In the credits for his groundbreaking 1977 album, La Raza Latina, producer/pianist Larry Harlow drops a cryptic clue to the source of inspiration for this symphonic salsa suite. He thanks a group – identified simply as Musica Moderna de Cuba – that was then virtually unknown to all but the most devoted followers of Afro-Cuban music. Its full name is Orquesta Cubana de Musica Moderna, a seminal ensemble that featured some of Cuba’s most cutting- edge musicians, including the original core of what would become Irakere, the island’s legendary salsa/jazz band.

At a time when the rest of the world was largely cut off from creative developments behind the Sugar Cane Curtain, Harlow had his ear to the nascent vanguard of a progressive movement in dance music that swept Cuba after the revolution. In New York, while many Latinos got swept up in the utterly disposable disco craze, Harlow was tuned to short wave radio to pick up on underground sounds that would have an impact on salsa for decades to come.

The result is one of the most extraordinary and ambitious works to come out of the salsa boom of the 1970s, a concept album that tells the story of Latin music in orchestral fashion. The suite moves from the music’s origins in African drumming and its roots in the Caribbean to its mambo heyday in New York of the 1950s. The experimental fourth movement explores a vision of salsa’s future in a flourish of frenetic percussion and jazz improvisation, for which Harlow borrowed riffs from those cutting-edge Cubans.

This work brings together the two strains of Harlow’s musical career, his passion for Afro- Cuban roots and his drive to make salsa sound modern. During three days in January of 1977, he gathered a veritable army of musicians (30 players and eight singers) at La Tierra Sound Studios and recorded the four-part suite, meant to be heard as a continuous piece. Sometimes wielding a baton to conduct the string section, Harlow wrestled with complex time and tempo changes to master the sweeping, at times stunning arrangements by Luis ‘Perico’ Ortíz and Marty Sheller, who wrote his charts in pencil on score paper. “Marty’s a genius,” says Harlow. “You just tell him what you want and he writes it.”

Vocals were added later, but they weren’t an afterthought. Néstor Sánchez, ‘El Albino Divino,’ sings the title track, the only stand-alone song on the album. Rubén Blades carries most of the suite, displaying a passion for the concept, diligent research and “magnificent” inspiraciones (inspirations) Harlow recalls. Singer Frankie Rodríguez contributes a dramatic and authentic santero narrative while angelic tones are added by a trio of singers from Latin Fever, the all-female salsa group Harlow co-produced the following year.

On the eve of the 32nd anniversary of La Raza Latina, Harlow declares the work “ahead of its time.” He ranks it in the top five among his career’s three dozen albums, along with Hommy: A Latin Opera (1973), Tribute to Arsenio Rodríguez (1972) and Salsa (1974). The future may not have worked out as the suite envisioned, but the English lyrics he wrote for the finale still captures salsa’s idealism and universal appeal: “Come on our dream/ We’ll go through our music one more time./ Love, dance and sing,/ For what’s ours is ours for all mankind.”

Click on the album cover to buy this release

Orchestra Harlow / Salsa Suite New York

Larry Harlow, artista, compositor, arreglista y productor, siempre ha estado a la vanguardia de muchas innovaciones técnicas, musicales, y de concepto. Leer mas...

Larry Harlow, artista, compositor, arreglista y productor, siempre ha estado a la vanguardia de muchas innovaciones técnicas, musicales, y de concepto. Este álbum es un verdadero clásico – desde la música hasta el diseño metálico de Charlie Rosario, hermano del percusionista Pablo Rosario.

Grabado en vivo en enero 16 de 1974 en la prisión de Sing Sing, los oyentes podrán descubrir de inmediato que los músicos vinieron a tocar de verdad desde la primera nota. En conversación reciente, Harlow considera este álbum como uno de sus mejores y narra cómo el entusiasmo de la audiencia afectó positivamente la presentación. Este fue el único disco latino en ser grabado en formato cuadrafónico. El concepto básico era similar al de los sistemas surround sound de hoy, pero la forma de lograr los cuatro canales de audio varió en formatos. Harlow aprovechó la nueva tecnología y grabó el disco en vivo con una unidad RCA de 8 canales y mezcló la grabación literalmente girando sobre una silla rodeada de cuatro bocinas.  El sonido Fania lo crean músicos neoyorquinos que le añadieron swing y una sensibilidad musical distintiva al son cubano y a otros géneros del caribe hispano parlante. En el proceso, ellos transformaron la música en algo totalmente nuevo. “Live in Quad” provee una oportunidad de escuchar esa transformación musical, toda vez que el grueso de la música en este concierto consiste de composiciones del compositor y tresero Arsenio Rodríguez. En los 50’s, Harlow viaja a Cuba en repetidas ocasiones, donde siguió y se hizo amigo de Rodríguez. Ya en Nueva York, tuvo la oportunidad de tocar con su ídolo y eventualmente le dedica un álbum completo. Para Harlow, el piano es sobre grabado e interactuando con  un clavicordio, simulando la interacción de tres y piano de Arsenio. Este disco suena tan excitante y fresco como sonó 32 años atrás.

