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Artists

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

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 Verdú
Veruska Verdú

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 singing

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”.

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
Veruska Verdu Orquesta Son Desangrado

Translated by: Thisby Ferrara

 

By Eiling Blanco, Correspondent for Latin American

 

Renis Mendoza

Europe / Colony / Germany

Renis Mendoza “San Agustín is like a continent and Marín is its capital”

Renis Mendoza
Renis Mendoza

Renis Mendoza is a long-standing Venezuelan percussionist, who has participated with renowned groups inside and outside our country, sprouting from the Marín neighborhood, in the San Agustín parish. A character full of great spirituality and magic, transmits us with his joy and slow way of talking.

He has been based in German Colony for 33 years, together with a group of countrymen who decided to expand their borders and internationalize, to leave the tricolour imprint throbbing in every touch of a drum.

He remembers San Agustín as a vibrant neighborhood, where as a child he listened to “gaitas” (typical venezuelan December music), rock, salsa, parrandas, drums, music downloads, among other cultural activities. In his home, art was always present, his parents were excellent dancers, and Mendoza always lived with his ear attached to the radio to listen to what was playing.

In his early stage, he also liked to rub shoulders with the greats of the neighborhood, Jesús “Chu” Quintero, Carlos “Nené” Quintero, Alfredo Padilla, Crucito Mijares, Carlos Daniel Palacios, Pedro “Guapachá” Father, Manuel Madriz, Carlos Orta, as they were his great teachers and role models. He witnessed many famous people visiting the parish, among them the visit of Ángel Canales, Eddie Palmieri, Peter Conde Rodríguez and many others.

Everything has not been rosy for our interviewee, he had to go through a difficult health situation and be almost on the verge of death, this did not intimidate him and he confesses that; “In the midst of this tragedy I never lacked love, the warmth, the prayers and good vibes of my dearest beings,” – it was a true miracle – he assures us. He recovered from an aneurysm, the doctor said he was going to die despite the 2 interventions performed, but the desire to live, love and music broke with all the prognosis, Mendoza woke up and the machines he was connected to started working normally, it was a real miracle.

Living in a musical parish does not allow anyone to escape from this spell. How were your beginnings in music?

“Being surrounded all the time by people who sing, dance, listen to different types of music, allows you to open a range of possibilities, there it all started, at home, in the corner, watching the “Gaitetricos” and the “Super Cremas” rehearse, your parents , your grandparents, your friends, the sound neighborhood and how not to be part of that musicality, the milk pot, any object that allowed you to play and download ”.

Is it true that the best percussionists were born in San Agustín?

“It would be necessary to make a survey – laughter -, before“ Guapachá ”- father – arrived in the neighborhood, there were musicians and people who played percussion, it is important to name them all, we must not forget them, nor can we name two or three people, but in my way of seeing it, I think it’s great that many percussionists were born in San Agustín, I love it because there is so much quantity and quality that is very important, the quantity and quality of the percussionists specifically from Marín, the neighborhood where I am from. ”

So all this influenced your life. Could you have had any other profession not having lived in San Agustin?

“I don’t know, but, -how do you escape your destiny if there was art in your house-, my dad wanted me to be a sailor, but there was a great influence with everything I experienced, my father was a sailor and he brought many records, many Lp’s, a lot of varied music, he was a tremendous dancer, a great salsa player, just like my uncle Joselito, they called him José salsa ”. “At the age of 4, I was pumping the “Super Crema” rehearsal, I had to listen to all that, as I saw all those people playing, that was a great influence for me.”

“In the period of the “Gaitas” I was the drummer – Marín, Marín, Marín, Marín, is the neighborhood that’s always in something, and in it the Christmas carols are enjoyed – right now I don’t remember the name of the group, at that moment I realized that I liked to play, although my grandmother didn’t like that noise at home. ”

The music from home seduced you..?

“Yes, I learned from all those great musicians, Crucito Mijares, Manuel Rico (my father), José “Salsa” Quintero, José Alberto “Caraotica” France,“Chacho” Pérez, Nano Grant, Melquiades, Carlos Orta, Los Quintero, Los Palacios, Los Rengifos, Los Blanco, watching the rehearsals of Mon Carrillo, Frank and his Tribe, Group 3, Los Gaitetricos, took us to the downloads, with the Maderita group (Wood Group), to the young people I advise you to pay attention to our history, all those people who have been trainers must be given credit, they are eternal for me. ”

“On the other hand, Felipe Rengifo announced the parties, with a lot of talent, he has been a key guy in percussion and the creation of instruments, his influence was Mr. Jesús Blanco, they always did something out of nothing, for me it was great to learn the percussion, San Agustín is a garden of different trees ”.

Talking about San Agustin and not talking about the Madera Group is almost a sin. Tell us about your time at the Maderita Group and after your growth with the Madera Group.

“Many people forget and we must activate the memory of all, the Madera Group for me is a nectar, the nectar of a fruit brought to juice, they were part of many groups at the beginning.”

