestra, Return to Forever, Weather Report side. That was, for lack of a better term, white fusion. It was marketed to white rock audiences. Those bands toured with rock bands. They played arena concerts. Lenny White talked about it in the previous episode of this podcast — the members of Return to Forever hung out with members of Yes. On the other side of the coin, there was black and Latin fusion. Like I said above, there was some incredibly challenging music being made under the headings of salsa and Latin jazz in the 70s – you should check out the episode of this podcast where I interviewed Eddie Palmieri to hear more about that, as well as the episode with Billy Cobham, where he talks about performing with the Fania All-Stars. There are funk records that are every bit as complex as prog rock. Jazz artists like Donald Byrd and Freddie Hubbard, George Duke and even Joe Henderson were all making records that can really only be described as fusion in the early 70s, and that's without even getting into what Miles Davis was doing, particularly with his live band from 1973 to 1975. But except for George Duke, who actually had Frank Zappa cut a couple of guitar solos on his 1974 album Feel, they were drawing more from funk than from rock, and they were marketed more to black audiences than white. And as Randy Brecker explains in this interview, that was where the Brecker Brothers fell. They had more success on black radio and on the R&B chart than in the rock world. Now, eventually, that more funk-oriented, R&B-oriented side of fusion slid in an explicitly commercial, radio-friendly direction, and a lot of it ended up as smooth jazz. Which is to some degree why the term is vilified in some quarters today. But that doesn't take anything away from the good stuff, and Randy Brecker has been involved with some very good records over the years.This was a really fun conversation that went in some very interesting directions. I hope you enjoy listening to it.Music in this episode: The Brecker Brothers, “Some Skunk Funk” (Heavy Metal Be-Bop)Billy Cobham, “Taurian Matador” (Shabazz)The Brecker Brothers, “Sneakin' Up Behind You” (The Brecker Brothers)

This season on the Burning Ambulance Podcast, we're going to have a single subject we're going to be exploring through all ten episodes, and that subject is fusion.Fusion, of course, is a term that means different things to different people. When most people hear it, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex members of Miles Davis's band that played extremely complex compositions that were sometimes closer to progressive rock than to jazz, but which still left room for extended improvisation. What's interesting about that positioning is that it's very easy to draw lines between that stuff and the music being made by Yes, King Crimson, Emerson, Lake & Palmer, and Santana, all of which gets filed under just plain rock. And if you extend the boundaries out just a little bit further, you get to the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All-Stars were making at the same time. Or think about some of the really adventurous funk and R&B that was being made by Earth, Wind & Fire, Parliament and Funkadelic, the Ohio Players, Slave, the Isley Brothers... This is what's so interesting to me about fusion, is that at its best it's about all kinds of musical boundaries being knocked down.I recently spent some time listening to a whole bunch of albums by keyboardist George Duke, released on the MPS label between about 1971 and 1976. Duke was a really fascinating figure, because he traveled between worlds to really unprecedented degree. He had his own trio in the late 60s, and somehow or other hooked up with electric violinist Jean-Luc Ponty. They made an album together, and the gigs they played in L.A. brought them to the attention of Frank Zappa and Cannonball Adderley, two people who couldn't have been doing more different things. But Zappa hired Ponty to play on Hot Rats, and then wrote and produced an entire album, King Kong, on which Ponty played Zappa's compositions, and George Duke was the keyboardist on that record. And after that, both Zappa and Cannonball Adderley – who, don't forget, had Joe Zawinul in his band before that, who composed “In A Silent Way” and played with Miles Davis, and formed Weather Report with Wayne Shorter – both Adderley and Zappa wanted George Duke in their bands. He wound up taking both gigs, doing two years with Zappa, then two years with Adderley, then going back to Zappa's band for three or four more years. He had left the group by 1975, though, so he was not part of the concerts recorded for the album Zappa In New York. But Randy Brecker was.Brecker and his brother, saxophonist Michael Brecker, who died in 2007, worked together in dozens if not hundreds of contexts from the late Sixties to the Nineties. They were both part of that Zappa concert, which was related to their being part of the Saturday Night Live band at the time; they played on a million recording sessions for everyone from Aerosmith to Bette Midler to Aretha Franklin to Lou Reed to Dire Straits to Donald Fagen. They were part of drummer Billy Cobham's band in the early to mid '70s, playing on Crosswinds and Total Eclipse and Shabazz and A Funky Thide Of Sings. And right around that same time, they formed the Brecker Brothers band and made a string of albums for Arista that were extremely successful. Now, what matters for the purposes of this introduction is that the side of fusion the Brecker Brothers represented was very different from the Mahavishnu Orchestra, Return to Forever, Weather Report side. That was, for lack of a better term, white fusion. It was marketed to white rock audiences. Those bands toured with rock bands. They played arena concerts. Lenny White talked about it in the previous episode of this podcast — the members of Return to Forever hung out with members of Yes. On the other side of the coin, there was black and Latin fusion. Like I said above, there was some incredibly challenging music being made under the headings of salsa and Latin jazz in the 70s – you should check out the episode of this podcast where I interviewed Eddie Palmieri to hear more about that, as well as the episode with Billy Cobham, where he talks about performing with the Fania All-Stars. There are funk records that are every bit as complex as prog rock. Jazz artists like Donald Byrd and Freddie Hubbard, George Duke and even Joe Henderson were all making records that can really only be described as fusion in the early 70s, and that's without even getting into what Miles Davis was doing, particularly with his live band from 1973 to 1975. But except for George Duke, who actually had Frank Zappa cut a couple of guitar solos on his 1974 album Feel, they were drawing more from funk than from rock, and they were marketed more to black audiences than white. And as Randy Brecker explains in this interview, that was where the Brecker Brothers fell. They had more success on black radio and on the R&B chart than in the rock world. Now, eventually, that more funk-oriented, R&B-oriented side of fusion slid in an explicitly commercial, radio-friendly direction, and a lot of it ended up as smooth jazz. Which is to some degree why the term is vilified in some quarters today. But that doesn't take anything away from the good stuff, and Randy Brecker has been involved with some very good records over the years.This was a really fun conversation that went in some very interesting directions. I hope you enjoy listening to it.Music in this episode: The Brecker Brothers, “Some Skunk Funk” (Heavy Metal Be-Bop)Billy Cobham, “Taurian Matador” (Shabazz)The Brecker Brothers, “Sneakin' Up Behind You” (The Brecker Brothers)

