Search Results for: Israel
Israel “Cachao” Lopez Sobrado in fame and respect in the seventies was dedicated to maintain the tradition at the highest level
“Cachao Dos” for the year 1977.
It will be enough to mention the name of this celebrity to open a whole range of creativity and genius embodied in what is considered a cult discography.
Since 1931, the year in which he started musically as a member of the Havana Philharmonic Orchestra, the precocious Israel would give a foretaste of the talent he had and that, as time went by, would be consummated hand in hand with his right-hand man and musical accomplice, Orestes “Macho” López, his older brother.
Certainly, music was impregnated in the DNA of the López family, a generating machine of musicians by tradition, something that Lázara Cachao, Israel’s niece and daughter of his deceased younger brother Orlando “Cachaito” Lopez, reaffirms: “The tradition of being musicians comes from the grandparents and great-great-grandparents, all the Cachao are musicians”.
Regarding his transcendence, he and his older brother Orestes are said to be the creators of the Mambo, a rhythmic variation of the Danzón and a genuine musical expression that would mark a before and after in Latin music.
However, and as it is known, this contribution would change its clothing and would reach worldwide popularity when it reached the hands of another “inventor” born in Matanzas, Cuba, named Dámaso Pérez Prado, who as it is known, gave it another treatment and musical twist reaching surprising popularity.
“Cachao”, after a 31-year stay with the Havana Philharmonic Orchestra, decided to leave Cuba, settling for many years in New York City.
As it is understandable, his presence in this city was more than important for the musical guild and music fans.
He was nothing less than one of the managers and protagonist of the famous Jam Sessions recorded by the Panart whose presence was capitalized among many others by Tito Puente, Tito Rodríguez and Eddie Palmieri.
From the first one we could say, a whole school, a musician with a deep knowledge of his double bass and creator of his own style, bow in hand, and as a prolific composer, with approximately three thousand compositions together with his brother “Macho” López.
The years in New York were musically very good for Israel Lopez as well as in Las Vegas and finally Miami, where he lived until his last days.
Making a discography of him is quite a task and a challenge. However, after his arrival, I remember with great pleasure his collaboration for the album Latin Explosion by Joe Cain and his orchestra in 1964, where among others, Listen dos Trompetas and Mungo, Mungo Baby stand out.
Esta es mi Orquesta, theme/performance of Tito Rodriguez’s musicians emulating what Stan Kent and his Big Band did, or those performances as special guest in the famous Descargas at The Village Gate Live and Tico All Stars, among many others.
In the seventies, Cachao, with his fame and respect, dedicated himself to maintain the tradition at a supreme level, and from that period, punctually 1977, Cachao will present two epic works, the first one entitled Cachao y su Descarga Vol. 1 and then Cachao Dos, both recorded for Salsoul Records under the production of René López and Andy Kaufman.
The latter contains only a total of five tracks, but they are well fulfilled in their purpose of maintaining a fierce defense of the rhythms that Gran Cachao has been proclaiming for years.
This album, like everything else recorded by the double bass player, is genuine and of supreme quality, something that is due to Israel’s responsible and dynamic character, something that the leader Julio Castro can attest to, having not only known him personally but also having worked with his orchestra La Única, which arrived in NYC for a prolonged stay of a little more than half a year.
