Artist: Gilberto Santa Rosa
Genre(s):
Latin
Discography:
Autentico
Year: 2004
Tracks: 14
Solo Bolero
Year: 2003
Tracks: 10
Viceversa
Year: 2002
Tracks: 13
Romantico
Year: 2001
Tracks: 10
Intenso
Year: 2001
Tracks: 12
Expresion
Year: 1999
Tracks: 13
Salsa Sinfonica
Year: 1998
Tracks: 13
De Corazon
Year: 1997
Tracks: 10
Esencia
Year: 1996
Tracks: 12
El Caballero de La Salsa, Vol. 2
Year: 1996
Tracks: 10
En Vivo Deside el Carnegie Hall CD2
Year: 1995
Tracks: 5
En Vivo Deside el Carnegie Hall CD1
Year: 1995
Tracks: 7
De Cara al Viento
Year: 1994
Tracks: 13
Nace Aqui
Year: 1993
Tracks: 11
Salsa en Movimiento
Year: 1992
Tracks: 8
Keeping Cool
Year: 1992
Tracks: 8
Good Vibrations
Year: 1992
Tracks: 8
El Caballero de la Salsa, Vol. 1
Year: 1992
Tracks: 8
A Dos Tiempos de un Tiempo
Year: 1992
Tracks: 14
Perspectiva
Year: 1991
Tracks: 10
Salsa
Year:
Tracks: 19
Gilberto Santa Rosa is one of the almost esteemed, and for certain one of the nearly tradition-minded, soneros to wax to celebrity in the 1980s, and his popularity and herald only increased in subsequent decades, as did his stateliness. His stylus of salsa isn't easily categorized, for he often changes approach shot from one album to the adjacent. His straight-ahead, dance-oriented albums (e.g., Perspectiva [1991], Auténtico [2004]) as well as his eclecticist ones (Esencia [1996], Expresión [1999]) tend to be his near critically famous. On the other hand, his lavish albums (A Dos Tiempos de un Tiempo [1992], De Cara al Viento [1994]) as well as his principally quixotic ones (Viceversa [2002], Directo al Corazón [2006]) tend to be his broadest-selling. Consequently, Santa Rosa is one of the more than discussed salsa artists of his sentence. For sure, there's important interest in his music and respect for his natural endowment; however, there's small consensus or so Santa Rosa's side within salsa, since his style is ever-changing. If Santa Rosa's music tends to differ stylistically from album to record album, if non sometimes even song to vocal, his bequest clay firmly in piazza. He is El Caballero de la Salsa, or in English, the Gentleman of Salsa. Throughout his foresightful calling, Santa Rosa demonstrated a strong signified of character: he is individualistic, intelligent, romantic, disciplined, respectful, and mannered, not to acknowledgment gifted. He began his solo recording career in 1986 on Combo Records, based in Puerto Rico, earlier moving to Sony Discos in 1990 and leftover thither for a long run of albums, most of them very successful, if not critically so at least commercially. Santa Rosa's landmark albums include Perspectiva (1991), Esencia (1996), and Auténtico (2004), each a firm statement of purpose with something to prove. His key collaborators include arranger/producers Ramón Sánchez and José Lugo, world Health Organization severally helmed the legal age of his studio albums. Other key figures in the career of Santa Rosa admit Rafael Ithier (influence), Omar Alfanno (songwriter), Bobby ValentÃn (arranger), and Victor Manuelle (protegé), to name the to the highest degree notable. Born Gilberto Santa Rosa Cortés on August 21, 1962, in the Santurce district of San Juan, Puerto Rico, El Caballero de la Salsa grew up listening to the salsa of the 1950s and '60s. He was in the main influenced by El Gran Combo, a trailblazing salsa grouping including Rafael Ithier, PellÃn RodrÃguez, and Andy Montañez, each of whom left hand a lasting fall guy on the impressible Santa Rosa. He began tattle salsa at geezerhood ten and made his formal telling debut on January 6, 1975, during a tv special commemorating Three Kings Day. He was only 12 geezerhood honest-to-goodness at the time, and thenceforth he wholeheartedly began pursuing his aspirations of becoming a professional salsero. His first gear recording chance came good manners of trumpeter/arranger Mario Ortiz, world Health Organization was a extremity of the Puerto Rico All Stars. During that recording session for Borinquen Records, Borinquen Flame (1977), he became acquainted with a development roach of local salsa artists, including ElÃas Lopés and René Hernández. Santa Rosa became specially come together with Lopés, a melodious director, transcriber, and cygnus buccinator with whom he worked for a piece; for example, the deuce worked together on We Love N.Y. (1978), by José Canales' Orquesta la Grande. In call on, Santa Rosa worked with Tommy Olivencia, appearance on the T.H. Rodven Records album