{"id":11706,"date":"2026-02-12T11:15:54","date_gmt":"2026-02-12T10:15:54","guid":{"rendered":"https:\/\/www.lasalsavive.org\/portale\/?p=11706"},"modified":"2026-02-12T11:15:55","modified_gmt":"2026-02-12T10:15:55","slug":"joe-cuba-il-padre-del-boogaloo-e-larchitetto-del-suono-nuyorican","status":"publish","type":"post","link":"https:\/\/www.lasalsavive.org\/portale\/2026\/02\/12\/joe-cuba-il-padre-del-boogaloo-e-larchitetto-del-suono-nuyorican\/","title":{"rendered":"Joe Cuba: Il Padre del Boogaloo e l\u2019Architetto del Suono Nuyorican"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Joe Cuba<\/strong>, pseudonimo di <strong>Gilberto Miguel Calder\u00f3n Cardona<\/strong> (conosciuto anche come &#8220;Sonny&#8221;), \u00e8 celebrato come il <strong>&#8220;Padre del boogaloo latino&#8221;<\/strong>. Nato a New York il 22 aprile 1931 da genitori portoricani stabilitisi nella <strong>Spanish Harlem<\/strong>, Cuba \u00e8 stato una figura centrale nel definire l&#8217;identit\u00e0 musicale dei portoricani nati negli Stati Uniti, contribuendo in modo determinante al Movimento Nuyorican.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" src=\"https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet.jpg\" alt=\"\" class=\"wp-image-11721\" srcset=\"https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet.jpg 500w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-300x300.jpg 300w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-150x150.jpg 150w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-144x144.jpg 144w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-120x120.jpg 120w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>Le Origini: Dallo Sport alle Percussioni <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Inizialmente, l&#8217;interesse di Cuba era rivolto allo sport, in particolare allo <strong>stickball<\/strong> e al basket. Fu un <strong>infortunio a una gamba<\/strong> a cambiare il corso della sua vita: durante la convalescenza inizi\u00f2 a suonare la conga, continuando a praticare tra gli studi e il tempo libero. Nonostante avesse iniziato a studiare legge all&#8217;universit\u00e0, l&#8217;incontro e l&#8217;amicizia duratura con il leggendario <strong>Tito Puente<\/strong> lo motivarono a organizzare la propria band.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel 1954, su consiglio del suo agente, cambi\u00f2 il nome del suo gruppo da <em>Jos\u00e9 Calder\u00f3n Sextet<\/em> a <strong>Joe Cuba Sextet<\/strong>, debuttando ufficialmente alla Stardust Ballroom.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>L&#8217;Innovazione del Sestetto e il Boogaloo <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Il Joe Cuba Sextet si distinse dalle grandi orchestre dell&#8217;epoca per una formazione pi\u00f9 snella, che includeva il <strong>vibrafono<\/strong> (suonato originariamente per creare un&#8217;atmosfera nuova ed euforica), il pianoforte, il basso e le percussioni. La band era nota per il suo dinamismo, con tre cantanti che non solo cantavano, ma suonavano strumenti a percussione e ballavano coreografie coordinate.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"A LAS SEIS. CHEO FELICIANO con  JOE CUBA\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/6Hs6BJ2Txhw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Negli anni &#8217;60, Cuba fu uno degli architetti chiave del <strong>Boogaloo<\/strong>, uno stile che fondeva il soul e il rhythm and blues (R&amp;B) afroamericano con ritmi latini come il <strong>son montuno<\/strong>, la <strong>guajira<\/strong> e il <strong>cha cha cha<\/strong>. Tra le voci pi\u00f9 iconiche del sestetto figurano <strong>Jimmy Sabater Sr.<\/strong> e <strong>Cheo Feliciano<\/strong>, quest&#8217;ultimo descritto da Cuba come un &#8220;diamante grezzo&#8221; per il suo straordinario talento naturale.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>I Grandi Successi e l&#8217;Impatto Culturale <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Il gruppo ottenne successi senza precedenti che scalarono le classifiche nazionali:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>&#8220;To Be With You&#8221;<\/strong> (1962): Una ballata soul latina estremamente popolare, cantata da Jimmy Sabater.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>&#8220;El Pito (I&#8217;ll Never Go Back to Georgia)&#8221;<\/strong> (1965): Famoso per l&#8217;uso del fischietto e il coro in inglese preso da un&#8217;introduzione di Dizzy Gillespie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>&#8220;Bang Bang&#8221;<\/strong> (1966): Vendette oltre un milione di copie, diventando un successo nella National Hit Parade e inaugurando ufficialmente l&#8217;era del boogaloo.