- Ritmo, Sabor y Swing Ð The Cuban Sound That Never Sleeps
ÒTodos Estrellas - A TravŽs del CicloÓ is a landmark Cuban Salsa and Latin Jazz album, blending masterful orchestration, fiery percussion, and bold brass arrangements. Produced by JosŽ Luis CortŽs and Germ‡n Velazco, and recorded at EGREM Studios (1986, Havana, Cuba), it captures the energy of a new generation of Cuban musicians.
The 1980s was a transformative decade for Cuban music, witnessing a bold evolution of its traditional sounds. It was an era where Salsa Cubana took on new energy, infused with influences from Latin jazz, timba, and the fiery rhythms of Afro-Cuban traditions. Amidst this wave of musical innovation emerged Todos Estrellas - A TravŽs del Ciclo, a landmark album that showcased the virtuosity of a new generation of Cuban musicians, blending masterful orchestration, powerful arrangements, and electrifying solos.
Produced by JosŽ Luis CortŽs and Germ‡n Velazco, this album wasnÕt just another Salsa releaseÑit was an exploration of Cuban musical identity, pushing boundaries while staying deeply rooted in its cultural legacy. Released in 1986 by Areito (EGREM), CubaÕs most prestigious record label, this LP captured the raw energy of HavanaÕs vibrant music scene and remains a testament to the islandÕs enduring sonic brilliance.
Musical Exploration: Between Salsa and Latin Jazz
At its core, A TravŽs del Ciclo is a celebration of rhythm and melody, where traditional Cuban dance forms meet the sophisticated harmonies of jazz. Unlike the more commercial Salsa of Puerto Rico or New York at the time, this album dives into the complexity of Afro-Cuban rhythms, dynamic horn arrangements, and daring percussion patterns that challenge even the most seasoned dancers.
The musicianship on this record is second to none. The tracks ÒPresentaci—n (Continuando el Ciclo)Ó and ÒDespedida (A TravŽs del Ciclo)Ó, orchestrated by Germ‡n Velazco, serve as thematic bookends that create a conceptual journey through time. Meanwhile, Pedro Calvo delivers raw and passionate vocals in ÒPaÕ Fuera Mi CompayÓ, a fiery declaration of Cuban resilience, while Tony Cal‡ brings a soulful, almost jazz-like phrasing to ÒLa MœsicaÓ, a track that pays homage to the spirit of Cuban sound.
Instrumentation plays a pivotal role in shaping the albumÕs distinct identity. The brilliant brass section (Juan Mungu’a on trumpet, Carlos Averhoff on baritone sax) injects a punchy, big-band energy, while the percussionists (Jorge Alfonso on congas, Calixto Oviedo on timbales) drive the music forward with relentless momentum. The fusion of traditional flute solos (by JosŽ Luis CortŽs) and modern jazz harmonies makes this album a unique blend of the old and the new.
The Production Team & Recording Studio: EGREMÕs Role in Cuban Music
Recorded at EGREM Studios in Havana, this album benefits from the expertise of some of CubaÕs most accomplished sound engineersÑJosŽ Antonio Rodr’guez and Alfredo LlanesÑwho managed to capture the full depth of each instrument despite the limitations of recording technology at the time. EGREM was responsible for producing some of CubaÕs most iconic records, and A TravŽs del Ciclo was no exception.
The album cover design, conceptualized by Marucha, visually represents the vibrant and evolving nature of Cuban music. The use of colorful abstract shapes and bold typography hints at the recordÕs experimental yet deeply rooted sound.
Historical Context: A Bold Statement Amidst Changing Times
The mid-1980s was a critical period for Cuban musicians. With the U.S. embargo tightening and international exposure becoming increasingly difficult, local artists had to find creative ways to push their music forward. Unlike many salsa records produced in the U.S. or Puerto Rico, A TravŽs del Ciclo was recorded entirely in Cuba, under a socialist system where state-run labels like Areito dictated much of what could or couldnÕt be released.
Despite these challenges, the album thrived, making waves in Latin America and solidifying CubaÕs reputation as the cradle of Afro-Caribbean music. The musicians involved would go on to become legends in their own rightÑJosŽ Luis CortŽs would later pioneer Timba music, and Gonzalo Rubalcaba (piano) would gain international fame as one of Latin jazzÕs greatest pianists.
Controversies & Legacy
Like many revolutionary Cuban records, A TravŽs del Ciclo didnÕt escape controversy. Some traditionalists criticized the jazz influence as being too complex for a dance album, while others viewed its fusion elements as a necessary step in the evolution of Salsa Cubana. Regardless of the debate, the record remains a classic, studied by musicians and admired by collectors worldwide.
Today, the legacy of Todos Estrellas - A TravŽs del Ciclo lives on through the musicians it helped launch, the new genres it inspired, and the continuous admiration from salsa dancers, jazz lovers, and Cuban music aficionados alike. Whether youÕre listening to it in Havana, Miami, or New York, this album is a timeless masterpiece that captures the soul of CubaÕs rich musical heritage.
La presentaci—n de la nueva generaci—n de mœsicos cubanos; algunos de s—lida formaci—n acadŽmica, y otros surgidos de la pr‡ctica en agrupaciones musicales cuyo repertorio fundamental inclu’a los gŽneros m‡s importantes de la mœsica cubana bailable, es uno de los logros alcanzados en este larga duraci—n de la EGREM.
El trabajo art’stico desplegado por j—venes compositores como JosŽ Luis CortŽs y Germ‡n Velazco en la selecci—n de un s—lido material musical que apoyara la idea de dar una nueva dimensi—n en la concepci—n de lo que debe ser la mœsica cubana de la actualidad; ha superado por su calidad lo que hasta el momento se ha realizado en esta l’nea de producci—n musical.