The 6th episode of The Lupe Fuentes Experience takes us on a journey through music and culture with House Music legend DJ Sneak. Lupe and Sneak discuss growing up Latin, their love of music and the wild experiences of learning English in a new country. Sneak speaks about the importance of trusting your gut, following passion and betting on yourself, as they explore vinyl collections and the beautiful vibes of the Fania All Stars.    Follow DJ Sneak:WEBSITE & LIVESTREAMS: https://www.djsneak.comINSTAGRAM: https://www.instagram.com/djsneak House Music References: Adonis - No Way Back - https://www.youtube.com/watch?v=zMfXFLZUJ6ERalphi Rosario - Amour Puerto Riqueno - https://www.youtube.com/watch?v=zYvdSjSpCU8Cajmere feat Dajae - Brighter Days - https://www.youtube.com/watch?v=YVfZzIoAjK8Follow Lupe Fuentes Experience: WEBSITE: https://podcast.thelupefuentesexperieINSTAGRAM: https://www.instagram.com/lupefuentes Follow Lupe Fuentes: ONLYFANS: https://onlyfans.com/lupefuentes FACEBOOK: https://www.facebook.com/LupeFuentes INSTAGRAM: https://www.instagram.com/lupefuentes TWITTER: https://twitter.com/lupefuentes #LUPEFUENTESEXPERIENCE  *Bookings & Press : hello@lupefuentes.com All rights reserved. Unauthorized reproduction is a violation of applicable laws. ©2021 Lupe Fuentes