Repertory
Ko Wo Ko Wo: (Guiro): Julito Collazo
Israel “Cachao” López: Contrabajo
Julito Collazo: Vocal, Chekere, Conga
Mario Muñoz “Papaito”: Campana
Diane Cardona: Coro
Marcelino Guerra: Coro
Héctor “El flaco” Hernández: Coro
Zunny López: Coro
Frankie Rodríguez: Coro
Fela Wiles: Coro
Jóvenes del Ritmo: (Danzón): Israel López
Israel “Cachao” López: Contrabajo
Julián Cabrera: Congas
Gonzalo Fernández: Flauta de Madera
Oswaldo “Chihuahua” Martínez: Timbales
Charlie Palmieri: Piano
Rolando Valdés: Guiro
Cuerdas:
“Pupi” Legarreta: Violín
Alfredo de la Fe: Violín
Eddie Drenon: Violín
Yoko Matsuo: Violín
Carl Héctor: Violín
Patricia Dixon: Cello
Centro San Agustín: (Danzón-Cha): Israel López
Israel “Cachao” López: Contrabajo
Carlos “Patato” Valdés: Congas
Gonzalo Fernández: Flauta de Madera
Lino Frío: Piano
Rolando Valdés: Guiro
Nelson González: Tres
Mario Muñoz “Papaito”: Percusión
Alejandro “El negro” Vivar: Trompeta
Alfredo “Chocolate” Armenteros: Trompeta
Rafael “Felo” Barrios: Coro
Roberto Torres: Coro
Trombón Melancólico: (Descarga): Israel López
Israel “Cachao” López: Contrabajo
Manny Oquendo: Timbales
Charlie Palmieri: Piano
Barry Rogers: Trombón
José Rodríguez: Trombón
Andy González: Campana
Frankie Rodríguez: Percusión
Gene Golden: Percusión
Milton Cardona: Percusión
Rafael “Felo” Barrios: Coro
Roberto Torres: Coro
Chambelona (Popurrí de Congas): Neri Cabrera
Israel “Cachao” López: Contrabajo
Julito Collazo: Bombo
Lino Frías: Piano
Mario “Papaito” Muñoz: Percusión
Oswaldo “Chihuahua” Martínez: Percusión
Virgilio Martí: Percusión
Eugenio “Totico” Arango: Coro
Rafael “Felo” Barrios: Coro
Read Also: Carlos “Patato” Valdés one of the best percussionists in the history of Latin Jazz
Israel Kantor was an excellent bassist, arranger and composer who achieved great popularity in Cuba for his vocal technique and original “Sonear” style.
His real name was Wilfredo Israel Sardiñas Domínguez.
He was born on October 16, 1949 in Alturas de Canasí, a town in western Cuba between Havana and Matanzas, and his parents registered him a couple of years later in Bacuranao (birth date October 16, 1954). A bassist, arranger and composer, he achieved great popularity in Cuba for his technique and original “sonear” style.
Although he was not very well publicized or acclaimed as a sonero, he managed to make a good name for himself in exile.
His mother played the tres and seven of his nine siblings formed a group with guitar, tres and lute; he played both sones and punto guajiro.
They used as bass a box called marímbula, which consisted of a box with four straps to produce the bass sound. He began to sing with his brothers at the age of eight.
Later he went to Havana to study at the Conservatory of Guanabacoa, where he started playing trova sonera.
Israel Sardiñas improvised on the sonos with astonishing ease, and he is not exactly what you would call an interpreter “by ear”, or empirical.
In fact, he played the bass before singing, and it was precisely his condition of bassist and arranger that made Meme Solis discover him in 1975 and took him and his group to work in the shows he was then directing in tourist centers on the beaches east of Havana.
“One night, at the dance show they were doing at the Hotel Atlántico, in Santa María del Mar, Israel took the microphone, I think because the group’s singer was not there,” Meme Solís recalls now. “I saw him and told him: ‘But how well you sing!’ When I put on another show I gave him two numbers, and from then on people began to follow him”.
“I began to study Carlos Embale, Miguelito Cuní, Raúl Planas, Roberto Faz and Beny Moré,” he said, referring to the time when he stopped playing bass to devote himself to singing. “There is everything that is Cuban music: guaracha, son, rumba. What I did was to listen to them and transfer them to the staff to understand how they moved their voices.
The one I liked the most was Raúl Planas; he was the one who rubateaba the most, the one who broke the syncopation the most.
Cuní had a good timbre, but always in time. Planas had a deeper timbre, and the sonero’s timbre must be metallic”.
