Gilberto Santa Rosa is among the most esteemed, and one among probably the most tradition-minded, soneros to go up to fame within the 1980s, and his reputation and acclaim only increased in subsequent years, as did his stateliness. His design of salsa isn’t conveniently grouped, for he frequently changes approach in one record to another. His straight-ahead, dance-oriented albums (e.g., Perspectiva , Auténtico ) in addition to his eclectic types (Esencia , Expresión ) have a tendency to become his most critically celebrated. Alternatively, his luxurious albums (A Dos Tiempos de el Tiempo , De Cara al Viento ) in addition to his primarily passionate types (Viceversa , Directo al Corazón ) have a tendency to become his broadest-selling. As a result, Santa Rosa is among the more talked about salsa performers of his period. For certain, there’s significant curiosity about his music and respect for his skill; nevertheless, there’s small consensus about Santa Rosa’s placement within salsa, since his design is normally ever-changing. If Santa Rosa’s music will differ stylistically from recording to recording, if not occasionally even music to music, his legacy continues to be firmly set up. He is Un Caballero de la Salsa, or in British, the Gentleman of Salsa. Throughout his lengthy profession, Santa Rosa proven a strong feeling of personality: he’s individualistic, intelligent, passionate, disciplined, respectful, and mannered, not forgetting talented. He started his solo documenting profession in 1986 on Combo Information, located in Puerto Rico, before shifting to Sony Discos in 1990 and staying there for an extended operate of albums, many of them extremely successful, otherwise critically after that a minimum of commercially. Santa Rosa’s landmark albums consist of Perspectiva (1991), Esencia (1996), and Auténtico (2004), each a solid declaration of purpose with something to verify. His essential collaborators consist of arranger/producers Memoryón Sánchez and José Lugo, who respectively helmed nearly all his studio room albums. Other essential figures within the profession of Santa Rosa consist of Rafael Ithier (impact), Omar Alfanno (songwriter), Bobby Valentín (arranger), and Victor Manuelle (protegé), to mention the most well-known. Delivered Gilberto Santa Rosa Cortés on August 21, 1962, within the Santurce region of San Juan, Puerto Rico, Un Caballero de la Salsa was raised hearing the salsa from the 1950s and ’60s. He was chiefly inspired by Un Gran Combo, a trailblazing salsa group including Rafael Ithier, Pellín Rodríguez, and Andy Montañez, each of whom still left a lasting tag for the impressionable Santa Rosa. He started performing salsa at age group ten and produced his formal performing debut on January 6, 1975, throughout a tv unique commemorating Three Kings Day time. He was just 12 yrs . old at that time, and thereafter he wholeheartedly started pursuing his dreams of becoming a specialist salsero. His 1st documenting opportunity emerged thanks to trumpeter/arranger Mario Ortiz, who was simply a member from the Puerto Rico All Superstars. During that documenting program for Borinquen Information, Borinquen Fire (1977), he became familiar with a growing group of regional salsa performers, including Unías Lopés and René Hernández. Santa Rosa became specifically close with Lopés, a musical movie director, arranger, and trumpeter with whom he worked well for some time; for example, the two proved helpful jointly on We Like N.Con. (1978), by José Canales’ Orquesta la Grande. Subsequently, Santa Rosa caused Tommy Olivencia, showing up in the T.H. Rodven Information record Tommy Olivencia & His Orchestra (1979), and in addition using the Puerto Rico All Superstars, appearing in the Combo Information record Tribute towards the Messiah (1979), where he is able to end up being heard performing lead vocals within the track “Busca Lo Tuyo.” He also worked well once again with Lopés on Borinquen All Celebrities (1979). After that from 1981 to 1986, Santa Rosa worked well as a back-up vocalist for Willie Rosario; he is able to become noticed on such T.H. Rodven-issued albums because the Portrait of the Salsa Man (1981) and Atizame un Fogón (1982). At this time in his early twenties, Santa Rosa experienced grown right into a