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2020

Tom Teasley, described in the Washington Post as “a multi-instrumental genius”

Tom Teasley, described in the Washington Post as “a multi-instrumental genius,” maintains a unique career as a solo percussionist, composer and collaborator. Tom is a 2010 and 2011 Helen Hayes Theater Award recipient for outstanding sound design (nominations in 2012 and 2014).

Tom Teasley playing the drums
Tom Teasley playing the drums

Tom tours frequently throughout the world performing and presenting clinics for the instrument companies he endorses including Yamaha, Vic Firth, Sabian, Remo, Gon Bops and others.

He is the 2012, 2013 and 2014 WAMA (Washington Area Music Award) World Music Instrumentalist of the year. A four-time recipient of a Fulbright-Hayes grant for performances in the Middle East, Tom collaborated with indigenous musicians and gave historic performances in Saudi Arabia, the West Bank and Jerusalem.

Tom Teasley in concert
Tom Teasley in concert

He has been an artist-in-residence at the John F. Kennedy Center for the Performing Arts and has collaborated with the National Symphony as both a soloist and composer.

As an international collaborator he has performed by invitation in Europe, South America, New Zealand and Samoa. Tom earned the Artist-of-the-year award from Young Audiences of Virginia for his creative and educational presentations.

Tom Teasley
Tom Teasley

 

Tom Teasley's Drums
Tom Teasley’s Drums

His seven CDs have been greeted with international airplay and acclaim.

He has been the subject of feature articles in both “Modern Drummer” and “Drum!” magazines.

Please visit: www.tomteasley.com and for more information.

Tom Teasley
Tom Teasley

https://www.facebook.com/TomTeasleyMusic/

https://www.facebook.com/tomteasley

Alfredo De La Fe, is responsible for transforming the violin for Latin Music

Latin America/ Colombia/ Cali

Alfredo de la Fe is a Cuban-American violinist based in New York, who also lives in Colombia.

He is responsible for transforming the violin into a sound much more suitable for Salsa and Latin music, as well as having manufactured and patented his own violin. De la Fe began studying the violin at the Amadeo Roldán Conservatory in Havana in 1962.

Two years later, he receives a scholarship to enter the Warsaw Conservatory, in Poland.

In 1965, he soloed compositions by Mendelssohn and Tchaikovsky with the Metropolitan Opera Orchestra at Carnegie Hall.

Alfredo De La Fe playing the violin
Alfredo De La Fe playing the violin

A scholarship at Juilliard opened new doors for him. De la Fe began his professional career, at the age of twelve, when he switched from classical music to Salsa, and accepted an invitation to join charanga legend José Fajardo’s Orchestra.

In 1972, he joined the Eddie Palmieri orchestra. He was a member of the group for a very short period, temporarily moving to San Francisco, where he met Santana. Returning to New York, De la Fe joined Típica ’73 in 1977. Two years later, he released his debut solo album, Alfredo.

In 1980, De la Fe signed with the Fania All-Stars, and produced thirty-two albums for Fania Records. His second solo album, Charanga ’80, was released in the same year.

In 1981, De la Fe became musical director of Tito Puente’s Latin Percussion Jazz Ensemble.

The following year, he confirmed his solo career, signing with Taboga, for whom he recorded the album Triunfo. He settled in Colombia in 1983, and signed with Philips; As a result of this, he released three albums: Made in Colombia, Dancing in the Tropics and Alfredo de la Fe Vallenato, at the end of the 80s.

In 1989, De la Fe signed with Discos Fuentes. Although he was one of the members of the Fania All-Stars for 1995, De la Fe continued his solo career.

He signed with Sony Music in 1997. Two years later, he toured with his own orchestra, appearing at festivals in Denmark, the Netherlands, France, Turkey, and Belgium, and reuniting with Eddie Palmieri and his orchestra for a European tour.

In 2002, after several years in Europe, Alfredo moved back to New York and visited the US with his New York band, led by pianist Israel Tanenbaum.

Alfredo De La Fe
Alfredo De La Fe

Other musicians including bassist Máximo Rodríguez, percussionists Tony Escapa and Johnny Pequeño Rivero, and autistic Andrea Brachfeld.