As broadcast May 12, 2021 with extra musica for you podcast dancers.  We travel this week to Puerto Rico, an island small in land mass but when it comes to culture, history, and especially music, few places pack more of a punch than San Juan & the surrounds.  Taking flight TD 026 together to San Juan, Lizz Kalo and Danno explore the old, the new, the indie, the hits, and examine the very close relationship between New York City and PR a bit as well.  #feelthegravityTracklisting:Part I (00:00)Jimi Hendrix – Third Stone From The SunLos Walters – San JuanEpilogio - DecidiNicky Jam – Hasta el AmanecerFania All Stars – Ella Fue (She Was The One)Buscabulla – NydiaPart II (31:10)Sie7e & The Islanauts - PsicoactivaPachyman – SensiC. Tangana feat Jose Feliciano – Un VenenoOzuna feat Mambo Kingz, DJ Luian & Bad Bunny – SolitaLabajura – Lovin'El Gran Combo De Puerto Rico – Un Verano en Nueva YorkWillie Colon feat Hector Lavoe – Calle Luna Calle Sol Part III (63:25)El Gran Combo De Puerto Rico - BrujeiriaIsmael Rivera - Monta Mi CaballitoNuyorican Soul - Gotta New LifeLa India (Linda Viera Caballero) -  Ese HombreBuscabulla - VamanoCultura Profetica - La ComplicidadPart IV (96:07)Jose Feliciano - Hi-Heel SneakersDaddy Yankee -GasolinaBad Bunny- Yo perreo solaChango Menas - Dias NegrosNuyorican Soul - I Am The Black Gold of The SunNuyorican Soul - It's Alright, I Feel It

Marvin, Rev. Al Green, Omega el fuerte. Etc. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/theexiledexhorter30930819/support

“El niño bonito de la salsa”. Ismael Miranda era todavía un adolescente cuando grabó con la orquesta de Larry Harlow y se sumó a la Fania All Stars. Ayer cumplió 70 años de edad, en este episodio destaco parte de su vida y trayectoria. Disfruten de esta primera entrega.Comentarios en el whatsapp +57 313 599 94 77Realización de BIENSONADO RADIO COLOMBIA +57 310 310 00 89Fuentes Consultadas: Ernesto Lechner-AARP Rewards"El pozo de la salsa" Hiram Guadalupe PérezEluniversal.coSegmento entrevista de AMERICATV CANAL 41

Los Angeles Music Project Weekly Mix #249 1. Fania All-Stars introduces The Flexican 2. The Flexican - Come To Me ft. Feliciana 3. Donny Hathaway - Love Love Love (Jengi Club Edit) 4. Miguel – Tradorn (Flexican Edit) 5. D'Angelo - Feels Like Brown Sugar (Flexican Edit) ft. Full Crate & Lee Milah 6. Popcaan – Silence (Flexican Edit) 7. Big Pun & Fat Joe - Twinz 2018 (Flexican Edit) 8. Noiz x Ethan Morris - Body Riddim 9. Kanye West – Yikes 10. The Flexican - I Cruise I Rake It Up 11. ASAP Rocky & Skepta - Praise The Lord 12. Outkast - So Fresh So Clean Before the Night Is Over (Flexican Edit) 13. Thundercat - Them Changes (Midas Hutch Live Edit) 14. Smooth Operator 3000 – Amazonas 15. Radical One - MITB (Feat. Rilla Force) 16. Wuki - Go Deep (feat. Nicky Da B) 17. Ciara - Level Up 18. yaeji - Raingurl (Daaliah Edit) 19. IAMDDB - Shade (Wantigga Club Remix) 20. August Mae - La Bendiction 21. Usher - Nice & Slow (FS Green & Jaël Remix) 22. Wildchild – Renegade (Jeftuz Remix) 23. XXXTENTACION – Moonlight (Flexican Edit) 24. DJ Master-D - Bucky Done Gone 25. Kansado - Una Pa Celia 26. The Flexican & Jaël – Akiko Piano (Flexican Club Edit) 27. Tera-Kora – Sambalatento 28. The Flexican & Wantigga x Populous – Get Out Umi (Edit) 29. Chaka Khan - Like Sugar (Flexican Edit) 30. Christian Rich - Tender Love 31. Jungle - Happy Man 32. El Gran Sid Outro

In August 1973, a Latin music supergroup called Fania All Stars played a historic concert at New York's Yankee Stadium. It helped spread the sound of salsa music from New York to the world. Simon Watts talks to Larry Harlow, pianist and producer with the All Stars, and Puerto Rican salsa DJ, Ray Collazo.PHOTO: Fania All Stars singer Hector Lavoe (Getty Images)