from the Roots of Timba Part II, by Kevin Moore,
It was during this hazy 4-year vinyl shortage that Ritmo Oriental, a traditional charanga modeled on Orquesta Aragón and José Fajardo, transformed itself into the musical juggernaut which – at least to my ear – sounds like the missing link between Arsenio Rodríguez and the early timba of NG La Banda and Charanga Habanera.
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by Jonathan Goldman – The rise of a salsa empire and the decline of boogaloo.
Fania Records, the legendary Latin music label, has been celebrating its fiftieth anniversary with a series of events in New York and Los Angeles, its opening salvo a Central Park show last June spotlighting salsero Roberto Roena. It felt, indeed, like a party. Hundreds of dancers flooded the area in front of the stage. Those present merely to spectate were forced backward. Scattered around the perimeter were those less enthused: numerous youths lolled against concession tents and information booths, occupied with handheld devices, presumably corralled into coming by parents either filled with missionary zeal or simply unable to get a babysitter. The sharp contours of the audience underscored the relationship between the label’s haloed status and the historical circumstances that enabled its ascent.