That was the beginning of his professional career, which in Cuba would take him to the groups Ireson, Neoson, Los Yakos and Los Reyes 73. In 1979, he joined the Cuban group Los Van Van, founded and directed by bassist and composer Juan Formell (Juan Clímaco Formell Cortina was born on August 2, 1942 in Havana, Cuba). As vocalist of the famous group, Israel became popular in Cuba for his vocal technique and his “sonear” style, which aroused great interest in the musical media, especially in popular music. With the Los Van Van Orchestra he participated in the recording of the albums “Juan Formell y Los Van Van” in 1981 and “El Baile Del Buey Cansa’o” in 1982, both in the Egrem label of Cuba. It was with this group that the artist became known, and left his stamp on the interpretation of the song “Seis Semanas”.
From that time on, he began to make musical arrangements.
After several international tours with Los Van Van he decided to leave them in Mexico in 1983, in search of greater freedom and possibilities for his career.
A month later he was already in Miami after crossing the border. “I wanted to go to Grupo Afrocuba, but the bureaucracy wouldn’t let me,” he said on one occasion. “Van Van is very good, but Afrocuba came with a very strong force. I also wrote, I made arrangements, I had other ideas, and Afrocuba suited me better, because it was more jazzy”. In an interview for a news agency years ago, he said: “I had a great school before being with Los Van Van. After traveling a lot with them, I was very anxious to see the world and the third time we were in Mexico, I decided not to return to Cuba”.
SUCCESS IN EXILE
When he arrived in New York in April 1984, he was still Israel Sardiñas, but when Johny Pacheco, the legendary director of the Fania All Stars, took him to an anniversary party of the group at the Cheetah two months later, the late “singer of singers”, Héctor Lavoe, heard him improvising and stopped the orchestra: “I want to baptize him right now as Israel Cantor”, said Lavoe. The only thing left to do was to change the c for the k, spend two months with Lavoe’s band, and in October create his own, which he called La Verdad.
Thus, in 1984, he released the album “Israel La Verdad” with the production of Larry Harlow, on the Bacán Records, Inc. label. All the numbers were written and composed by Israel Kantor.
As its name indicates, La Verdad was a constellation of excellent musicians: Sonny Bravo on piano, Salvador “Sal” Cuevas on bass, Tony Barrero and Pedro “Pouchi” Boulong on trumpets, Barry Rogers on trombone, Mario Rivera on saxophone, Karen Joseph on flute, Frankie Malabé on congas and Nicolás “Nicky” Marrero on bongo among others. Justo Betancourt and Adalberto Santiago collaborated on backing vocals, with Justo doing a duet track: “Rumberos De Nueva York”. Other numbers on the album that deserve attention are: “La Verdad”, “Tu Lindo Pasado”, “María Antonia” and “A Mis Idolos”.
That same year he is invited to sing on the album by Ñico Rojas y su Orquesta entitled “Paso La Vida Pensando: ‘En Tí'”, on the Kanayón Records label, three songs: “Juan Ramón (El Chichón)”, which was popularized by José “Cheo” Feliciano when he was part of Joe Cuba’s group, “Por Encima Del Nivel”, which had the arrangements and piano of Luis Quevedo, in which he performs a superb piano solo, and in “Lo Voy A Matar”, composition by Tony Pabón and arrangements by maestro Kenny Gómez.
In 1986, he is the lead vocalist of the group Salsa Latina in the album “De Aquí . . Pa’ Lante!”, on the Coa Records label, which was produced by Isidro Infante and Israel Kantor himself and in which he composed half of the eight songs that make up the album. The most outstanding numbers are: “En Honor A La Verdad”, “Se Acabó El Material”, “Saca Aserrín, Mete Madera”, “A La Mitad Del Camino” and “El Palo De China” (Composition by Raúl Marrero).
He temporarily left Miami to try his luck in Puerto Rico, Mexico and Italy until 1996, when he settled permanently in Miami. He performed on various stages of the music scene: he inaugurated the Mamá Rumba Club in the Mexican capital, made arrangements for the orchestra of the Sábado Gigante program on Channel 23 in Miami, participated in a Cuban Jam Session at the Lincoln Center in New York, among others.