talented sonero, gained recognition within the salsa community, and was no more known as Un Bebe de la Salsa, as he once have been. Granted, he didn’t create himself being a songwriter, nor as an arranger. However his talents had been well noticeable, for he was a rousing performer using a deep-rooted understand of custom, which garnered him respect among salsa purists; plus, also in early stages in his profession, he was a well-capable interpreter of music, tailoring them fittingly for several moods. It had been no surprise, after that, when he pursued a single profession with Combo Information, among the leading salsa brands of its period. Santa Rosa produced his single debut with Great Vibrations (1986), a formative recording featuring plans by Mario Ortiz, Tommy Villariny (aka Tommy Villarini), Humberto Ram memoryírez, Ram memoryón Sánchez, and Carlos Torres, most of whom would donate to successive albums. Keeping Great! (1987) was another formative work, and with De Amor con Salsa (1988), Santa Rosa resolved into the designs that could become his brand: a wide-ranging design that encompassed salsa romántica in addition to straight-ahead salsa, boleros in addition to frenetic dance tunes. His 4th and final recording for Combo, Salsa en Movimiento (1989), was likewise amazing and individualistic, a lot in order that he started considering a progress to the main brands. In his this past year with Combo, Santa Rosa was expanded an present by CBS Discos, the one that he eventually approved, partly due to the label’s wealthy custom. The CBS offer opened up brand-new doorways for him, as his music would today end up being distributed internationally, considerably beyond the shores of Puerto Rico as well as the roads of NY and Miami. Santa Rosa’s CBS debut, Punto de Vista (1990), presented preparations by Guillermo Calderón, Louis García, Humberto Ram memoryírez, Ram memoryón Sánchez, and Carlos Torres — exactly the same group he’d caused on his Combo albums, generally. A significant addition to the Santa Rosa group, nevertheless, was songwriter Omar Alfanno, who was simply just starting to create himself being a sure-fire hitmaker. “Vivir sin Ella” was the to begin many Alfanno music that Santa Rosa would sing, and it had been not merely the album-opener, it had been a major strike, among four on Punto de Vista (others included “Perdoname,” “De Cualquier Manera,” and “Impaciencia”). The strike parade continued using the launch of Santa Rosa’s second recording for Sony Discos (previously CBS), Perspectiva (1991). The recording was the salsero’s biggest success however: it had been his first to attain number one over the Billboard Tropical/Salsa record chart, and its own reach spanned over the Americas, as considerably down as Ecuador and Peru. Once more, the album-opener, “Conciencia,” compiled by Alfanno and organized by Ram memoryón Sánchez, was the big strike. Exactly the same group of arrangers and songwriters who got done Punto de Vista done Perspectiva, provide or have a few: the arrangers notably consist of Calderón, García, Luis Ortíz, Lenny Prieto, Ram memoryírez, Sánchez, and Villariny; the songwriters, Alfanno, Charlie Donato, and Jorge Luís Piloto. This led to a similarly designed however more-refined batch of tunes. Certainly, Santa Rosa documented several really great albums during the period of his lengthy profession, yet Perspectiva continues to be one of is own most memorable & most ideal accomplishments. For his following record, A Dos Tiempos de el Tiempo (1992), Santa Rosa took another strategy: he documented a tribute recording to Tito Rodriguez, a Puerto Rican story whom he previously never met however had lengthy admired. Rodriguez experienced died twenty years earlier, which record commemorated his transferring. The old-fashioned design of A Dos Tiempos de un Tiempo was significantly afield through the high-energy salsa of Perspectiva; for example, the opening tune, “Mama Güela,” starts lavishly with saxophone, strings, and keyboards, and a mild tempo. The majority of Santa Rosa’s regular group of arrangers, songwriters, and music artists were absent because of this record. Louis García and Angel Peña will be the musical directors, while asked guests consist of Juancito Torres, Eddie Feyjóo, Unías Lopés, Victor