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"260\" height=\"194\" src=\"https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet2.jpg\" alt=\"\" class=\"wp-image-11720\" style=\"width:560px;height:auto\"\/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>Ultimi Anni ed Eredit\u00e0 <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Joe Cuba ha continuato a essere un punto di riferimento per la cultura latina, diventando direttore del <strong>Museo de La Salsa<\/strong> a Manhattan. Nel 1999 \u00e8 stato inserito nella <strong>International Latin Music Hall of Fame<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il musicista \u00e8 scomparso il <strong>15 febbraio 2009<\/strong> a New York, all&#8217;et\u00e0 di 78 anni, a causa di un&#8217;infezione batterica persistente.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>Discografia di Joe Cuba <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Album del Joe Cuba Sextet (come Leader)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1956:<\/strong> <em>I Tried To Dance All Night<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1956:<\/strong> <em>Mardi Gras Music For Dancing Vol. 1<\/em> (La Playa Sextet)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1957:<\/strong> <em>Cha Cha Ch\u00e1<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1958:<\/strong> <em>Mardi Gras Music For Dancing Vol. 2<\/em> (La Playa Sextet)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1958:<\/strong> <em>Cha Cha Cha&#8217;s To Soothe The Savage Beast<\/em> (con Cheo Feliciano)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1959:<\/strong> <em>Mardi Gras Music For Dancing Vol. 3<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1959:<\/strong> Red, Hot and Cha Cha Ch\u00e1<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1959:<\/strong> Pachanga Brava<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1961:<\/strong> <em>Merengue loco<\/em> (con Sonny Rossi)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1961:<\/strong> <em>Joe Cuba<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1962:<\/strong> <em>To Be With You<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1962:<\/strong> <em>Steppin&#8217; Out<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1963:<\/strong> <em>Diggin&#8217; The Most<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1964:<\/strong> <em>Vagabundeando (Hangin&#8217; Out)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1964:<\/strong> <em>El Alma del Barrio: The Soul of Spanish Harlem<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1965:<\/strong> <em>Comin&#8217; at You<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1965:<\/strong> <em>Breakin&#8217; Out<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1965:<\/strong> <em>Bailadores<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1966:<\/strong> Estamos Haciendo Algo Bien! <em>We Must Be Doing Something Right!<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1966:<\/strong> Wanted Dead or Alive (Bang! Bang! Push, Push, Push)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1967:<\/strong> Joe Cuba Sextet Presents The Velvet Voice of Jimmy Sabater<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1968:<\/strong> <em>My Man Speedy<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1970:<\/strong> <em>Recuerdos de mi querido Barrio<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1972:<\/strong> <em>Bustin&#8217; Out<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1973:<\/strong> <em>Hecho y Derecho (Doing it Right)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1976:<\/strong> <em>Cocinando la Salsa (Cookin&#8217; The Sauce)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1979:<\/strong> <em>El Pirata del Caribe (The Caribbean Pirate)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1995:<\/strong> <em>Steppin&#8217; Out&#8230; Again!<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Raccolte e Album Postumi<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1996:<\/strong> <em>Salsa y Bemb\u00e9<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>2010:<\/strong> <em>Greatest Hits<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>2012:<\/strong> <em>El Alcalde del Barrio<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>2012:<\/strong> <em>Anthology<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span><em>Espa\u00f1ol<\/em> <\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Joe Cuba<\/strong>, seud\u00f3nimo de <strong>Gilberto Miguel Calder\u00f3n <\/strong>Cardona (conocido tambi\u00e9n como &#8220;Sonny&#8221;), es celebrado como el <strong>&#8220;Padre del boogaloo latino<\/strong>&#8220;. Nacido en Nueva York el 22 de abril de 1931 de padres puertorrique\u00f1os establecidos en <strong>Spanish Harlem<\/strong>, Cuba fue una figura central en definir la identidad musical de los puertorrique\u00f1os nacidos en Estados Unidos, contribuyendo de manera determinante al Movimiento Nuyorican.