Wayne Gorbea & Salsa Picante
WAYNE GORBEA
&
Salsa Picante
--------------------------… Read Full Bio ↴WAYNE GORBEA
&
Salsa Picante
--------------------------------------------------------------------------------
To fully appreciate Wayne Gorbea and Salsa Picante, a little history is in order. From the 1920s to the mid 1980s, Afro-Cuban music, later called Salsa, developed on the fertile Cuban, Puerto Rican, and multi-cultural soil of New York City. All kinds of diverse and local styles developed. The creative juices were flowing, things were happening. The Palladium era of the '60s and its aftermath through the late '70s overflowed into all the boroughs of New York. Seven nights a week, the dancer had the broadest choices. They could choose from the piano-brass of the Palmieris or the New York Puerto Rican, guitar- conjunto styles of La Playa Sextette. Then there was Tito Puente and La Lupe, and the Charanga of Johnny Pacheco and Orchestra Broadway. And then there was the clearly identifiable style of bands from Puerto Rico like Raphy Leavitt y La Selecta. There was diversity.
Then something happened. The music seemed to die. In New York, if you can control the radio airwaves you can gain great power, and in New York it was easy to control the non-English speaking ethnic markets if you had the money. Thus began the era of Salsa and the control of mainstream radio airplay by a few record companies.
Aside from keeping musicians like Wayne Gorbea from the public's ears, one of the end results of this monopoly was the Salsa Romantica takeover. New York in the 1990s fell under this spell. Orchestras were basically reduced to the bland predictable backing of a vocalist, with "Xeroxed' arrangements. It used to be a sign of profound ignorance to say, "all Latin music sounds the same." But it became true in New York.
Along with most of the world, many New Yorkers knew that what was called "mainstream" was really a clear case of the musical tail, wagging the dog. Thankfully, there still were bands like Wayne Gorbea and Salsa Picante, playing local clubs, particularly in Brooklyn and the Bronx, where their reputations with local dancers has been correctly referred to as legendary. They kept the torch burning until sanity and the diversity of Afro-Cuban music returned. At pirate radio stations in London and at clubs and parties all over northern Europe, it was Wayne's sound they wanted to hear... Salsa Picante.
As demonstrated on Cogele el Gusto, his debut album for Shanachie, Wayne's sound is the essence of African-Cuban dance music. It's a strong, hard-driving, trombone-propelled, unique Bronx dance sound. As the world grows smaller, and the many varieties of Cuban music grows larger, it becomes clear where the "mainstream" really is and where it's always been: in the music of people like Wayne Gorbea. This is pure unadulterated dance music, with vast spaces for improvisation -- a very African way of doing things.
Wayne Gorbea, once dubbed "the Bronx's best kept secret," is a true child and brother of piano legends like Charlie and Eddie Palmieri and Ricardo Ray. Born and raised in the Bronx, he has managed thus far to put out seven independent LPs/CDs, never forgetting that he leads a dance band relentless in its mission to get you to dance. And if you don't take to the floor, something is wrong.
As Wayne puts it, "When I play a club, it's not like putting on a show in a theater. We want to relax, enjoy ourselves and become one with the dancers." His live in the club sound is heard on all his recordings. This is how the band really sounds.
Salsa Picante is a band fully aware that tradition can never be old fashioned. This is pounding, joyous-to-the-soul dance music. The members of the band, all veterans, are well known in the clubs and recording studios of New York. In the group's call-and-response brass section, the Christian Kollar and musical director Rick Davis play trombone. Kevin Bryan is on trumpet, and talented sonero Frank Otero is on vocals. Salsa Picante's tight rhythm section includes Rickie Sanquintin on bass; Ruben Borgas on timbales, Juan Rodriguez on bongo. Frank Reyes is on conga and of course, Wayne Gorbea, on piano.
While paying his dues and making people dance, other areas of the arts have also recognized and used Gorbea's sound. Wayne's Salsa is on the soundtracks of Street Story and Bronx Wars. His appearance at Lincoln Center's outdoor "Midsummer Night's Swing" had an overflow crowd dancing all the way to Broadway.
His is also the driving force on a compilation of live performances on The Montuno Sessions CD, where his hypnotic version of Arsenio Rodriguez's "Tumba Palo Cucuye" (as arranged by Dave Chamberlain) hit the charts in Miami, New Orleans, Los Angeles, San Francisco, Denver, London, and Amsterdam.
But let's stay closer to home: this CD is for your party. If you are a club DJ, add this to those closely guarded tracks that guarantee a full and happy dance floor. The title track, "Cogele el Gusto," comes with a virtual money-back guarantee. Opening with a classical tumbao on the piano, it takes almost five merciless minutes before the sonero jumps in to do his damage and tell us what it's all about.
With arrangements by trombonist Rick Davis, Ramon Rosado, and Papo Vasquez, this CD lets us all know that the true "mainstream" has returned to New York, and that Wayne Gorbea and Salsa Picante are it.
&
Salsa Picante
--------------------------… Read Full Bio ↴WAYNE GORBEA
&
Salsa Picante
--------------------------------------------------------------------------------
To fully appreciate Wayne Gorbea and Salsa Picante, a little history is in order. From the 1920s to the mid 1980s, Afro-Cuban music, later called Salsa, developed on the fertile Cuban, Puerto Rican, and multi-cultural soil of New York City. All kinds of diverse and local styles developed. The creative juices were flowing, things were happening. The Palladium era of the '60s and its aftermath through the late '70s overflowed into all the boroughs of New York. Seven nights a week, the dancer had the broadest choices. They could choose from the piano-brass of the Palmieris or the New York Puerto Rican, guitar- conjunto styles of La Playa Sextette. Then there was Tito Puente and La Lupe, and the Charanga of Johnny Pacheco and Orchestra Broadway. And then there was the clearly identifiable style of bands from Puerto Rico like Raphy Leavitt y La Selecta. There was diversity.