Discography Solo albums

  • 1979 : “Alfredo”
  • 1980 : “Alfredo de la Fe y la charanga 1980”
  • 1981 : “Para África con amor”
  • 1982 : “Triunfo”
  • 1984 : “Made in Colombia”
  • 1985 : “Alfredo de la Fe Vallenato”
  • 1990 : “Salsa”
  • 1990 : “Los violines de Alfredo de la Fe”
  • 1992: “Los violines de Alfredo de la Fe vol. 2: Sentir de Cuba”.
  • 1993 : “Con toda la salsa Alfredo de la Fe”
  • 1995 : “La salsa de los dioses”
  • 2000 : “Latitudes”
  • 2006 : “Alfredo de la Fe y Fruko (La Llave de Oro)”
Alfredo De La Fe - Photo
Alfredo De La Fe – Photo

Session Artist and Collaborations:

    • 1973 : “The Sun de música latina” por Eddie Palmieri & Amigos Con Lalo Rodríguez
    • 1976 : “De ti depende” por Héctor Lavoe
    • 1977 : “Selecciones clásicas” por José Fajardo
    • 1977 : “El Baquine de Angelitos Negros” por Willie Colón
    • 1978 : “Comedia” por Héctor Lavoe
    • 1979 : “Típica 73 en Cuba – Intercambio cultural” por Típica 73
  • 1979 : ” Necesito tú” por Sylvester
  • 1980 : “Charangueando con la Típica 73” por Típica 73
  • 1980 : “Señor Charanga” por José Fajardo
  • 1982 : “Encima Broadway” por Tito Puento
  • 1997 : “Bravo” por Fania Todo-Estrellas
  • 2001 : “Diferente” por José Alberto (El Canario)

 

Melao
Melao

Charlie Pérez and his “Salsa Con Sabor” Ft Nestor Pacheco

North America / Dominican Republic / Santo Domingo

Did you know that the Venezuelan percussionist, composer and producer Néstor Pacheco joined forces and collaborated with the salsa producer, marketer, promoter and diffuser Charlie Pérez, who is currently the director of the page salsaconsabor.net, a platform for the diffusion of salsa already be informative, videos, tropical music and entertainment.

Charlie Pérez
Charlie Pérez

On this occasion, the new song by Charlie Pérez was launched on the page salsaconsabor.net, who called it “Salsa Con Sabor”. This cut is for the enjoyment of the dancers and you can find it available on all digital platforms.

Charlie Pérez and the "Salsa con Sabor"
Charlie Pérez and the “Salsa con Sabor”

“Salsa Con Sabor” is a theme that emerged with the collaboration of:

  • Musical Production and Direction: Néstor Pacheco
  • Co-Production: Charlie Pérez
  • Arrangement and Piano: Eric Urdaneta
  • Bass: Elio Torres
  • Trumpet: Andrés Romero
  • Trombone: Israel Rebolledo
  • Choirs: Alonso Dagua, Josué Hernández & Néstor Pacheco
  • Voice and Lyrics: Néstor Pacheco
  • Mastering and Mixing: Arturo Rey
  • Recording at Keysthar Studios, Venezuela

Graphic design and edition: Kelvin Pérez

  • Contact: 18297123137
  • Email: [email protected]

Co-Production, Executive Production, Marketing and Public Relations: Charlie Pérez and Wilendy Rosario

  • [email protected]
  • [email protected]
  • Telephone: 18299653863

For more information:

Correo: [email protected]

Twitter: https://twitter.com/SalsaconSabor_

WebSite: https://salsaconsabor.net/

Facebook: https://www.facebook.com/salsaconsaborr/

Instagram: https://www.instagram.com/salsaconsabor_/

YouTube: https://www.youtube.com/channel/UCVusywkzJbH8soalxDfK0qA/featured

Caroline Cohen

Latin America / Buenos Aires / Argentina

Carolina Cohen, Singer and percussionist

Carolina Cohen
Carolina Cohen

Percussionist and singer Carolina Cohen was born on November 8, 1982 in Buenos Aires, Argentina.