“Señor Sereno,” éxito grande de Harlow con Ismael Miranda, abre el disco. Júnior González, quien debutara con Harlow en Hommy, le brinda su propia versión. En el plano personal, esta presentación es un ejemplo del sonido Fania: gran trabajo orquestal, swing y energía. 

También de Hommy, el tema “Gracia Divina” crece en intensidad con los brillantes rellenos rítmicos de Tony Jiménez sobre los guajeos de piano de Harlow y el poderoso swing de la sección de vientos. 

La voz privilegiada de Justo Betancourt protagoniza el tratamiento que Harlow le da al “Mayari” de Compay Segundo. Gócense el solo de violín de Lewis Kahn y el sabor charanguero de este tema!

“Jóvenes Del Muelle” es otro clásico cubano, arreglado por el gran Barry Rogers. El arreglo y ejecución evocan los clásicos conjuntos sin dejar de sonar moderno. Aquí escuchamos solos de trombón y un sabroso solo de bajo de Eddie Guagua Rivera.

Hasta la fecha, Harlow es mejor conocido por su versión de “La Cartera.” Este arreglo de Sam Burtis en una lección magistral. Noten la influencia de Lilí Martínez en el solo de Harlow, seguido de buenos solos de trompeta y otro de violín por Lewis Kahn.

“Tumba y Bongo” originalmente se compone para el destaque de la sección rítmica de Arsenio (Kila, Quique y Chocolate). Este arreglo de Mark Weinstein destaca un excitante mano a mano entre Pablo Rosario y Tony Jiménez, quien hace delirar a la audiencia cuando levanta su tambor en medio del solo.

“Suéltala” sirve de marco para los soneos de Júnior González a la vez que ofrece excitantes solos de Reynaldo Jorge y Nicky Marrero.

“Arsenio,” tema central del dramático álbum que Harlow grabase en tributo a su héroe musical, recibe esta vez el sabor matancero de Justo Betancourt, con Tony Jiménez creciéndose con otro gran solo.

En “Descarga Final,” Harlow suelta a los integrantes de su orquesta y los cantantes intercambian soneos en un mano a mano amistoso. Guagua ofrece otro impresionante solo mientras los percusionistas buscan robarse el show. 

Disfrútelo.

Escrito Por  Benjamin Lapidus, Ph.D.

Arsenio / Orchestra Harlow

Larry Harlow is a performer, composer, arranger, and producer at the forefront of many technical, musical, and conceptual innovations. Read more...

Larry Harlow is a performer, composer, arranger, and producer at the forefront of many technical, musical, and conceptual innovations. This album is a true classic—from the music to the metal graphics artwork by Pablo Rosario’s brother, Charlie. 

Recorded live at Sing Sing on January 16, 1974, listeners of this album can quickly hear that the musicians came to play hard from the very first note. In a recent conversation, Harlow talked about this album being one of his best recordings and how the enthusiasm of the largely Latino audience positively affected the performance. This was the only Latin album recorded in the quadrophonic stereo format. The basic concept was similar to today’s surround-sound but the means of achieving the four channels of audio varied across formats. As good as true quad sounded, it was doomed by incompatibility and technical variations within formats. Harlow took advantage of the new technology, recording the album on location with an RCA 8-track unit and mixing the album by essentially spinning around in a suspended rattan chair that faced four speakers. The Fania sound was crafted by New York musicians who added a distinct musical sensibility and swing to Cuban son and other genres from the Spanish-speaking Caribbean. In the process, they transformed the music into something new. “Live in Quad” provides an opportunity to hear this musical transformation, since most of the music at this concert consists of compositions by the iconic Cuban composer and tres player, Arsenio Rodríguez. In the 1950s, Harlow made several trips to Cuba where he befriended and followed Rodríguez. In New York, he was able to play with his hero and ultimately dedicated an entire album to this great tres player and composer. For Harlow, the overdubbed piano interacts with the live clavinet section, simulating the interaction of the tres and piano in Rodríguez’s records. This record sounds as exciting and fresh as it sounded 32 years ago.

“Señor Sereno”, a major hit for Harlow with Ismael Miranda, opens the album. Junior Gónzalez, who recorded Hommy with Harlow, provides his own take of the song. Personally, this particular performance epitomizes the Fania sound: great ensemble performance, swing, and energy.