For more than two decades Kantor was the protagonist of important musical projects both in Latin America and Europe. He recorded eight solo albums and six guest albums with orchestras such as those of Johnny Pacheco and Juan Pablo Torres. Among his recordings are “Un Señor Kantor” for the BMG record label; a tribute album to Los Van Van for Sony Music and “Llegó La Música Cubana”, an album that took him on tour in Europe.
In 2003 he collaborated in the solo work of arranger and composer Jesús “El Niño” Pérez with Orquesta Sensación (not to be confused with the former group of Cuban Abelardo Barroso) entitled “Cuba y Puerto Rico Son De Un Pájaro Las Dos Alas”, in which Israel Kantor’s voice stands out over those of the other two singers: Danny Rojo and Rogelio Rente, as well as demonstrating his abilities to improvise on the soneo, in the number “Pa’ Puerto Rico” (which Jesus “El Niño” Perez composed for the album, “La Amistad” by Johnny Polanco).
His last great work, in 2003, was a tribute to Benny Moré his permanent artistic inspiration- entitled “To ‘El Bárbaro Del Ritmo'”, a live recording with the Tropicana All Stars orchestra, produced by Regu Records, owned by Recaredo Gutiérrez.
The orchestra, made up of 22 musicians, mostly Cubans living in Miami, led by Israel Kantor, was nominated for a Latin Grammy Award in the traditional music category in 2004, and two other nominations for an Anglo-American Grammy.
The project, which consisted of a live show, recorded on DVD and seven albums, led them to share the stage with legendary figures such as Paquito D’Rivera, Marco Antonio Muñiz and Generoso “El Tojo” Jiménez, among other glories.
The Tropicana All Stars orchestra was made up of a large number of extraordinary musicians, all of them renowned and of the highest quality: Paquito Echevarría on piano, Cuban musician who has collaborated for a number of important singers such as Gloria Estefan, Rey Ruiz among others; Venezuelan Ramses Colón on bass, a virtuoso musician and desired in any band, Adalberto “Trompetica” Lara on first trumpet, possessor of a very Cuban technique when playing and improvising, he has been a musician of Irakere, Super Cuban All Stars, NG La Banda among others; Kiwzo Fumero on the second trumpet, comes from the conservatory “Alejandro García Caturla” of Cuba, since his beginnings he expressed his great interest in the instrument to which he has dedicated part of his life, he dominates the high notes with mastery for which he has been recognized by great masters of the genre; Lenny Timor on the third trumpet, participated with Los Sobrinos Del Juez for 14 years; Mario Del Monte on fourth trumpet, has been a member of prestigious orchestras such as Roberto Faz, Pacho Alonso, Tito Gómez among others; Alfredo Salvador on baritone sax, has been present in recordings for Celia Cruz, Paquito D’Rivera and Arturo Sandoval; José “Pepe” Vera on tenor sax, his resume includes recordings with the Tropicana Orchestra, Benny Moré, among others, Manuel Valera on alto sax; Juan Carlos Ledón on tenor sax, he has played with Orquestas Cubanas, Roberto Torres, Willy Chirino, Andy Montañéz, among others; Bayron Ramos on trombone, he has been a musician with Albita Rodríguez’s band and Fania All Stars; Braily Ramos on trombone, he has recorded with Gloria Estefan and Miami Sound Machine, Alejandro Sanz and others; Leonardo Timor Sr. on trombone; Leonardo García on timbales, has accompanied Luis Enrique, José Luis Rodríguez “El Puma”, Alexandre Pires, among others; Michael Gerald on percussion; Edwin Bonilla on congas, one of the best percussionists today who needs no further introduction; Juanito Márquez on arrangements, production and musical direction; Germán Piferrer is the musical director and arranger, and as very special guests Juan Pablo Torres, Roberto Torres, Generoso “Tojo” Jiménez, Carlos “Patato” Valdéz, Alfredo “Chocolate” Armenteros and Cándido Camero.