He began his studies in the year 2000 and traveled to Cuba, Peru and New York to perfect himself.

Throughout his career he has accompanied great artists such as Mayito Rivera, Eva Ayllón, Luis Salinas, Nahuel Peennisi, Bomba de Tiempo and prestigious artists at the Teatro Colón in the city of Buenos Aires.

Cohen has participated in highly relevant international festivals; Jazz Festival in Peru and Uruguay, International Cajon Festival in Peru, International Percussion Festivals in Argentina and the Great National Folklore Festival of Cosquín.

Carolina Cohen and her drums
Carolina Cohen and her drums

Carolina is frequently invited to give percussion master classes, workshops and clinics at universities, colleges and schools in countries such as Colombia, Peru, Chile, Uruguay and the United States.

In 2016, she was invited to appear in a video on CongaHead, a popular YouTube with over 100,000 subscribers.

He currently directs his group “Caro Cohen Cuarteto”, created in 2017.

In the short period of existence, this group was already the opening act for Grupo Pedrito Martínez at Trastienda Club and accompanied Maestro Tito Manrique from Peru.

Highly in demand on recording sessions, she has recorded with many different artists.

Carolina Cohen on stage
Carolina Cohen on stage

Carolina has been a member of the “Grupo De Tal Palo de Música Latinoamericana” for eleven years with two albums released, Música Latinoamericana and La Luna Está Roja.

She is currently an exclusive artist for Gon Bops Percussion in Los Angeles-California.

Veruska Verdu

Latin America / Lima / Peru

Veruska Verdu “The only formula to keep the Salsero genre alive is to give support and credibility to the next generation”

Veruska Verdu
Veruska Verdu

Despite her youth, Veruska Verdu knows where she is going, without forgetting the roots where she comes from, this young woman has an interpretative strength and intensity that made her be considered by Peruvian critics as “The new Voice of Venezuela”, we do not doubt it , sings salsa and bolero very well, in addition to strolling through Afro-Venezuelan rhythms. In Venezuela, we enjoyed many of his presentations with the different orchestras with which he worked, and we witnessed how he left his soul in each one of his presentations and performances.

His greatest musical influence has been Celia Cruz and Oscar de León in terms of the salsa genre, and in the Afro-Venezuelan genre he admires Betsayda Machado and the Experimental group “Vasallos de Venezuela”. She tells us that, “in her family there are no musicians”, her grandmother and grandfather were rumberos and she believes that the musical vein comes from there, thanks to her grandparents, and to have the unconditional support of her parents and relatives, who have helped him get to where he is.

From Afro-Venezuelan music to salsa, from Barlovento to Caracas, from Venezuela to internationalization, this is how her career goes, in constant growth and evolution, nothing stops her from demonstrating her artistic quality and continuing to establish herself in this tough market.

Barlovento has a rich folk manifestation, all this mix of rhythms is in Veruska’s blood, therefore, she likes rumba, partying, music.

“What a black rock, how does she get into the rumba”

Veruska Verdu - Photo
Veruska Verdu singing in a concert

How were your musical beginnings?

“In my town of La Balsa, in the Panaquire parish, it was there that I began to sing music of the Afro-Venezuelan genre, thanks to Professor Adrián Méndez, I began to participate in the “Canta Claro” Festivals, in the cultural activities that were held, They invited me and I went, I had great support from my teacher, my school teachers, my family and the residents of the town”.

“I continued with my popular singing training at the high school, I participated in the high school voice representing my municipality Acevedo and the high school where I studied, I met my guide teacher Richard Rivero, who invited me to participate in the Afro-Venezuelan music group “Ritual Negro de Barlovento”, where I had the opportunity to travel and learn more about this beautiful genre that identifies us as Venezuelans”.

After this beginning, how was your evolution?

