Undoubtedly the corralero sound caused great impact for the richness of its arrangements and the use of the various Afro/Colombian rythms that compose it. However, at the beginning of the seventies the power of the Salsa invaded the radio stations of Latin America and infected its own and strangers.Precisely, by initiative of musicians with vision, those groups of corralero sound linked the Salsa to its repertoires. Manuel Cervantes was director of Salsa Corralera. In 1973, a group of experienced musicians under his baton led to the format corralero works of the Cuban, Puerto Rican and Colombian repertoire, located within the framework of Afro/Antillean music.Two albums were enough to immortalize the sound work of Salsa Corralera. A work that was recorded in the Luis Uribe Bueno studios of the city of Medell├şn, under the production of seasoned music lover Hern├ín Restrepo Duque. The voices of Arnulfo Trujillo Hurtado, known as @El Negrito Sabor@, Alcides D├şaz and Rafico Restrepo were registered with their sonero power to resize songs that had been positioned in the taste of the people.It is rumored that the members of this band belonged to Los Corraleros de Majagual although it was not the same conformation. In fact, both Cervantes and Diaz and Trujillo, were part of this institution.Its loud sound, obviously salsero, was based on a complete section of winds of sax, trumpet and trombone, in addition to the habitual percutivo set in the Salsa.