Comiéndose a Nueva York Charanga América

Comiéndose a Nueva York

Charanga América

Charanga América was founded by percussionist George Maysonet in 1978. Their peak years were the late ’70s and early ’80s, when they delivered major hits throughout their discography. The group’s most outstanding work is the 1980 album Comiéndose a Nueva York, the third in their musical production. They had already gained attention with their earlier recordings, but with this LP, Maysonet’s charanga was now seriously aiming to conquer the New York audience—at a time when the golden era of pachanga-driven charangas had faded due to the overwhelming boom of salsa. However, their sound—a mix of traditional Cuban-style charanga with a structure closer to salsa, partly due to the inclusion of bongó and campana, instruments not typical of classic charanga—made their work attractive to radio stations and earned strong public acceptance.

At least four tracks from the album became hits that are now regarded as salsa classics. The LP opens with “Se Quema la Sazón,” written and sung by Rafael “Felo” Barrio, one of the group’s vocalists. The song begins with rhythmic figures reminiscent of boogaloo, then moves into a slow pachanga supported by the ever-present violins over the chorus, opening the way for Dominican singer José Bello.

The second track is one of the most remembered songs by this charanga, also written by Felo Barrio: “Julio el Gitano.” It begins with a flamenco-style piano intro by Willie Rodríguez, transitioning into a montuno cha. The lyrics narrate the adventures of a man abandoned by his woman, accompanied only by his dog, King. The vocals draw from flamenco’s storytelling style, with coplas reminiscent of sevillanas, moving from a minor detail to a connection with the emotional situation (“blessed be the tree used to make the paper, to make the calendar that announced the day —the day— of that damn woman’s departure… olé, and off I go with my dog”). It all leads into the final coro that completes the story.

The third track is a deeply emotional romantic number that became an anthem for the group: “Mañana,” composed by María Medina. A poem in every sense, profoundly moving, with a beautiful melody that elevates the feeling of the lyrics. It sits on a slow pachanga rhythm while maintaining danceable swing, featuring a stunning violin solo by Lewis Khan and a coro highlighting the voices of Tempo Alomar, José Bello, and Felo Barrio.

The next track, “Bailen Merengue,” reflects the rise of Dominican merengue, which would soon take over radio and dance floors across Latin America—challenging salsa’s dominance for a time. The group was well prepared to take this on: flautist Bobby Nelson also played saxophone (which had replaced the accordion in merengue), and Dominican vocalist José Bello gave authenticity to the traditional perico ripiao style.

Side B opens with “Así Nació el Son,” sung by Héctor Tempo Alomar, narrating the origins of son montuno. This danceable track relies on constant choral presence—without pregones—and the characteristic harmonies of classic charangas. It is followed by “Son Diferente,” a montuno crafted to showcase the charanga’s adaptability to different forms of música criolla, with vocals by Puerto Rican pianist, singer, and composer Ray Pérez (not to be confused with Venezuela’s Ramón Epifanio Pérez).

The third track on this side is the hit “Mi Orquesta se Respeta,” a song that asserts the prestige of Charanga América in a city overflowing with charangas. Felo Barrio’s original message is delivered in first person, speaking on behalf of a group proudly embodying tradition—no one better to proclaim it with conviction than Tempo Alomar. The LP closes with the bolero “Nuestras Vidas,” by Orlando de la Rosa, sung by José Bello, bringing this musical feast by Charanga América to a powerful ending.

The cover art, designed by Jorge Millet (who also provided backing vocals), depicts a diorama of a mouth literally eating New York—starting with the former Twin Towers. The palette consists mainly of pink and gray tones, with an overall splatter or spray effect that adds an urban winter texture characteristic of New York imagery. The back cover features a biographical text about percussionist and leader George Maysonet:

HISTORY OF GEORGE H. MAYSONET
Born in Cataño, Puerto Rico, on April 19, 1938. He entered music in 1958 with Alfredito Valdés’ Charanga and played with the orchestras of Willie Rosario, Eddie Palmieri, Pacheco, Johnny Seguí, Orquesta Novel, and Orquesta Broadway. Today he performs with his own orchestra, Charanga América. Enjoy it.