“I went to Caracas to work with other groups, among them are; Drum Show from Venezuela, Caña y Miel, Autochthonous from La Vega, Freddy Madera, Grupo Cosecha, Grupo la Calenda, among others”. “I received an invitation from some friends whom I love Miroslava Torres and Fernando Mozas very much, they encouraged me to join the Venezuelan Orchestra “Simón Bolívar”, I took them at their word, I auditioned and stayed, I participated for a time with the orchestra, I learned much more of our genre, stepped on stages that I had no idea I could step on”.

“Then my singing teacher Corina Peña motivated me to participate with the “Latino Caribeña Simón Bolívar” Orchestra, thank God I auditioned and I also stayed.”

Tell us about your time with the “Simón Bolívar” Latin Caribbean Orchestra?

“The teacher Alberto Vergara saw my interest in belonging to the orchestra, just that day the Venezuelan lyrical singer Iván García was arriving, who was going to sing in a musical project called “Negrísimo”, the teacher gave me the opportunity to be participated. of this great concert with García”.

“Later came more concerts with the orchestra, many learnings with maestro Vergara, for me he is number one, he is super important in my life, he helped me open my senses towards the music of the Latin Caribbean genre, love it, respect it, I give it thank you for giving me the opportunity to belong to the orchestra, for being part of the row of singers”.

“With the “Latino Caribeña” Orchestra, I stepped on incredible stages just like with the Afro-Venezuelan one, but here it was another level, another feeling, feeling the euphoria of the public that likes salsa, moving so many people, transmitting to so many people, thanks to the orchestra many people have known me and support me”.

So the “Simón Bolívar” Latin Caribbean Orchestra has been a springboard for his career.

“Of course, it has been the showcase to show the gift that God gave me, to all those who value this beautiful feeling and support me, I must thank all the teachers, all those who have been there for my musical growth, the orchestra It will never cease to be present in my career, in my present, in my future, I will always be grateful for it, thanks to it I met the teacher Alfredo Naranjo and his Guajeo, who took me into account to participate in his project”.

How did you feel working alongside Alfredo Naranjo?

“With Maestro Naranjo I got the proposal to do my first concert, which was called “Caminando”, this was in the Experimental room of the “Bod Cultural Center”, he likes things to go well, he left me a great learning to work with his side”. “The concert was super nice, I had as a guest Alfredo, my godfather Rodrigo Mendoza and my great brother musician par excellence and multi percussionist “Patatín” Guacaran, I also had the opportunity to meet Edgar “Dolor” Quijada, Soledad Bravo and Rafael “The “Chicken” Brito”.

Your career has been constantly on the rise, how has your time in the different groups been?

“I participated in a project called “Ellas son Boleros”, with Anais Torrealba, Gisela Guedez, with professor Corina Peña, I was with all those bolero ladies in Venezuela, this was under the production of David Peña “Zancudo”. “On the other hand, Carlos Padrón was there, he called me to participate in the 10th anniversary of Rumberos del Callejón, I feel very happy, because Domingo Quiñones, Maelo Ruiz, Gilberto Santa Rosa, Luis Fernando Borjas, Memo Arroyave, Gonzalo Díaz participated there. , wow!, a lot of people who have years of experience and I am like the puppy of the project, and look, however, Carlos believed in my talent and made me be part of his production”.

“I was with the Sopranos for a while, on the album that won the Pepsi Music Awards (Decade), my choirs are out there, with Sonero Clásico del Caribe, a Son institution in our country.”

How have you felt taking on these challenges?

“It has been tremendous, to have the support of some tremendous musicians who are legends, “Nene” Quintero, the pianist par excellence Pedro Pérez, very cool, in all those groups that I have been thanks to the projection I had with the Latin Caribbean Orchestra and my commitment day by day to all this”.

Veruska Verdu
Veruska Verdu

Apart from singing, do you play any instrument?

“I had a short time at the Bigott Foundation, they taught me certain things to learn to compose, I like to play the guitar, and now I am dabbling in the bass”.

From Afro-Venezuelan music to salsa, how was that transition?

“We are not very far away, remember that Afro music its main root is the drum, just like in the Caribbean genre, in salsa, the root is the percussive, the blows, the leather, the key, the swing, that taste, that sense of enjoying what you do, rather the Afro-Venezuelan genre helped me a lot because of the free way of singing.”

