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Disc 1
01
Cortijo y su Combo (con Ismael Rivera) El Bombón de Elena
03 :13
02
Cortijo Under The Name Of Canario y su Grupo (con Raful) Cortaron a Elena
02 :43
03
Mon Rivera y su Orquesta Karakatis Ki
03 :01
04
Cortijo y su Combo (con Ismael Rivera) Caballero Qué Bomba
03 :01
05
Baltazar Carrero En Órbita
02 :52
06
Moncho Leña y los Ases del Ritmo (con Mon Rivera) Bailando Plena
02 :47
07
Orquesta Panamericana (con Ismael Rivera) El Charlatán
02 :51
08
Los Caballeros del Ritmo Habla Cuembé
02 :33
09
Ángel Luis Torruellas y su Conjunto Pleneros de Borinquen Olvídalo
02 :57
10
Mon Rivera y su Orquesta El Plenero
02 :23
11
Moncho Leña y los Ases del Ritmo (con Mon Rivera) ¡Aló! ¿Quién Ñama?
03 :04
12
Cortijo y su Combo (con Ismael Rivera) Déjalo Que Suba
02 :47
13
Cortijo Under The Name Of Canarioy su Grupo (con Raful) Santa María
02 :50
14
Mon Rivera y su Orquesta Ola de Agua
02 :32
15
Cortijo y su Combo (con Ismael Rivera) Calypso, Bomba Y Plena
02 :47
Disc 2
01
Odilio González "El Jibarito de Lares" Sacude Zapato Viejo
02 :55
02
Cortijo y su Combo (con Ismael Rivera) Maquinolandera
02 :41
03
Angel Luis Torruellas y su Conjunto Pleneros de Borinquen Camelia
02 :55
04
Monse García y su Conjunto El Gallo Espuelérico
02 :48
05
La Sonora Ponceña (con Charlie Martínez) Tan Linda Que Era
02 :43
06
Moncho Leña y los Ases del Ritmo (con Mon Rivera) Carbón de Palito
02 :45
07
Cortijo y su Combo (con Ismael Rivera) Y Pedro Flores (Jugando Gallo)
02 :52
08
Chivirico Belinda
02 :15
09
Juanchín y sus Pleneros del Palmar (con Tasso Peña) Maldito Vicio
02 :45
10 02 :41
11
Odilio González "El Jibarito de Lares" Ni de Madera Son Buenas
03 :00
12
Ruth Fernández y Orquesta Panamericana Bembeteando
02 :38
13
Mario Ortiz All Star Band (con Paquito Álvarez) Güiro y Pandereta
02 :56
14
Cortijo y su Combo Cucala
02 :40
15
Mon Rivera y su Orquesta Ron Con Coco
03 :05
ARTIST
TITLE
SAOCO!:The Bomba And Plena Explosion In Puerto Rico
FORMAT
2CD

LABEL
CATALOG #
VAMPI 145CD VAMPI 145CD
GENRE
RELEASE DATE
7/31/2012

...1954-1966. Cortijo Y Su Combo with Ismael Rivera, and Mon Rivera with his tongue twisters and trombones, are pioneers of a story that opened up the way to the salsa movement. With an unprecedented mix of flavors and Afro-West Indian rhythms, their dance proposals competed with the best tropical orchestras of the '50s and '60s. The legendary legacy of these Puerto Rican orchestras, however, hadn't been the subject of a proper retrospective, until now. In the case of Cortijo and Ismael, it's a cultural legacy related to the "third root," or African contribution, in Puerto Rico's Caribbean culture. Since its birth in the year 1954, until today (half a century after its break-up in 1962), Cortijo's combo and its stellar singer, Ismael Rivera, have been the best exponents of a modern, orchestrated and commercial way of performing bomba and plena -- Afro-Puerto Rican genres in whose tradition they had been raised in the capital's neighborhood of Santurce. To these native rhythms they added other Caribbean ingredients which were popular at the time, creating and integrating an innovative proposal that many consider the greatest precedent of the salsa movement that would emerge years later in New York. In only eight years of existence, the group became hugely successful in Puerto Rico and New York, the West Indies and part of Latin America -- particularly Panama, Venezuela, Colombia and Peru -- and even Europe. With percussion upfront, Cortijo y su Combo were a tight mess of rhythms, expressive even in the shaking and dancing of the band members while they performed their choreography on stage. This compilation looks at the importance of Cortijo and Ismael in the context of the time, contrasting their recordings with those by other contemporary artists with more or less similar styles. Among them is the essential figure of another great "plenero" and salsa pioneer such as Mon Rivera, known as "El Rey del Trabalengua" (The Tongue Twister King) (due to his comedic way of playing around with syllables to modify the rhythm and sense of a sentence) and for having started the "trombanga" kind of sound, which replaced trumpets and saxophones with trombones. It was a key innovation in the birth of boogaloo and salsa, which particularly inspired Eddie Palmieri and Willie Colón. These three legends are accompanied by other tropical ensembles of the same period - Orquesta Panamericana, Sonora Ponceña, Mario Ortiz & His All Star Band and the singer Chivirico - but also groups and vocalists related to the "jíbara" tradition or country music, whose repertoire includes, apart from seis and aguinaldo, plenas, bombas and guarachas. Its typical instrumentation of strings and accordion, together with its peculiar singing style, offer an interesting contrast with the way in which the tropical orchestras played those same rhythms. Includes extensive liner notes by compiler Yannis Ruel, illustrated with original artwork and memorabilia.