WILLIE COLON - She Don't Know I'm Alive 12" Vinyl EP Album

WILLIE COLÓN - “She Don’t Know I’m Alive”

- A Bold Fusion of Salsa, Jazz, and Club Rhythms from a Latin Music Trailblazer

Historical Context: The Late '80s Latin Pulse

In 1987, salsa music stood at a crossroads. The genre that had conquered New York’s barrios in the '70s was evolving, opening itself to electronic rhythms and cross-genre pollination. It was the era when house music was dominating clubs, and Latin artists were starting to take notice. For Willie Colón, a pioneer of politically conscious Nuyorican salsa, “She Don’t Know I’m Alive” was both a continuation of his eclectic approach and a foray into a more experimental, club-ready soundscape.

Musical Exploration: Bridging Salsa and Electro-Jazz

“She Don’t Know I’m Alive” isn’t your standard conjunto session. The A-side features a lush, eight-minute vocal cut blending Latin jazz textures with electronic overlays and club-inspired beats. On the B-side, the “Alive Dub Two” pushes even further into dub territory with sparse vocals and reverb-heavy trombone echoes — a nod to Colón’s signature instrument. But it’s “Set Fire to Me (Latin Jazzbo Mix)” that steals the show: a kinetic groove driven by percussive synths, sharp brass stabs, and Afro-Caribbean polyrhythms morphing into a dancefloor invitation.

Genre Bending: Latin Jazz Meets Post-Disco

Colón had long been a genre-blender — from his collaborations with Hector Lavoe to his politically charged albums in the '70s. This EP, however, walks a finer line between Latin jazz and post-disco electronica. It’s unmistakably Latin at heart, but its structure, production, and mix architecture reflect the influence of New York’s underground club scene. You won’t find traditional montunos here; instead, you’re treated to pulsating rhythms, syncopated synth pads, and that iconic Colón trombone subtly woven into the mix.

Controversies and Critical Response

While fans of Colón’s classic salsa work raised eyebrows at this detour into dance music, others embraced it as proof of his ability to adapt and reinvent. Critics in the Latin music press of the time questioned whether the EP was aimed more at international DJs than barrio listeners, a tension that often haunted genre-pushing records. Still, even those skeptical of the direction had to acknowledge the sophisticated layering and sonic craftsmanship that defined the record.

Production and Recording: Sonic Innovation in NYC

Produced by Willie Colón himself along with Yvonne Turner — a rising force in the dance music production scene — the EP was recorded at Fantasmas and Blank Tape Studio in New York City. These were spaces where sonic experimentation thrived, especially in the hands of artists willing to color outside the traditional lines. Turner’s influence is especially present in the mix-down aesthetics: tight drum programming, shimmering hi-hats, and layered ambient effects lend the record a depth more aligned with club culture than concert hall salsa.

Variations and International Differences

“She Don’t Know I’m Alive” was issued in several formats across different markets, but the UK pressing on A&M Records (AMY 380) is notable for its particularly clear mastering and heavier emphasis on stereo separation. Some other international pressings, particularly in Latin America, featured alternate artwork and a more compressed audio profile — more suitable for radio than dancefloors. The English release, however, was clearly tailored to DJs and audiophiles, with extended track times and full-spectrum mastering.

Yvonne Turner: The Underrated Architect of House and Dance Music in the 1970s and 1980s

- The Unsung Pioneer Who Helped Shape House Music from Harlem to the Global Dance Floor

Early Years and Entry into the New York Club Scene

Yvonne Turner, born in 1953 and raised in Harlem, the South Bronx, and later Hollis, Queens, emerged as one of the few female producers and DJs at the genesis of New York's underground dance music scene. Her roots were in local DJ sets and parties during the late 1970s, where she honed her ear for groove, rhythm, and sonic experimentation.

Breaking Ground at Streetwise Records

By the early 1980s, Turner joined Arthur Baker’s Streetwise Records, starting out humbly in the mailroom. But her keen musical instincts quickly propelled her into production roles. She co-created the dub version of Colonel Abrams’ “Music Is the Answer” in 1984, a version that would dominate club play and influence the emerging house music sound.

Despite her involvement in shaping such pivotal recordings, Turner was often sidelined in terms of credit — a reflection of the era’s gender and racial disparities within the industry. Her name was sometimes omitted entirely, even from tracks where her contributions were foundational.

Fusion of Cultures: Producing for Willie Colón

One of Turner’s standout projects came in 1986 with the production of Willie Colón’s experimental Latin/house crossover track “Set Fire to Me.” The song’s “Latin Jazzbo Mix,” produced and mixed by Turner, pushed the boundaries of Latin music by blending Afro-Caribbean percussion with electronic drum machines and jazz phrasing. It served as a bold experiment that predated the mainstream adoption of Latin influences in house music by nearly a decade.

Expanding Influence in Dance and Garage House

Turner’s remix of Arnold Jarvis’ “Take Some Time Out” in 1987 became another example of her flair for building lush, soulful grooves. Her work leaned toward what would become known as garage house — melodic, rich in vocal arrangements, and spiritually charged. She also collaborated with vocal powerhouses like Loleatta Holloway and Whitney Houston, often behind the boards or in remix duties, leaving her fingerprint on a range of influential dance tracks.

Industry Struggles and Underappreciated Legacy

Throughout her career in the '80s, Turner faced systemic challenges, often working in the shadows of male producers who received primary credit. Her role in pioneering the house sound, particularly as a Black woman in a male-dominated industry, remained largely unsung for decades. But those in the know — DJs, producers, and crate diggers — recognized her influence.

Return to Music and Ongoing Advocacy

After taking a break from the industry to work in education, Yvonne Turner re-emerged in the 2010s with a renewed mission. She co-founded a production company called Strong Enough and began advocating for recognition of women and people of color in electronic music history.

Her story is more than just a footnote in house music—it’s a vital chapter in the genre’s evolution. With every echoing synth, deep bassline, and thoughtful arrangement, Yvonne Turner helped shape the foundation of modern dance music.