Los registros m‡s brillantes en instrumentos como la trompeta, la flauta y los saxofones tenor, alto y bar’tono han sido h‡bilmente utilizados por los orquestadores, quienes con el uso de combinaciones arm—nicas muy actuales y figuraciones r’tmicas dif’ciles en su ejecuci—n, han logrado un nuevo matiz en las obras interpretadas.
Hacemos la presentaci—n del joven cantante Tony Cal‡ con ÒTodos EstrellasÓ junto a Pedro Calvo y los nuevos valores que integran el disco anterior.
Agradecemos la colaboraci—n en la realizaci—n de este LD a Gonzalo Rubalcaba, Juan Mungu’a y Frank Bejerano, los cuales con su labor art’stica han contribuido al Žxito de esta grabaci—n.
The presentation of the new generation of Cuban musiciansÑsome with solid academic training and others emerging from experience in musical groups whose fundamental repertoire included the most important genres of Cuban dance musicÑis one of the achievements of this long-playing record from EGREM.
The artistic work carried out by young composers such as JosŽ Luis CortŽs and Germ‡n Velazco in selecting a solid musical repertoire to support the idea of giving a new dimension to the concept of what contemporary Cuban music should be has exceeded, in quality, everything that has been achieved so far in this line of musical production.
The most brilliant registers of instruments such as the trumpet, flute, and tenor, alto, and baritone saxophones have been skillfully used by the orchestrators, who, through the use of very modern harmonic combinations and rhythmically complex figures, have achieved a new nuance in the interpreted works.
We introduce the young singer Tony Cal‡ with ÒTodos Estrellas,Ó alongside Pedro Calvo and the new talents who were part of the previous album.
We express our gratitude for the collaboration in the making of this LP to Gonzalo Rubalcaba, Juan Mungu’a, and Frank Bejerano, whose artistic contributions have helped make this recording a success.
Cuban Salsa / Latin Jazz
Areito LD-4386
Record Format: 12" LP Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
1986 Made in CUBA
Jose Luis Cortes & Germ‡n Velazco
Jose Antonio Rodriguez & Alfredo Llanes
EGREM 1986, Ciudad de la Habana, Cuba
EGREM (Empresa de Grabaciones y Ediciones Musicales) is CubaÕs oldest and most prestigious record label. Founded in 1964, EGREM became the leading force behind the production and distribution of Cuban music, recording legendary artists such as Buena Vista Social Club, Irakere, Los Van Van, and NG La Banda.
By 1986, EGREM was the dominant music studio in Havana (Ciudad de la Habana, Cuba), responsible for shaping the golden era of Cuban Salsa, Timba, and Latin Jazz. Their studios, particularly Estudios Areito, were originally part of RCA Victor in the 1940s and housed some of CubaÕs most legendary recordings.
During this time, CubaÕs music industry operated under a socialist model, meaning that all recording and production were centralized under state-run studios like EGREM. Despite limitations in equipment due to the U.S. embargo, EGREM studios managed to capture some of the most dynamic and high-quality recordings of the era, blending Afro-Cuban rhythms, jazz improvisation, and traditional Son Cubano into a new, evolving sound.
Designed by Marucha
Marucha
The album cover of ÒA TravŽs del CicloÓ is a visual explosion, a psychedelic tropi-funk collage that feels like a Havana nightclub distilled into pure color and rhythm. The background pulses with jagged, flame-like bursts of red, orange, and yellowÑlike the sabor of a hot timba riff or the electrifying pop of brass hitting a clave groove.
At the center, a jukebox stands like a shrine, its neon glow radiating an invitation to lose yourself in the music. Surrounding it, a cast of Cuban all-stars pose with the swagger of soneros y rumberos, their faces tinted in shades of blue and gold, like ghosts of a golden era meeting the future of Latin Jazz.
Up front, a man in a wide-brimmed hat and open shirt leans in like he just finished trading verses in a descarga, while another, grinning ear to ear, seems ready to break into a guaguanc— right off the cover. In the background, the rest of the band watches, serious but stylishÑcaballeros del ritmo, waiting to light up the night with congas, trombones, and wild improvisation.
ItÕs an album cover that doesnÕt just sit stillÑit moves. You can hear the trumpets screaming, feel the congas rolling, and sense the sweat of the Havana dance floor. A time machine, a celebration, a revolution in vinyl form. Esta es la mœsica que no muere.
This Areito record label is pure Cuban vinyl nostalgia, straight outta HavanaÕs golden era of Salsa and Latin Jazz. The background is a cool sky-blue, classic of EGREMÕs vintage pressings, with that handwritten Areito logo sitting elegantly on top like a signature of authenticity.
Stamped on 33 R.P.M. (Revoluciones por Minuto), this LD-4386 pressing carries the sabor of timba, son, and descarga. Below the Areito emblemÑfeaturing that indigenous Ta’no-inspired shieldÑyou see the names of Cuban music titans: JosŽ Luis CortŽs, Pedro Calvo, and Orestes Roque (Puchungo), all listed alongside the albumÕs high-voltage tracklist.
The labelÕs typography is clean, bold, and to-the-point, just like the rhythm section in a tight charanga ensemble. The phrase ÒProducido y Distribuido por EGREM Ð Habana, CubaÓ reminds you that this ainÕt just any salsa albumÑthis is real-deal Cuban-made music, pressed at the legendary Estudios Areito, where Afro-Cuban grooves have been laid down for decades.
This label radiates authenticityÑa time capsule of puro ritmo cubano, ready to spin on a turntable and ignite the dancefloor. ÁQue suene la mœsica!