The vocal responsibility fell on Israel Kantor, who was emerging as one of the contemporary Cuban singers with the greatest international projection. His voice can be heard in the twelve songs that made up the first musical volume: “Santa Isabel De Las Lajas”, “Oh! Vida”, “Maracaibo Oriental”, “Fiebre De Ti”, “Mata Siguaraya”, “Amor Fugaz”, “Bonito y Sabroso”, “Camarera Del Amor”, “Mucho Corazón”, “Yiri Yiri Bon”, “Perdón” and “Francisco Guayabal”, the cover was made by Cuban painter Andrés Puig.
Kantor’s love for his homeland turned his career into a constant homage to Cuban music.
“Over time, one assimilates growing up far from your homeland, not being able to return to stay connected to your roots, but time heals the wounds,” he said a short time ago.
“Inspiration is like a spring,” Kantor said, referring to the improvisations he made as a sonero singer. “It’s born from the heart; ideas are constantly flowing to you. That’s why a sonero always sings the same song differently.
Cuban music is the continuity of what the singer generates: although the first thing is the vocal conditions, what you have to have is, above all, the clave; knowing how to play with the phrasing so as not to go against the clave”.
Kantor said, “You can train a vocalist to become a sonero, but if his relationship with the genre is not natural, from the heart, he will always end up giving clichés in his inspirations”.
He had no shortage of job offers, even though he was rarely heard on the radio in Miami. When he was not performing with the Tropicana All Stars, he was performing with his group Havana Son -violin, flute, piano, bass, timbal and conga- in different stages both in the United States and internationally: at the Tropicana Hotel in Las Vegas; the Lincoln Center in New York (in 2003); at the Casa Cuba in Ponce, Puerto Rico, and on tours to the cities of Nicaragua, Lisbon, Oporto and Vigo, in Portugal and Spain, where he shared with other Cuban exiled stars like Willy Chirino and Albita Rodriguez.
Israel Kantor passed away on Saturday, July 1, 2006 at 11:00 p.m. at his residence in southwest Miami, victim of cancer, at the age of 57. The artist, who had been suffering from liver problems for some time, had already undergone surgery in 2001 for colon cancer. He is survived by his wife Rosalia Perez, aunts, uncles and cousins. His body was laid to rest on Wednesday, July 5 at Caballero Rivero Funeral Home, 3344 SW 8th Street, in Miami, and buried the following day at Woodland Park Cemetery, located at 3260 SW 8th Street, in Miami.
“He always worked as if it was the first day,'” recounted his wife Rosalìa as she recalled the artist’s musical enthusiasm. “He was never satisfied. He had a great hunger to play, to sing and to give people everything he had.”
REACCIONES POR SU MUERTE
“Israel se hizo en Los Van Van. Tuvo una etapa muy brillante”, señaló Juan Formell, fundador de Los Van Van, ayer desde La Habana a El Nuevo Herald. “Está entre los cantantes más importantes con los que he trabajado. Para nosotros es una pena la pérdida de Israel”.
“Fue una de las voces más representativas de la música cubana de los últimos años”, dijo Adolfo Fernández, amigo personal y publicista de Kantor. A su juicio, con la muerte del famoso sonero desaparece “una personalidad única y una manera de cantar irrepetible”. “El color de voz de Kantor era único”, destacó.
“Ha muerto uno de los mejores soneros que ha dado Cuba, y uno de los soneros auténticos, de los cuales no quedan muchos. Tenía una voz privilegiada, un ritmo y un sabor muy auténticos”, anotó la cantante Albita Rodríguez tras conocer la noticia de su deceso.
Fuente: herencialatina.com
Salsa in Israel
Europe / Israel / Tel Aviv
Salsa in Israel. This ancient land is as exciting as the many stories it tells. It is the land of Abraham father to Isaac and his half brother Ishmael the patriarchs of the Arabs and the Jewish people. Patriarchs born of Sarah and Hagar. It is the land of Jesus and his many stories. It is the land where all three groups claim Jerusalem as holy.