A feature for González in Hommy, “Gracia Divina” builds in intensity with bursts of brilliant fills by Tony Jimenez throughout Harlow’s guajeo’s and the horn section’s powerful swing.

Harlow’s treatment of Compay Segundo’s “Mayarí” features the artful vocals of Justo Betancourt. Prior to this recording, Harlow and Betancourt’s association included several productions such as Pa Bravo Yo and Hommy. Dig Lewis Kahn’s violin solo and the subsequent charanga vibe of the tune!

“Jovenes Del Muelle” is another Cuban classic, here arranged by the great Barry Rogers. The arrangement and performance evoke the classic conjunto sound while sounding modern. The performance includes some great trombone solos, a short bass and piano conversation, and a tasty bass solo by Eddie Guagua Rivera.

To date, Harlow is probably best known for his rendition of “La Cartera”. This Sam Burtis arrangement is a lesson in craft. Note the influence of Lilí Martínez, Arsenio’s pianist and arranger, during Harlow’s solo. Some great trumpet solos are followed by another fine violin solo from Lewis Kahn.

“Tumba Y Bongo” was originally a feature for Rodríguez’s percussion section called Kila, Quique y Chocolate. This Mark Weinstein arrangement features an exciting back and forth between Pablo Rosario and Tony Jimenez. The crowd goes wild when Jimenez picks up the drum during his solo. 

“Sueltala” serves as a showcase for Junior González’s vocal improvisations as well as offering exciting solos from Reinaldo Jorge and Nicky Marrero.

“Arsenio” is the title track from Harlow’s dramatic tribute album to his musical hero. Justo Betancourt adds his sabor matancero to the perfomance and Tony Jimenez turns in another great solo.   

On “Descarga Final”, Harlow lets everyone in the band strut his stuff and the singers trade soneos in a friendly exchange. Guagua offers another impressive solo while the percussionists try to steal the show. Enjoy!

Written by Benjamin Lapidus, Ph.D.

Arsenio / Orchestra Harlow

¿Cómo se hace para duplicar el éxito de Hommy, a Latin Opera? Leer mas..

¿Cómo se hace para duplicar el éxito de Hommy, a Latin Opera?  Pasé varios meses escuchando canciones en la casa de René López hasta que encontré las que buscaba.  Había decidido enfocarme exclusivamente en el tipo de canciones con las que mi orquesta se sentía cómoda:  el son y el guaguancó cubanos.  René tenía la colección más grande de música cubana en Nueva York, y tuvo la gentileza de ayudarme a encontrar los mejores temas para este proyecto.  El músico cubano Arsenio Rodríguez y sus discípulos eran mis ídolos musicales.  Mi banda estaba en la cima de su popularidad, así como el movimiento salsero, tanto en Nueva York como en Puerto Rico. 

Elegí a mis orquestadores con mucho cuidado.  Me había enterado que Lewis Kahn tocaba el violín, y me interesaba agregar el estilo de la charanga a mi combinación habitual de trompeta y trombón- lo logramos incorporando dos violines al grupo.  En esa época, Junior González estaba aprendiendo rápidamente el estilo correcto de cantar el son y la charanga cubana.  Pasamos meses ensayando, para después dirigirnos al estudio Good Vibrations con mi nuevo ingeniero de sonido favorito, Jon Fausty, el 26 y 27 de noviembre de 1973.

Grabamos todas las canciones como un verdadero conjunto.  Sólo los violines, el tres cubano y las voces fueron grabados por separado.  Era la primera vez que grabábamos en cinta de 16 canales.  Los extraordinarios coristas en esta sesión fueron Yayo el Indio, Marcelino Guerra yAdalberto Santiago.  El maestro Johnny Pacheco tocó la flauta cubana.  Milton Cardona y Gene Golden agregaron tambores batá.  Junior González hizo un estupendo trabajo en la voz, además de tocar maracas y güiro.

El tema de apertura "No Quiero” es una de mis canciones favoritas del disco.  El pegajoso ritmo de contrapunto crea un contraste con la sección de vientos.  El excelente solo de tres de Harry Vigiano y la flauta de Charlie Miller expresan la esencia misma del son montuno.

Un tema de Arsenio, "La Cartera” había sido grabado ya varias veces.  Fue el agregado de los violines y el arreglo de Sam Burtis que hicieron que esta versión fuera diferente.  Fue mi éxito más grande de todos, generando además el apodo de "judío maravilloso".  Arsenio era conocido como "el ciego maravilloso".  Cuando Adalberto escuchó el solo de piano, gritó:  "ahora viene el maravilloso".  Junior contestó:  "el judío maravilloso".

También compuesto por Arsenio, “Popo Pa’ Mí” está basado en un cántico santero.  Eddie “Guagua” Rivera se luce con un extraordinario solo de bajo.