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" src=\"https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet.jpg\" alt=\"Estamos Haciendo algo bien! We must be doing something right! Joe Cuba Sextet\" class=\"wp-image-11721\" srcset=\"https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet.jpg 500w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-300x300.jpg 300w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-150x150.jpg 150w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-144x144.jpg 144w, https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet-120x120.jpg 120w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>Los Or\u00edgenes: Del Deporte a las Percusiones <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Inicialmente, el inter\u00e9s de Cuba estaba dirigido al deporte, en particular al <strong>stickball <\/strong>y al baloncesto. Fue una <strong>lesi\u00f3n en una pierna <\/strong>la que cambi\u00f3 el curso de su vida: durante la convalecencia comenz\u00f3 a tocar la conga, continuando la pr\u00e1ctica entre los estudios y el tiempo libre. Aunque hab\u00eda empezado a estudiar derecho en la universidad, el encuentro y la amistad duradera con el legendario <strong>Tito Puente <\/strong>lo motivaron a organizar su propia banda.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En 1954, siguiendo el consejo de su agente, cambi\u00f3 el nombre de su grupo de <strong>Jos\u00e9 Calder\u00f3n Sextet <\/strong>a <strong>Joe Cuba <\/strong>Sextet, debutando oficialmente en el Stardust Ballroom.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>La Innovaci\u00f3n del Sexteto y el Boogaloo <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">El Joe Cuba Sextet se distingui\u00f3 de las grandes orquestas de la \u00e9poca por una formaci\u00f3n m\u00e1s reducida, que inclu\u00eda el <strong>vibr\u00e1fono <\/strong>(tocado originalmente para crear una atm\u00f3sfera nueva y euf\u00f3rica), el piano, el bajo y las percusiones. La banda era conocida por su dinamismo, con tres cantantes que no solo cantaban, sino que tocaban instrumentos de percusi\u00f3n y bailaban coreograf\u00edas coordinadas.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"A LAS SEIS. CHEO FELICIANO con  JOE CUBA\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/6Hs6BJ2Txhw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">En los a\u00f1os 60, Cuba fue uno de los arquitectos clave del <strong>Boogaloo<\/strong>, un estilo que fusionaba el soul y el rhythm and blues (R&amp;B) afroamericano con ritmos latinos como el <strong>son montuno<\/strong>, la <strong>guajira <\/strong>y el <strong>cha cha cha<\/strong>. Entre las voces m\u00e1s ic\u00f3nicas del sexteto figuran<strong>Jimmy Sabater<\/strong> Sr. y <strong>Cheo Feliciano<\/strong>, este \u00faltimo descrito por Cuba como un &#8220;diamante en bruto&#8221; por su extraordinario talento natural.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>Los Grandes \u00c9xitos y el Impacto Cultural <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">El grupo obtuvo \u00e9xitos sin precedentes que escalaron las listas nacionales:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>&#8220;To Be With You<\/strong>&#8221; (1962): Una balada soul latina extremadamente popular, cantada por Jimmy Sabater.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>&#8220;El Pito (I&#8217;ll Never Go Back to Georgia<\/strong>)&#8221; (1965): Famoso por el uso del silbato y el coro en ingl\u00e9s tomado de una introducci\u00f3n de Dizzy Gillespie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>&#8220;Bang Bang<\/strong>&#8221; (1966): Vendi\u00f3 m\u00e1s de un mill\u00f3n de copias, convirti\u00e9ndose en un \u00e9xito en la National Hit Parade e inaugurando oficialmente la era del boogaloo.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"260\" height=\"194\" src=\"https:\/\/www.lasalsavive.org\/portale\/wp-content\/uploads\/2026\/02\/joecuba_sextet2.jpg\" alt=\"\" class=\"wp-image-11720\" style=\"width:560px;height:auto\"\/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>\u00daltimos A\u00f1os y Legado <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Joe Cuba continu\u00f3 siendo un punto de referencia para la cultura latina, convirti\u00e9ndose en director del <strong>Museo de La Salsa <\/strong>en Manhattan. En 1999 fue incluido en el <strong>International Latin Music Hall of Fame<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">El m\u00fasico falleci\u00f3 el <strong>15 de febrero de 2009 <\/strong>en Nueva York, a la edad de 78 a\u00f1os, debido a una infecci\u00f3n bacteriana persistente.