Paz, Arturo Sandoval, Papo Lucca, and Jesus Caunedo. Each one of these veterans was at one time somehow associated with Rodriguez, and their existence and playing significantly added to the old-fashioned design of A Dos Tiempos de el Tiempo. The standout music can be “En la Soledad,” a technologically allowed duet offering the vocals of both Santa Rosa along with a ghostly Rodriguez. Third , fairly well-received recording, Santa Rosa came back to his normal design of music on Nace Aquí, which reteamed him along with his normal collaborators (Alfanno, Donato, García, Prieto, Memoryírez, Sánchez). Significant strikes included “Buscame,” “Sin Voluntad,” and “Me Volvieron a Hablar de Ella,” the last mentioned two penned with the ever-reliable Alfanno. Next emerged De Cara al Viento (1994), that was a slight transformation of pace, using its added levels of strings and stateliness. The record was helmed once more by Ram memoryón Sánchez and spawned a significant strike, “Te Propongo,” compiled by Juan Luis Guerra; nevertheless, some fans had been dismayed by Santa Rosa’s unceasing work of romantic styles and gestures. For better or worse, this drift toward beauty continuing on En Vivo Deside un Carnegie Hall (1995), that was a esteemed affair. Subsequently, Santa Rosa made a decision to dissolve his orchestra and begin over with a brand new sound that maintained the custom of his prior work yet. He contacted José Lugo, who got started playing in Santa Rosa’s music group in 1994, and asked him to be his brand-new musical movie director. For Esencia (1996), Santa Rosa selected the repertoire and sang while Lugo oversaw the musical areas of the record; both were acknowledged with creation. Esencia proved incredibly successful, as do the collaboration between Santa Rosa and Lugo. Critics and followers were delighted by the new design of the music, that is eclectic and energized whereas days gone by couple albums experienced begun showing indicators of stagnation. Furthermore, the record was Santa Rosa’s most commercially effective up to now: Esencia itself topped the Tropical/Salsa record graph, while “No Quiero Na’ Regala’o” topped the Latin Tropical/Salsa Airplay graph and reached the Popular Latin Tracks TOP. Other strikes included “Esas Lágrimas,” “Peligro,” and “Yo No Te Pido.” De Corazón (1997), also helmed by Lugo, was likewise well received, boasting two standout strikes, “Que Se Lo Lleve un Rio” and “Esa Parte de Mi.” Expresión (1999) was no letdown, either, since it charted well thanks a lot partly to a set of number 1 Latin Tropical/Salsa Airplay strikes, “Dejate Querer” and “Que Alguien Me Diga.” Exactly the same applies to Intenso (2001), including three number types: “Pero Simply no Me Ama,” “Pueden Decir,” and “La Agarro Bajando.” For Viceversa (2002), Santa Rosa reached outdoors his normal group of collaborators, teaming with hitmaker Kike Santander for the album’s business lead solitary, the sweeping ballad “Por Más Que Intento.” The tune was an across-the-board strike, going number 1 Tropical/Salsa Airplay and amount ten Latin Pop Airplay. “Un Montón de Estrellas” and “Un Refrán Se Te Olvidó” had been also hits. In the heels from the Latin pop airplay garnered by “Por Más Que Intento,” Sony revealed Single Bolero, a compilation of purely romantic tunes. The label experienced carried out this previously with Romántico (2001), an identical compilation. Following a while off, Santa Rosa came back vigorously with Auténtico (2004), including no pop whatsoever. The record was therefore well received, even when it didn’t cross the same manner Viceversa acquired. Three strikes stood away, “Piedras con Flores,” “Sombra Loca,” and “Ensename a Vivir sin Ti.” By no means one to stick to one design or hitmaking method for lengthy, Santa Rosa resumed his romanticism for Directo al Corazón (2006). The recording — which really is a mixture of salsa/exotic and bolero/ballads, using a duet feature (“Hablando Claro”) for Rosangela Abreu of truth display Objective Fama repute — spawned two strikes (“Locura de Amor,” “Por la Herida de un Amor”), marketed well, and gained a Grammy for Tropical Recording of the entire year. Concurrently, Telemundo shown a TV unique, No Te Duermas, commemorating Santa Rosa’s 30-yr anniversary like a performer.