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Today's Salsa CD reviews


Son 14 - Fuego En La Maya
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How does Son sound with the addition of a large brass section? Like this CD. Indeed it contains very traditional Son melodies and feel, seasoned by a richly arrangement brass section. The result sounds a lot like Adalberto Alvarez music, which is not surprising given that Adalberto and Son 14 have collaborated for many years.

As a result, if you like Son, or Cuban music in general, you will most likely like this CD.. no surprises, exactly what you may expect. “Fuego En La Maya” and “Homenaje A Tata” are energetic and lively, fun to dance, in my opinion the best tracks of the CD. “Rompamos El Contrato” and “Desengafiado“ are slower and sadder, suitable for practises. “La Fiesta En La Casa De Juan” is a nice son montuno, slow enough to dance as Cha Cha Cha is so you wish. “Plena Para Tres Mujeres” like the word says, is a Plena, unusual for a Cuban band, quite pleasant, without driving crazy. “La Mulata Santiaguera” is another slow pace, very nice Son, here Adalberto Alvarez feel comes out fully. “No Es Tan Fácil”, in another country and with another band, would have probably ended up being a Salsa Romantica, definitely not my favourite. The CD finishes with a nice Bolero (“Volverás”) and a Cumbia ”Para Las Mujeres”. Surely a pleasant CD. 10--1-08

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Today's Salsa DVD reviews


Liza Nunziella - Red Hot Salsa 2

Level: Beg-Adv

Style: Cardio-Salsa

Content: Aerobic exercises based on salsa steps

General Comment: It is a sign of salsa’s popularity that salsa aerobics classes are popping out in gyms and studios all over the world. It makes sense: salsa has an energetic rhythm, a suitably fast pace and, at least in theory, requires dancing with your entire body.

If you are not the gym type or if the gym is simply not enough for you, Liza brings Salsa cardio exercises at your place with this series of DVDs. She is a proficient teacher, dances and moves well, and does not spare energy in demonstrating the salsa sequences, or in prompting you verbally during them (which, so I am told, is useful in your daily exercises). In between the sequences, which all together cover some 45 minutes, you will also find sessions of stretching and relaxation. Some steps used in the sequences are explained separately and the occasional superimposed writing reminds you of fundamentals you need to keep in mind in order to perform the exercises correctly.

Dance wise, many of the movements are taken from the common salsa shines and body movements repertoire. This won’t improve your partner dancing, but may help your timing by mere repetition and concentration on the music. Needless to say, from a style point of view, should you use any of these moves on the dance floor, it will help remembering you are not in a gym and energy may need trading with grace.

I am not an aerobic expert, but from what I see in the DVD, if cardio exercise is what you want you won’t be disappointed by this product.

.Reviewed by: Fabio from SalsaIsGood Good

 
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Salsa articles

On2? Which On2? I am writing this post to all experienced salsa dancers out there, and in particular to all salsa instructors. I have a question which hopefully will spark an e-mail exchange from which I may understand a few things which are unclear to me. In order to put this into context, first a few 'facts'.

Fact 1 . Roughly speaking, most people dance salsa either On1, or On2 Modern Mambo (NY style) or On2 Classic Mambo (Puerto Rican style also similar to Cuban contratiempo). Today Modern Mambo is used more frequently than Classic Mambo at congresses and salsa classes around the world.. more...

 
The Salsa 10 Commandments: 1)You shall not dance out of time, 2) You shall not refuse a dance to a less advanced dancer , 3) You shall respect other dancers on the dance floor more...

 
Creativity, Style and Salsa: How can I be creative in my dancing? How does SuperMario come up with his incredible moves? Did Eddie Torres invent NY style? What is style? Who creates a style? What does it mean to be creative anyway?

There are no objective answers to the above questions. They all, one way or the other, depend on subjective views on the artistic expression we call salsa, on what we like, and on what we intend by salsa in the first place. But we can still say reasonable things about the matter and make the creative process clearer and possibly easier. What follows are some thoughts of mine, mostly borrowed from my maths background. I am sure all this must have been said already within the art or humanistic literature, and if you are aware of work in this area please let me know, so that I can learn more.

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