“No Hay Amigo” es un guaguancó maravilloso con la magia de Junior y su voz.  El arreglista Mike Gibson crea la ilusión de una big band, mientras que los timbales de Eddie Colón aumentan la intensidad del tema.

“Suéltame”, compuesto por Ismael Rodríguez, es otro ejemplo de un buen son montuno.  Sobresalen las trompetas de Ray Maldonado y Charlie Miller.

“El Paso De Encarnación” ha sido una de mis canciones favoritas desde que escuché a la Orquesta Aragón en Cuba durante los '50.  Con el agregado de los violines en mi grupo, pude grabar esta hermosa canción con el tratamiento de una verdadera charanga.

“Wampo” fue grabado primero por mi maestro, Tito Puente.  Un excelente tema afrocubano.  Después de esta grabación, le dimos a Tony Jiménez  el apodo de "Wampo".  El solo de trompeta de Charlie Miller es sobresaliente.

“Silencio” es el último tema del disco.  Empieza como un son montuno y termina cada vez más rápido, a medida que los tambores batá nos transportan a un mundo de posesión espiritual. 

Retrospectivamente, creo que Salsa es uno de mis mejores discos- recomendado para bailar o simplemente escucharlo.  Espero que disfruten de esta grabación clásica.

Lineas discografícas  escritas por Larry Harlow   

How do you follow up the success of Hommy, a Latin Opera? Read more...

How do you follow up the success of Hommy, a Latin Opera?  It took me months of research at the home of René López to find the compositions I was looking for.  I had decided to focus exclusively on the kind of songs that my orchestra felt most comfortable playing- Cuban son and guaguancó.  René had the largest collection of Cuban music in New York City and was gracious enough to help me find the best possible songs for this project.  Cuban bandleader Arsenio Rodríguez and his disciples were my musical idols.  My band was at its peak of popularity, as was the salsa movement, both in New York City and Puerto Rico. 

All of the arrangers were hand picked by me for this album.  I had discovered that Lewis Kahn played the violin and was very interested in incorporating the charanga style together with my trademark combination of trumpets and trombones-  we did this by adding two violins to the usual lineup.  At the same time, Junior González was quickly learning the correct style of singing Cuban son and charanga.  We rehearsed for months, and then went to the Good Vibrations studio with my favorite new engineer, Jon Fausty, on November 26 and 27 of 1973.

We recorded the songs as a real group.  Only the violins, Cuban tres and vocals were overdubbed.  It was our first time recording on 16-track tape.  The wonderful coristas on this session were Yayo el Indio, Marcelino Guerra and Adalberto Santiago. The master himself, Johnny Pacheco, played the Cuban flute.  Milton Cardona and Gene Golden added batá drums.  Junior González did a fine job on vocals, and played maracas and güiro as well.

The opening “No Quiero” is one of my favorite songs on this album. The catchy counterpoint rhythm breaks against the brass.  The wonderful tres solo by Harry Vigiano together with Charlie Miller’s flute shows you what son montuno is all about.

A song by Arsenio, "La Cartera” had been recorded a few times before me.  It was the addition of the violins and the Sam Burtis arrangement that made this version different.  This was my biggest hit, spawning the judío maravilloso nickname.  Arsenio was called el ciego maravilloso and when Adalberto heard the piano solo being recorded, he yelled “ahora viene el maravilloso.”  Junior replied:  “el judío maravilloso.”

Also by Arsenio, “Popo Pa’ Mí” is based on a santería chant.  Eddie “Guagua” Rivera performs an extraordinary bass solo. 

“No Hay Amigo” is a wonderful guaguancó sparked by Junior’s vocals. Arranger Mike Gibson creates the illusion of a big band, while Eddie Colón’s timbales keep the song moving with intensity.

“Suéltame,” composed by Ismael Rodríguez, is another example of how great a son montuno can be.  The trumpet of Ray Maldonado and Charlie Miller stand out here.

“El Paso De Encarnación” has been one of my favorite songs since I first heard Orquesta Aragón in Cuba during the '50s.  With the addition of violins in my band, I was now able to record this wonderful song in real charanga mode.

“Wampo” was first recorded by my mentor Tito Puente.  A wonderful afrocubano song.  We named Tony Jiménez "Wampo" after this recording. The trumpet solo by Charlie Miller is outstanding.

“Silencio” is the closing track here.  It starts as a son montuno and ends up going faster and faster as the batá drums take you into a world of spiritual possession. 

In retrospect, Salsa is probably one of my best albums-  a must for listening or dancing.  I hope you enjoy this classic recording.

Liner notes written by Larry Harlow  

 La Cartera / Orchestra Harlow