En el link mostrado por Cocolo se dice eso, y yo estoy de acuerdo:
En una de sus exitosas giras por latinoamérica se presentaron enVenezuela, allí un agudo y reconocido locutor, Fidios Danilo Escalona, les pidio que definieran con palabras el estilo tan único de su música. Ellos dijeron: "Nuestra música es como el ketchup, la salsa de tomate que se le hecha a las hamburguesas para que le den sabor" Y fue así como Escalona les dijo: "La música de ustedes es SALSA". "De hoy en adelante la llamaremos salsa". Y desde ese momento un nuevo género se agregó a la música latina "La Salsa". La Salsa es realmente el estilo musical que conbina diferentes ritmos en una misma pieza musical. Pero Bobby no menciona la fecha!!!
Ademas, la emicion del mismo dj Fidias Escalona se llamaba "a la hora de la salsa" que - ademas que eso - se podia oir a las doce del mediodia, cuando se cocina la salsa para comer!!!
Mas alante, Bobby dice:
A finales de los años 60 Bobby Cruz y su compañero Richie Ray graban el disco "Salsa y Control". Era la primera vez en la historia de la música que se le daba uso a la definición salsa en un disco. Pronto otras grandes figuras del disco se unirían a Bobby para interpretar esta nueva música: la salsa, a traves del sello disquero "Fania All Star" Pero a mi me parece mentira: e nel 66, en el mismo Venezuela, salio por Federico Y Su Combo esa grabacion:
(Palacio : LP 6171)
Y mucha gente en New York piensa che la palabra Salsa se empezo a utilizar desde esa grabacion en entonces.
Y mas antes, que paso?
El musicólogo Max Salazar cuenta de lo de Ignacio Piñeiro, por lo cual no estoy de acuerdo porque ese hombre NO TOCABA SALSA!!!!
The popular usage of the word “salsa” for danceable Latin music began in 1933 when Cuban song composer Ignacio Piñerio wrote the song Échale Salsita. According to the late Alfredo Valdés Sr. whom I interviewed in 1974, he said “On July 6, 1933, I married Anita Purmuy, guitarist for the all-female band La Anacaona. I didn’t have a honeymoon because hours later I was on a boat with Nacional (Septeto) headed toward Miami…then on to the Chicago World’s Fair. On the train I rehearsed Ignacio’s new work Échale Salsita. He got the idea after tasting food which lacked the Cuban spices. It was a protest against tasteless foodEn efecto,
aqui se referia a la comida, y no a la alegoría "comida/música"Luego habla de
Joe Cuba en 1962 (
Salsa y Bembé , Seeco Records), de
Charlie Palmieri en 1963 (
Salsa Y Na Ma, Alegre Records) y el ingles "
Soul Sauce" (=
Salsa del Alma) por
Cal Tjader,
1964.
Salsa remained dormant until 1962 when Secco Records released Joe Cuba’s Stepping Out LP. In Jimmy Sabater’s tune Salsa y Bembé, vocalist Cheo Feliciano wants his main squeeze to add salsa to the bembé (dance) when she dances. The lyrics suggest that there is a request for the dancer to liven up or spice up her performance. “When I wrote this tune,” said Sabater, “I was labeling the music as salsa…you know exciting. When musicians were asked to spice up the music there were shouts of “guataca”. When the band executed the mambo part, I heard shouts of “wapachosa”. These were labels which never caught on. My use of salsa was to describe the music, not the food.”
A year later Alegre Records released Charlie Palmieri’s charanga LP Salsa Na Ma. In the Henry Alvarez tune Salsa Na Ma, the chorus of Victor Velasquez and Willie Torres suggest that when they dance with their partners it is Salsa na ma…Que cosa rica (a joy).” However, Al Santiago’s liner notes described the music as salsa when he wrote “La Duboney (Palmieri’s band) is a musical aggregation that functions as an individual unit and possesses that all important ‘sauce’ necessary for satisfying the most demanding of musical tastes. It is for this reason that this LP album offering is titled Salsa Na Ma.
On November 20, 1964, the Cal Tjader Quintet plus 5 had just finished recording a long version of Guachi Guaro, another version of Tjader’s first hit recording in 1954, Wachi Wara. After hearing it back, Tjader was unsatisfied, it lacked something, but he did not know what. Creed Taylor, producer of the album (which had no title at that moment) suggested a shorter version and a new title in that Guachi Guaro would be difficult to pronounce and it meant nothing. Tjader invited Willie Bobo to dub the jawbone (quijada). While doing so, his inspirations of Sabor, Sabor, Salsa Ahi Na Ma,not only satisfied Tjader, but gave Tjader the idea for the album’s name Soul Sauce (Salsa del Alma). Bobo explained to Tjader that this track and the others: Pantano, Maramoor, Tanya and Leyte, were fiery, exciting like a well seasoned sauce. Thus the album Soul Sauce exhibits a fork on a plate of red beans and chili alongside an opened bottle of Tabasco sauce with a label on it, Cal Tjader Soul Sauce. This is the third time music is described as salsa and the Mexican Tjader fans of San Francisco began using the word to describe Tjader’s brand of music.Pero,
no entiendo porque Salazar no menciona Federico, que para mi es el primer disco de verdadera salsa en ser contemporaneamente llamado salsa; los de antes eran charanga, latin jazz, mambo...
pero no salsahttp://www.salsacrazy.com/salsaroots/salsaorigins.htm