For the Jewish it is because of King David, King Salomon, the two temples, the tomb of King David and the Western Wall. The Muslims regard it as the place from where the prophet Mohammed ascended to heaven in the birthplace of Christ, the via dolorosa and the cruciction. Each group has a “gate”. Why even the hamburger chain McDonalds seems to have gotten their “golden arcs” from one of the gates.
At 71 years of age, Israel is one of the youngest countries in the world. Needless to say the country is deeply divided, with serious challenges facing its leaders. A majority is required to govern effectively. While 80 % is said to be secular (non-religious ethnic) and 16% ultra-orthodox, the ultra-orthodox control the swing vote. To be Jewish you must be born of a Jewish mother, or converting. Around 500,000 Latinos are Jewish citizens.
This is around 5% in a country of 8.5 million people. The population is very diverse. Listening to people talk, at times I felt that I was in Russia. The migration from the former USSR comprised for over a million immigrants. The Roman Empire could not afford rebellion in Judea as it was the crossroads between Europe, Africa, Asia and the Middle East. Massada is the conformation of the determination to be a free people.
Ultra orthodox 16%
As a new nation the argument that tradition, culture and religion had to be nurtured and recaptured was presented by the ultra-orthodox. As its first Prime Minister it is said that David Ben-Gurion gave some 50 persons a waiver from obligatory military service. Much to the displeasure of many seculars, the ultra-orthodox have since grown in numbers and receive government assistance so that they are free to do nothing else than to study. However with the control of their swing vote, the ultra-orthodox continue to be exempt from obligations. After finishing mandatory school, all citizens must render military service, two years for the women and three years for the men.
ISRAEL ARCHITECT
Although the official capital is Jerusalem, the modern city is TelAviv, followed by its Port City of Haifa. The Tel Aviv nightlife goes way beyond 2 a.m. The city is very modern, and everything seems to work right on schedule.
The architecture speaks of free growing ideas
ISRAEL FOOD
Diverse migration is accompanied with the cuisine of the immigrants. As a result, Tel Aviv boasts of a wonderful variety of cuisine.
The women walk the streets in the wee hours of the night without a care, which speaks of the public safety. Tel Aviv was voted “friendliest gay city in the world.” It is said that the annual gay pride parade was attended by more than 250,000.
250,000 people attend the LGBT community friendly parade
When visiting Bethlehem, the church of the Nativity, West Wall, and tomb of King David, you have to enter into Palestinian controlled territory. Our Israeli tour guide explained that they had entered into an agreement of cooperation with the Palestinian tour guides
Palestinian tour guides
An Israeli bus took us to the border and we then transferred to a Palestinian tour bus. The Palestinian tour guide took over and gave us our tour, a visit to their gift shop and then returned us to the border where the Israeli bus and guide were awaiting for us.
For those of you who are always looking for a place to go dance Salsa, our recommendations are two places only, Salsa Carlos and Havana Club.
Havana Club caters to those new salsa dancers with a large main floor and three or four side rooms for specialties like Bachata, Cumbia, etc. For those of you looking to find a more Latino place, then “El Propio” is Salsa Carlos.
What got you going in Salsa? Carlos says that he grew up hearing Salsa in Cali. It runs in his blood and his heroes were El Gran Combo, Los Hermanos Lebron and Beny More. Even the bell in grammar school to signal recess, played in Salsa. In Israel some Colombian friends asked him to organize a Salsa event and it was successful. To his knowledge, he is the first person to introduce Salsa in Israel. Since then Carlos has been organizing events in Tel Aviv at places like the “Old Port”. Apart from special events, he holds every Friday night at 11:30 pm, Salsa Carlos at Carlbach 3, Tel Aviv. He is accompanied by DJ Manuel.
Discover The Alternative To Dance Latin Music In Israel
Havana Music Club: An exclusive Cuban atmosphere in Tel Aviv
The number one Latin rhythm club in Israel, Havana Music Club, since August 2010 opens its doors every night. It serves as a different entertainment venue for loyal Salsa and Bachata lovers from this country located on the Asian continent.