“I feel freedom when singing salsa, because I learned in Afro-Venezuelan music how to improvise, to have that ability, I have enjoyed it, in some shows I remember any verse from some party or ass e` puya and singing salsa I say it, it is “cheveroski” as they say around here”.

Did you ever think that being so young you would be next to many who have years of musical career and are already recognized in this medium?

“I never imagined it, it is a blessing from heaven, I am just starting out on the path of music, I still have a long way to go, God has given me the blessing and joy of being able to share the stage with El “Pollo” Brito, Edgar “Pain” Quijada, Alfredo Naranjo, Francisco Pacheco, meeting Betzayda Machado, being with Sonero Clásico, Canelita Medina, I feel happy that in my short time I have met wonderful people and been able to share the stage with them, just like here in Peru”.

What do you think of the support for national talent in Venezuela?

“It has been excellent, I feel that right now they are giving credibility to the successor generation, it is very important to give support, it is the only formula for the genre to remain alive, credibility must be given to the one who is being born and has the ability to make music”. “In Venezuela they have given the artist great support.”

You continue to be “Enchanted with life” despite the regrets…

“If everything was placed on a silver platter, there would be no achievements, the greatest satisfaction is hard work and discipline, I am living my experience that seems spectacular to me, I am enjoying my moment, I am learning things that I did not know in its entirety, I am maturing as an artist and as a person.

“All things go through a moment of difficulty, we must always highlight the good things.”

Its jump to Peru a market that is in the musical arena, the critics baptized it as “The new Voice of Venezuela”, What do you think of this?

“I am grateful that in Peru they have that appreciation of me, it feels super good, on each platform that I mount I will give my best, my tricolor goes with me upstairs.”

How has the receptivity of the Peruvian public been?

“It is not easy to arrive in a country and start from scratch, however, it is a matter of continuing to work, to continue showing what we are made of and to make good music, to do a job like a ant, things have flowed in a very good way, I have participated in productions of the master Tito Manrique, Manongo Mujica, I met the people of a group that I greatly admire Peru Negro, they play Afro-Peruvian music, I did concerts with Carlos Mosquera, a super singer, incredible, a blessing from heaven.

“The support of the Peruvian public is always present, what should Veruska do, continue working constantly, I must thank you for having been very receptive to the work that I am doing.”

In Peru they also have payola?

“In the whole world there is payola, this market is managed like this, salsa, merengue, joropo, tango, pop, jazz, reggaeton, you have a good product, but many times you have to “encourage” the person to show it.”

How do you see the salsa movement at the moment?

“It is a good time to continue highlighting our genre, we are in the here and now, ah! which is not the same as in the past, those times do not compare, for me this is a super excellent moment, many people are doing their work, Víctor Cardona, Carlitos Padrón, Pumaband, La Latino Caribeña, right here in Peru, how many new artists they have, all these people have been promoting salsa”.

Tell us about your solo career.

“It has not been easy, but I continue to give my all, thanking the people who have supported me even without knowing me, I must thank Mr. Alberto Vale who has joined this Veruska project and tells me; -black let’s go forward, everything will be fine, -let’s do this, that-”.

Your first musical production “Fusion -Venezuela – Mundo”, which musicians participate in it?

“Sabrosito Así”, is the promotional theme, we wanted to make a very cool fusion, which was reflected there, thanks to Juan Carlos Linares who gave us all the support to materialize this single and that people knew it, I had excellent musicians; Mario Pasmiño as Musical Director, in addition to Patatín Guacaran, Gisel Brito, Gray Peña, Aarón Cabrera, Ángel Peña, Jeison Ascanio and Darwin Latan”. “This experience was great, beautiful, in the Velvet studio.”

Define yourself in one sentence

“Feeling and rumba, I like the alegríadera”.

Venezuela in one sentence

“Good people, hardworking, like my people none.”

Veruska Verdu Orquesta Son Desangrado
Veruska Verdu Orquesta Son Desangrado

Translated by: Thisby Ferrara

 

By Eiling Blanco, Correspondent for Latin American

 

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.