Then something happened. The music seemed to die. In New York, if you can control the radio airwaves you can gain great power, and in New York it was easy to control the non-English speaking ethnic markets if you had the money. Thus began the era of Salsa and the control of mainstream radio airplay by a few record companies.
Aside from keeping musicians like Wayne Gorbea from the public's ears, one of the end results of this monopoly was the Salsa Romantica takeover. New York in the 1990s fell under this spell. Orchestras were basically reduced to the bland predictable backing of a vocalist, with "Xeroxed' arrangements. It used to be a sign of profound ignorance to say, "all Latin music sounds the same." But it became true in New York.
Along with most of the world, many New Yorkers knew that what was called "mainstream" was really a clear case of the musical tail, wagging the dog. Thankfully, there still were bands like Wayne Gorbea and Salsa Picante, playing local clubs, particularly in Brooklyn and the Bronx, where their reputations with local dancers has been correctly referred to as legendary. They kept the torch burning until sanity and the diversity of Afro-Cuban music returned. At pirate radio stations in London and at clubs and parties all over northern Europe, it was Wayne's sound they wanted to hear... Salsa Picante.
As demonstrated on Cogele el Gusto, his debut album for Shanachie, Wayne's sound is the essence of African-Cuban dance music. It's a strong, hard-driving, trombone-propelled, unique Bronx dance sound. As the world grows smaller, and the many varieties of Cuban music grows larger, it becomes clear where the "mainstream" really is and where it's always been: in the music of people like Wayne Gorbea. This is pure unadulterated dance music, with vast spaces for improvisation -- a very African way of doing things.
Wayne Gorbea, once dubbed "the Bronx's best kept secret," is a true child and brother of piano legends like Charlie and Eddie Palmieri and Ricardo Ray. Born and raised in the Bronx, he has managed thus far to put out seven independent LPs/CDs, never forgetting that he leads a dance band relentless in its mission to get you to dance. And if you don't take to the floor, something is wrong.
As Wayne puts it, "When I play a club, it's not like putting on a show in a theater. We want to relax, enjoy ourselves and become one with the dancers." His live in the club sound is heard on all his recordings. This is how the band really sounds.
Salsa Picante is a band fully aware that tradition can never be old fashioned. This is pounding, joyous-to-the-soul dance music. The members of the band, all veterans, are well known in the clubs and recording studios of New York. In the group's call-and-response brass section, the Christian Kollar and musical director Rick Davis play trombone. Kevin Bryan is on trumpet, and talented sonero Frank Otero is on vocals. Salsa Picante's tight rhythm section includes Rickie Sanquintin on bass; Ruben Borgas on timbales, Juan Rodriguez on bongo. Frank Reyes is on conga and of course, Wayne Gorbea, on piano.
While paying his dues and making people dance, other areas of the arts have also recognized and used Gorbea's sound. Wayne's Salsa is on the soundtracks of Street Story and Bronx Wars. His appearance at Lincoln Center's outdoor "Midsummer Night's Swing" had an overflow crowd dancing all the way to Broadway.
His is also the driving force on a compilation of live performances on The Montuno Sessions CD, where his hypnotic version of Arsenio Rodriguez's "Tumba Palo Cucuye" (as arranged by Dave Chamberlain) hit the charts in Miami, New Orleans, Los Angeles, San Francisco, Denver, London, and Amsterdam.
But let's stay closer to home: this CD is for your party. If you are a club DJ, add this to those closely guarded tracks that guarantee a full and happy dance floor. The title track, "Cogele el Gusto," comes with a virtual money-back guarantee. Opening with a classical tumbao on the piano, it takes almost five merciless minutes before the sonero jumps in to do his damage and tell us what it's all about.
With arrangements by trombonist Rick Davis, Ramon Rosado, and Papo Vasquez, this CD lets us all know that the true "mainstream" has returned to New York, and that Wayne Gorbea and Salsa Picante are it.
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Wayne Gorbea & Salsa Picante Lyrics
Cogele El Gusto Pruébalo, cógele el gusto mira Que está bueno, se que te…
El Yo-yo ¡Cuidado con Gudiver, hermano! ¡Cuidado con Gudiver! ¡Cuidad…
Estamos Chao No te debo naa no no, no me debes naa Ahora…
We have lyrics for these tracks by Wayne Gorbea:
Alo alo Alalole le le. El barrio tiene la llave, el bronx boto…
Cogele El Gusto Probalo, cogele el gusto mira, se que esta bueno, se…
Estamos En Salsa Porque los pollos no se esperan con anticipacion ya lo vera…
Lo Que Dice Justi Lo que dice justi El barrio tiene la llave, el troncoto…
We have lyrics for these tracks by Salsa Picante:
Jardín Prohibido Esta tarde vengo triste y tengo que decirte que tu mejor…
Lluvia No me digas nada ya lo sabia Que nuestro romance acabaría No…
Lo Quiero A Morir LO QUIERO A MORIR y es un cuchillo q me corta…
Me Muero Muero por tus besos Por tu ingrata sonrisa Por tus bellas ca…
Persona Ideal Me enamoré, de la persona ideal pero a la vez se tuvo que…
Una Aventura Una aventura es más bonita Si no miramos el tiempo en…
Ven Devórame Otra Vez haciendo el amor te he nombrado sin quererlo yo porque en…