¡Más para bailar!

Costa Brava De Puerto Rico
¡A Pico y Pala Pa'Que No Joma!

01. Pa' la Calle - 3:29
02. No Hay Mañana Sin Ti - 3:57
03. Como Me Gusta - 4:22
04. Hoy Supe de Ti - 4:06
05. Regalo de Dios - 3:55
06. Ya No Me Duele el Dolor - 4:32
07. Amor y Cariño - 3:34
08. La Impaciencia - 3:35
09. Pequeño Detalle - 3:50
10. Te Voy a Hacer Feliz - 5:56    


Elvin Torres, Padre - Dirección, Arreglos, Trompetas & Coros
Francisco José "Paco Pepe" Pérez - Sax, Subdirección & Coros
Rudy Pratts - Trompeta
Carlos Brandy - Trombón
Jorge Luis "Pucho" Morales - Sax & Coros
José Martinez Leandro - Piano
Edwin Martinez - Bajo
Angel "Angelo" Ramos - Bongó & Percusión Menor
Héctor "Tito Tim" Sánchez - Timbal
Vicente Gaztambide - Conga
Ulises Veldéz - Vocal & Coros
Francisco Javier Quiñonez - Vocal & Coros
David Morales - Vocal & Coros
Freddy Barbosa - Vocal

Músicos Invitados:

Elvin Torres, Hijo
Pedro "Pedrito" Marcano
Cachiro Thompson
Miguel Rodríguez
Jorge Díaz
Pedro Pérez




Costa Brava, one of the currently most prestigious Puerto Rican orchestras, is back with a salsa classic style for the dancer. Elvin Torres (Padre & Hijo) presents us this production with a so innovative sonority within the “Salsa Dura” genre and a so carefully chosen repertoire as well, that once more will place the orchestra in the top ten of all tropical charts during the upcoming months.
 Along with El Gran Combo, Costa Brava was one of the top Puerto Rican salsa bands of the 1980s. Formed in 1978 in Santa Isabel, a small town on the southern coast of Puerto Rico, Costa Brava is led by trumpeter Elvin Torres (Papi), whose son, Elvin Torres, Jr. (Hijo), later joined the band as pianist, composer, and arranger. During the band's prime years, albums such as Dando de Que Hablar (1986), A Tiempo Completo (1987), Orgullo de Puerto Rico (1988), and Costa Brava 90 (1990) regularly appeared on the Top 20 of Billboard's Tropical/Salsa album chart. While the band's popularity steadily faded after the turn of the decade, Costa Brava remained active not only as live performers but also as recording artists. Even if they didn't sell as well as the band's earlier releases, independently released latter-day albums such as Otra Vez (2004, EJR Music), Costa Brava en Navidad (2005, EJR Music), and ¡A Pico y Pala pa' Que No Joma! (2007, Envidia Records) found the band in fine form. ~ Jason Birchmeier



Mais Berimbau

Capoeira Senzala De Santos
Capoeira, Samba de roda, Maculelê


01. Deus Deu Capoeira Para Gente
02. Capoeira E' Minha Origem
03. Bate Palmas Luana
04. Toques De Berimbau
05. Louvacao A Nossa Senhora Maculele Percussions
06. O Escravo E' Capoeira
07. Dirim Dim Dom
08. Triste Cidade Velha
09. Samba, Berimbau E' Pandeiro
10. Vida De Negro Da Senzala 




What they say:

John Storm Roberts:

This isn't capoeira alone but other Afro-Brazilian percussion with berimbau and a fine lead singer. The music is classic -- no synth-hedged bets here -- the mood slightly lowkey (the session was in Paris, presumably during a tour). Senzala de Santos is a newish capoeira, but its founder has roots, and so does his group. The extensive notes are no doubt fine but printed too small to be read.


Vida de Negro da Senzala is probably one of the best Capoeira songs to joga to. The rhythm and chorus builds a sense of energy; you can't help but smile when you throw an armada. Axe.

Dr. Debra Jan Bibel:

Central African, Yoruba and Bantu, music from slaves had merged with Portuguese and European dance forms in the creation of choro and samba mainly in the southern cities of Rio de Janeiro and São Paulo, but in the northeast, the African idioms remained strong and more intact. Among the Afro-Brazilian styles is the rhythmic accompaniment to a martial dance exercise, capoeira, where acrobatic movements of feet and low torso are emphasized (which in turn led to break dancing in the United States and now everywhere). The berimbau, a stringed long bow and gourd instrument, the drum, and the gourd rattle are the instruments, in addition to hand clapping, of this dance art. While its origin was the need for defensive fighting, capoeira entered the mainstream as a unique dance and even incorporated various martial movements from Asia. The insert includes the lyrics in Portuguese, French, and English, which praise master teachers, support of saints, capoeira itself, and experiences in other lands. The music is often improvisational in the form of toques. This album also include the music to another martial dance, maculele, of obscure celebratory Catholic and African roots that involves participants striking sticks together in a form of fencing. Each member has a pair of sticks for use in duels. Instruments are mainly percussive, such as pandeiro tambourine and atabaque conical Conga drum and double bell agogog, but may also include a 12-string guitar. One track is purely instrumental, a samba de roda of two berimbaus and pandeiro. A glossary to 37 terms is provided. This album has fulfilled a niche in my Brazilian music collection. Its very African sound help enrich understanding of Brazil's musical culture. For the capoeira practitioner the album will support the dance and exercise.