This club has set a new standard in the Middle East that resembles the best Latin music clubs in Europe and North America specifically New York and Los Angeles but with a Cuban atmosphere. Additionally, it has an underground parking lot for approximately 250 vehicles and nearby side streets with free parking spaces.
Ten years and a resounding success led Havana Music Club to create Hula La in July 2019. This “Little Brother” is located next to the main headquarters and also meets the requirements of high quality in sound, lighting, and atmosphere with a space clean that houses hundreds of dancers in 1500 square meters of parquet, which allows you to fully enjoy the continuous music of the various DJs.
This club complex is located next to Ayalon Lanes at the Hashalom Interchange (Azrieli Towers), a 2-minute walk from Hashalom Train Station.
The next event that Havana Music Club will bring to the Latin scene in Israel in 2021 will be the Caramelo festival. This event will have workshops with a couple of top-level national and international artists in the Salsa and Bachata styles. In addition, you will enjoy three nights of crazy parties, as well as accommodation with three meals, and hot/cold drink bars at the Hotel Leonardo Club.
Date: Thursday, September 2nd – Saturday, September 4th
Venue: Leonardo Club Hotel. Kampen St, Eilat, Israel
PARTIES IN HAVANA MUSIC CLUB
Havana Music Club offers Latin parties with Salsa and Bachata instructions three days a week (Tuesdays, Thursdays, and Saturdays) from 9:00 PM to late at night, and you can start from the basic level up to the professional level.
You will start with a small warm-up lesson to continue with the Latin rhythm class of the moment you prefer in any of its levels, and end with the great dance party in the Havana Music Club and Hula La. Likewise; you can also opt for classes for small groups.
Among the courses that will open soon are:
Salsa Lady Style: This course is aimed at Salsa dancers that have an intermediate level or higher. Women interested in developing body movement, gaining confidence in dancing, developing their style, and technique.
In the Salsa Lady Style course, you will work on proper posture, turns, leg and handwork, body movement, hip work, and upper body.
Chat for beginners: These Bachata classes are designed for all levels. The objective is to give you the bases so that you enter the world of “chat” and give you the tools to enjoy the dance that is conquering Israel.
Sabor de Cuba – Master’s Level: The course is taught by Lear Shoshani & Moti Sabag, one of the oldest and most prominent Afro-Cuban Salsa instructors in the country. In these lessons, they will teach the essentials of the music of this Caribbean island from its origins and emphasizing the Son, Rumba, and Afro-Cuban Mambo to dance more in tune with the music.
Salsa and Cha Instructor Training: Havana Music Club’s most prestigious course to attract future instructors from the Salsa and Bachata scene in this Middle Eastern country. This course includes general instruction, safety before a captive audience, dance basics, instructional experience, and various enrichment lessons in the field of rhythm, style, and musical history of these styles that mark the development of the night scene of this decade.
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- There are 3 different rooms in the club: Central Room with capacity for 300 people seated or 850 people standing, Secondary room “Hula La”, and VIP Room with 90 square meters to accommodate from 20 to 50 guests.
- Smoking is prohibited within the club’s facilities.
- It is also strictly forbidden to bring any kind of drink. (Includes water)
- Havana Music Club offers live local bands’ performances.
- If you bought the ticket for a concert, I recommend you arrive at the opening of the doors to choose seats because the places are not separated.
- In general, the price online is cheaper than the one paid at the box office.
- Two other courses that will soon be offered are Mixed Style Lady Style and Salsa del Medio.
- Among the DJs that currently display their sets with the best mix of Latin music are DJ Charlie Pérez, DJ Nadav Shamgar (DJ NASH), DJ Moti, DJ Paco, and DJ Tzachi Bachar.
- According to the Israeli Ministry of Health guidelines, the number of people who spend time in the club should be limited. Attendees must present a vaccination or “in recovery” card plus an identification card.
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