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><span><i class=\"fas fa-arrow-right\"><\/i><\/span>Discograf\u00eda de Joe Cuba <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u00c1lbumes del Joe Cuba Sextet (como L\u00edder)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1956:<\/strong> <em>I Tried To Dance All Night<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1956:<\/strong> <em>Mardi Gras Music For Dancing Vol. 1<\/em> (La Playa Sextet)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1957:<\/strong> <em>Cha Cha Ch\u00e1<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1958:<\/strong> <em>Mardi Gras Music For Dancing Vol. 2<\/em> (La Playa Sextet)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1958:<\/strong> <em>Cha Cha Cha&#8217;s To Soothe The Savage Beast<\/em> (con Cheo Feliciano)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1959:<\/strong> <em>Mardi Gras Music For Dancing Vol. 3<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1959:<\/strong> Red, Hot and Cha Cha Ch\u00e1<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1959:<\/strong> Pachanga Brava<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1961:<\/strong> <em>Merengue loco<\/em> (con Sonny Rossi)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1961:<\/strong> <em>Joe Cuba<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1962:<\/strong> <em>To Be With You<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1962:<\/strong> <em>Steppin&#8217; Out<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1963:<\/strong> <em>Diggin&#8217; The Most<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1964:<\/strong> <em>Vagabundeando (Hangin&#8217; Out)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1964:<\/strong> <em>El Alma del Barrio: The Soul of Spanish Harlem<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1965:<\/strong> <em>Comin&#8217; at You<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1965:<\/strong> <em>Breakin&#8217; Out<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1965:<\/strong> <em>Bailadores<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1966:<\/strong> Estamos Haciendo Algo Bien! <em>We Must Be Doing Something Right!<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1966:<\/strong> Wanted Dead or Alive (Bang! Bang! Push, Push, Push)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1967:<\/strong> Joe Cuba Sextet Presents The Velvet Voice of Jimmy Sabater<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1968:<\/strong> <em>My Man Speedy<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1970:<\/strong> <em>Recuerdos de mi querido Barrio<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1972:<\/strong> <em>Bustin&#8217; Out<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1973:<\/strong> <em>Hecho y Derecho (Doing it Right)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1976:<\/strong> <em>Cocinando la Salsa (Cookin&#8217; The Sauce)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1979:<\/strong> <em>El Pirata del Caribe (The Caribbean Pirate)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1995:<\/strong> <em>Steppin&#8217; Out&#8230; Again!<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><\/strong><strong>Recopilaciones y \u00c1lbumes P\u00f3stumos<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>1996:<\/strong> <em>Salsa y Bemb\u00e9<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>2010:<\/strong> <em>Greatest Hits<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>2012:<\/strong> <em>El Alcalde del Barrio<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>2012:<\/strong> <em>Anthology<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Joe Cuba, pseudonimo di Gilberto Miguel Calder\u00f3n Cardona (conosciuto anche come &#8220;Sonny&#8221;), \u00e8 celebrato come&#8230;<\/p>\n","protected":false},"author":1,"featured_media":11719,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[63,1326,261,1712,1514,402,263,351,62,192],"class_list":["post-11706","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biografie","tag-boogaloo","tag-cha-cha-cha","tag-cheo-feliciano","tag-gilberto-miguel-calderon-cardona","tag-guajira","tag-jimmy-sabater","tag-joe-cuba","tag-joe-cuba-sextet","tag-son-montuno","tag-tito-puente"],"_links":{"self":[{"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/posts\/11706","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/comments?post=11706"}],"version-history":[{"count":24,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/posts\/11706\/revisions"}],"predecessor-version":[{"id":11738,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/posts\/11706\/revisions\/11738"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/media\/11719"}],"wp:attachment":[{"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/media?parent=11706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/categories?post=11706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lasalsavive.org\/portale\/wp-json\/wp\/v2\/tags?post=11706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}