Henry Fiol - Apriг©tala En El Rincгіn -

He doesn't have the booming operatic voice of a Marc Anthony; instead, he has a nasal, rhythmic quality that mimics the phrasing of old Cuban soneros .

Listen for his improvisations (soneos) toward the end of the track. They are witty, conversational, and deeply rhythmic. 4. The Artwork Connection

This song is a bridge. It connects the 1940s Cuban son tradition with the 1970s New York Salsa explosion, all while being produced in the 1990s. It proved that "Salsa Dura" (Hard Salsa) didn't need to be aggressive—it just needed to have "soul" and "swing." Henry Fiol - ApriГ©tala en el RincГіn

His art usually depicts the same people he sings about: everyday folks in the barrios of New York and Latin America. Looking at the album cover while listening provides a complete sensory experience of his vision. 5. Why It Matters

Henry Fiol is a rare "double threat"—he is also a professional painter. He creates the cover art for almost all his albums, including Sonero . He doesn't have the booming operatic voice of

Unlike the polished "Salsa Romántica" that dominated the early 90s, this track sticks to Fiol’s roots:

Fiol famously uses a "conjunto" setup—two trumpets and a rhythm section—rather than a full brass band. This gives the song a raw, street-level intimacy. It proved that "Salsa Dura" (Hard Salsa) didn't

"Apriétala en el Rincón" is a quintessential example of signature "coro y guaguancó" style. Released in 1991 on the album Sonero , it remains a staple for dancers and enthusiasts of the NYC-style "Salsa de la Mata." 1. The Sound: "Salsa de Barrio"