Tommy Olivencia & His Orchestra (1979), and as well with the Puerto Rico All Stars, appearance on the Combo Records album Testimonial to the Messiah (1979), where he lav be heard telling lead vocals on the call "Busca Lo Tuyo." He as well worked over again with Lopés on Borinquen All Stars (1979). Then from 1981 to 1986, Santa Rosa worked as a relief vocaliser for Willie Rosario; he lav be heard on such T.H. Rodven-issued albums as The Portrait of a Salsa Man (1981) and Atizame el Fogón (1982).At this point in his early 1920s, Santa Rosa had adult into a gifted sonero, earned recognition in the salsa community, and was no yearner known as El Bebe de la Salsa, as he erst had been. Granted, he didn't lay down himself as a songwriter, nor as an transcriber. Yet his talents were well patent, for he was a rousing performing artist with a ingrained hold of custom, which garnered him deference among salsa purists; plus, even early on in his calling, he was a well-capable interpreter of songs, tailoring them appropriately for diverse moods. It was no surprise, and then, when he chased a solo life history with Combo Records, one of the leading salsa labels of its time. Santa Rosa made his solo debut with Good Vibrations (1986), a formative record album featuring arrangements by Mario Ortiz, Tommy Villariny (aka Tommy Villarini), Humberto RamÃrez, Ramón Sánchez, and Carlos Torres, all of whom would contribute to successive albums. Holding Cool! (1987) was another formative sweat, and then with De Amor y Salsa (1988), Santa Rosa settled into the styles that would become his trademark: a wide-ranging panache that encompassed salsa romántica as well as straight-ahead salsa, boleros as well as frenetic dancing songs. His fourth and terminal album for Combo, Salsa en Movimiento (1989), was similarly impressive and laissez-faire, so practically so that he began considering a move up to the major labels.In his lowest year with Combo, Santa Rosa was extended an offer by CBS Discos, one which he eventually recognised, part on account of the label's rich custom. The CBS deal opened up unexampled doors for him, as his music would now be distributed internationally, far beyond the shores of Puerto Rico and the streets of New York and Miami. Santa Rosa's CBS debut, Punto de Vista (1990), featured arrangements by Guillermo Calderón, Louis GarcÃa, Humberto RamÃrez, Ramón Sánchez, and Carlos Torres -- the same squad he'd worked with on his Combo albums, for the near persona. An significant addition to the Santa Rosa team, however, was ballad maker Omar Alfanno, world Health Organization was but commencement to make himself as a sure-fire hitmaker. "Vivir sine Ella" was the number one of many Alfanno songs that Santa Rosa would sing, and it was not only if the album-opener, it was a major dispatch, one of quatern on Punto de Vista (others included "Perdoname," "De Cualquier Manera," and "Impaciencia"). The hit parade continued with the release of Santa Rosa's second album for Sony Discos (erstwhile CBS), Perspectiva (1991). The record album was the salsero's sterling winner still: it was his number 1 to pass telephone number unrivaled on the Billboard Tropical/Salsa record album graph, and its get through spanned across the Americas, as far depressed as Ecuador and Peru. Once once again, the album-opener, "Conciencia," scripted by Alfanno and ordered by Ramón Sánchez, was the big hit. The same team of arrangers and songwriters wHO had worked on Punto de Vista worked on Perspectiva, give or claim a few: the arrangers notably include Calderón, GarcÃa, Luis OrtÃz, Lenny Prieto, RamÃrez, Sánchez, and Villariny; the songwriters, Alfanno, Charlie Donato, and Jorge LuÃs Piloto. This resulted in a likewise styled nevertheless more-refined batch of songs. Indeed, Santa Rosa recorded a act of really expectant albums over the course of his long calling, still Perspectiva stiff i of his almost memorable and to the highest degree perfect achievements.For his next record album, A Dos Tiempos de un Tiempo (1992), Santa Rosa took a dissimilar approach: he recorded a protection album to Tito Rodriguez, a Puerto Rican fable whom he had never met in time had long admired. Rodriguez had died 20 eld in the first place, and this album commemorated his passage. The old fashioned style of A Dos Tiempos de un Tiempo was far afield from the high-energy salsa of Perspectiva; for representative, the opening song, "Mum Güela," opens lavishly with