“Beethoven’s V”: The Salsa Symphony of Markolino Dimond and Frankie Dante

La sinfonía salsera de Markolino Dimond y Frankie Dante

In 1975, New York salsa reached unprecedented creative heights, giving birth to albums that left an indelible mark. One of those key moments was the release of Beethoven’s V, credited to Markolino Dimond and Frankie Dante, under Cotique Records. It was the return of two unruly spirits: the fiery, genius-level pianist, and the bohemian, unpredictable vocalist. Joining them as a special guest was Chivirico Dávila, master of the refined voice, who added elegance to the fortunate creative chaos of the duo.

Sonata in Major Key

Far from being a conventional salsa album, Beethoven’s V was a sonic experiment. Dimond, a prodigious pianist with jazz-like arranging instincts, shaped an orchestra that seemed to play in the haze of late-night smoke. From the opening bars of “Sabrosón,” the piano asserts itself as the backbone of the project: percussive, melodic, at times even playful.

The album was recorded at Good Vibrations Sound Studios in New York, across two sessions, marked with asterisks on the LP sleeve. These sessions featured major musicians of both Latin and non-Latin scenes, including: Nicky Marrero, Frankie Malabé, Eddie “Guagua” Rivera, Randy Brecker, Lou Soloff, Barry Rogers, Renaldo Jorge, and Louis Kahn, among others. The chorus section featured Yayo El Indio, Pete “Conde” Rodríguez, and Ismael Quintana.

Each session had its own character:

• The first (*) is rougher, more street-like.
  
  
• The second (**) is more polished, with denser arrangements and brighter horns.
  
  

The Cover as Manifesto

The album cover, photographed by Lee Marshall and designed by Ron Levine, has become iconic: Markolino poses as a tropical Beethoven, wearing a period coat with a solemn expression, while Frankie Dante appears in white sneakers and a black cape — a kind of anti-hero of salsa.

Behind the humor lies a statement: Caribbean music does not stand below any other musical tradition.

The producers behind this classical-meets-streets experiment were Larry Harlow, Jerry Masucci, and Johnny Pacheco — some of the boldest creative patrons in salsa history.

Madness or Genius — That Is the Question

The album opens with “Sabrosón,” led by Chivirico Dávila. His elegant phrasing contrasts with Nicky Marrero’s powerful percussion and Markolino’s piano, which rides atop the montuno with swagger — a track as hot as the devil and warm even in the cold.

Next comes “Los Rumberos,” sung by Frankie Dante — a street-corner rumba explosion.

In “Ahora Sí,” Chivirico calls out the deep, heavy bass of Guagua Rivera (“¡Gordo!”), while Markolino’s piano enters with elegance and the horns nod toward jazz — before Randy Brecker unleashes a long, electrifying trumpet solo.

Then comes “El Quinto de Beethoven.” Markolino now plays like Beethoven himself — the Fifth Symphony takes on a streetwise character, moving alongside a Cuban tres-like guitar line (believed to be played by Barry Rogers, the only musician on the roster who handled the tres). The piece begins humorously and ends as a hard-salsa masterpiece — the track that gives the album its name.

“Maraquero” dives into montuno-cha with a trademark Markolino piano solo and Dante’s playful call-and-response.
“Yo No Tengo Amigo,” arranged by Marty Sheller, presents an existential theme: “You’re worth what you have.”
“Camarones” plays with culinary imagery — and a magical Markolino solo transforms a simple tune into art.
“Por Qué Adoré,” written by Tite Curet Alonso, closes the album with a serpentine meditation on lost love.

Among the musicians featured in both sessions was Frankie Malabé — this month’s Salsero of the Month (November 2025). Eddie “Guagua” Rivera, also present in both sessions, was our Salsero of the Month in September of this same year.

The Classical Garment

Photographer Lee Marshall crafted the album’s iconic visual. The concept originates from the track “El Quinto de Beethoven.”

• Markolino Dimond appears dressed in 18th/19th-century period clothing — a symbol of prestige.
  
  
• Frankie Dante appears with a black cape and white sneakers — a rebellion against elitism.
  
  

The Fifth Symphony (Op. 67) is known as the Symphony of Fate — Schicksalssinfonie in German.
Perhaps this was destiny — a Salsa Symphony.