sax, strings, and keyboards, as well as a soft tempo. Most of Santa Rosa's normal team of arrangers, songwriters, and musicians were absent for this album. Louis GarcÃa and Angel Peña ar the melodic directors, piece invited guests admit Juancito Torres, Eddie Feyjóo, ElÃas Lopés, Victor Paz, Arturo Sandoval, Papo Lucca, and Jesus Caunedo. Each of these veterans was at one point in sentence somehow connected with Rodriguez, and their presence and playacting greatly contributed to the old fashioned style of A Dos Tiempos de un Tiempo. The standout vocal is "En la Soledad," a technologically enabled twain featuring the vocals of both Santa Rosa and a ghostlike Rodriguez. Following this fairly well-received album, Santa Rosa returned to his typical style of medicine on Nace AquÃ, which reteamed him with his usual collaborators (Alfanno, Donato, GarcÃa, Prieto, RamÃrez, Sánchez). Notable hits included "Buscame," "Sin Voluntad," and "Me Volvieron a Hablar de Ella," the latter deuce penned by the ever-reliable Alfanno. Next came De Cara al Viento (1994), which was a slight change of stride, with its added layers of string section and loftiness. The record album was helmed once once again by Ramón Sánchez and spawned a major hit, "Te Propongo," written by Juan Luis Guerra; however, some fans were appalled by Santa Rosa's perpetual employment of romanticist themes and gestures. For better or worse, this drift toward elegance continued on En Vivo Deside el Carnegie Hall (1995), which was a honored affair.In move around, Santa Rosa decided to dissolve his orchestra and begin over with a fresh sound that maintained the tradition of his late work all the same. He approached José Lugo, wHO had begun playacting in Santa Rosa's band in 1994, and asked him to become his new melodious managing director. For Esencia (1996), Santa Rosa picked the repertoire and sang piece Lugo oversaw the musical aspects of the album; both were credited with production. Esencia proved highly successful, as did the partnership 'tween Santa Rosa and Lugo. Critics and fans were pleased by the clean elan of the music, which is eclecticist and energized whereas the past couple albums had begun to prove signs of stagnation. Moreover, the album was Santa Rosa's most commercially successful to date: Esencia itself topped the Tropical/Salsa album chart, spell "No Quiero Na' Regala'o" topped the Latin Tropical/Salsa Airplay chart and reached the Hot Latin Tracks Top Ten. Other hits included "Esas Lágrimas," "Peligro," and "Yo No Te Pido." De Corazón (1997), also helmed by Lugo, was similarly well standard, boast two standout hits, "Que Se Lo Lleve el Rio" and "Esa Parte de Mi." Expresión (1999) was no disappointment, either, as it charted well thanks in share to a geminate of number matchless Latin Tropical/Salsa Airplay hits, "Dejate Querer" and "Que Alguien Me Diga." The same goes for Intenso (2001), which included iII numeral ones: "Pero No Me Ama," "Pueden Decir," and "La Agarro Bajando."For Viceversa (2002), Santa Rosa reached outside his common circle of collaborators, teaming with hitmaker Kike Santander for the album's lead single, the sweeping ballad "Por Más Que Intento." The song was an panoptic strike, going identification number one Tropical/Salsa Airplay and number ten-spot Latin Pop Airplay. "Un Montón de Estrellas" and "El Refrán Se Te Olvidó" were also hits. On the heels of the Latin pop airplay garnered by "Por Más Que Intento," Sony unveiled Solo Bolero, a compilation of strictly romanticistic songs. The label had done this previously with Romántico (2001), a like compiling. Following some time off, Santa Rosa returned vigorously with Auténtico (2004), which included no pop whatsoever. The album was consequently well received, level if it didn't cross all over the same direction Viceversa had. Three hits stood out, "Piedras y Flores," "Sombra Loca," and "Ensename a Vivir sin Ti." Never one to adhere with one style or hitmaking formula for farsighted, Santa Rosa resumed his romanticism for Directo al Corazón (2006). The album -- which is a mix of salsa/tropical and bolero/ballads, with a duo feature ("Hablando Claro") for Rosangela Abreu of realism show Objective Fama repute -- spawned deuce hits ("Locura de Amor," "Por la Herida de un Amor"), sold well, and south Korean won a Grammy for Tropical Album of the Year. Concurrently, Telemundo aired a TV limited, No Te Duermas, commemorative Santa Rosa's 30-year anniversary as a performer.