“The Madera Group formed a group of young people since they were little, I believe the Maderita Group, there were Daniel silva, Jesús Paicosa, Chopo, Martin – with his noise – Robert and Chipilín were dancers, Ramón Gil, Cron Cron Orta, Luisito Quintero, there were others that I don’t remember. ”

“There was dance, theater, Venezuelan and Caribbean folk music, the texts that had significant depth, still today for me become eternity.” “Everyone should be mentioned, not one, two, those who left and those who survived, the wood represents wind, rain, sun, it’s sadness and joy, it’s creativity, it’s fidelity and musicality, those who were part of the Madera Group, are part of our trees, of which all of us are wood ”.

When did the tragedy dissolve the grouping?

“That hurt us a lot, there are wounds that do not heal, after the tragedy we finished all the concerts, one hand it was excellent, but sad on the other, we had to sell joy, when we were going through a very sad moment, many things happened , when the time is right, each one will say them, then I leave with the Coreoarte group with Carlos Orta, for me the wood is infinite, for me we are all wood, it is important to build, rebuild and continue creating ”.

The dilemma of the “original” Madera and the “copy” Madera, still, after so many years there are controversies between them, what do you think of this?

“With the reformed Madera group played; Felipe Rengifo, Migdalia Felipe’s mother, Noel Márquez -he was already taking the reins of the group-, Carlos Daniel, José Rivero, Simón Blanco, Farides Mijares, and many of the former members, then they left, they must explain their reasons, we played a lot, even with Ali Primera. ”

“With this current project we must see things from a constructive and objective criticism, from my point of view, they have done many things, they have been constructive and have kept that name, there are boys who are playing and it seems great, Noel has moved a lot as President of this new project, he is like an engine, without an engine, the car does not roll, although a name should not be repeated, it should be a tribute to the Madera, something that represents the Madera or something, we must recognize that he has done positive things. -Who is saying but not doing-, it is better to do than to say ”.

“This story is very long, yes, something original should be done.” “Following the death of some members of the Madera group we formed the Kimbiza group and then Cimarrón, the Madera Group should remind everyone, the Madera is root, stem, leaf, flower and fruits, who attack the Madera, -the parasites – Those who do nothing … We are all Madera”.

What does San Agustin mean to you?

“It is a beautiful parish, I consider it as a galaxy surrounded by various planets such as La Charneca, Los Hornos, La Fila, El Manguito, La Ceiba, El Mamón, La Ford, Marín, etc. you should not name a single family , a single person, we are a salad, we are a pavilion, we are what we are for what we are, and we have all put a grain of sand, we are taking root in many places ”…“ San Agustin is like a continent and Marín is the capital. ”

With so many experiences, what memories do you have of the parish?

“San Agustín has been boxing, volleyball, baseball, musicality, dance, as a child I remember the story of Los Rebeldes de Marín, a baseball group, they wanted to take them to play outside the country – a fascinating story – the final was against Willis Willis, the Marin Rebels won and the prize was a trip to Venezuela, this story is as fascinating as the Madera Group. ”

“I remember when we wanted to be evicted and the No to Eviction movement was formed, in the end they built the Yerbera buildings.” “The disc jockey in the neighborhood on weekends, the Parra family played excellent music, Carlos Daniel replied, on the other hand the chicheros -familia Mata-, each alternated, they were all excellent, the true history of the neighborhood , we must open that trunk and get the stories with all those names. ”

Your jump to Germany, How has been the receptivity of the public?

“The love is felt, we mix folklore with the classic, with the neighborhood and people like it, whatever you do, do it positively, transform and do not copy, do not imitate.”

His journey has paid off. On which projects have you worked in Germany?

“Of course, with the Modern Talking duo, the second most successful group in Germany, with Jesse Milliner -is like a brother to me-, a Rock monster quoted in the US, I owe him a lot, when I was serious he was always by my side Milliner has been a pianist to artists such as Lee Ritenour, Chaka Khan, Trilok Gurtu, Tierra Viento y Fuego; I also worked with Afro-Jazz-Gruppe Cámer; Nélio Costa Band, from Brazil; DJ Olly Tonköpfe ”. “With many famous artists, in the atmosphere of soul and funk. And I recorded a lot of Brazilian, African music, with the Chilean group called Loa. ”

“In the world of jazz I have accompanied great musicians such as Eric Marienthal, Nelson Rangel and Rick Braun, among others. In addition, I have participated in musicals such as “Saturday Night Fever”; “Tabaluga; Miami Night ”, at the“ Montreaux Jazz Festival ”. I am requested in the curricula of the institutions the “Folkswangs Hochschule de Essen”; the “Johannes Gutenberg-Universität Mainz”; “Hochschule für Musik und Tanz Köln”.

Dance and percussion, your two passions, the sublime and the loud, is not something ambiguous …

“Both go together, we dance through music, here the phenomenon of osmosis occurs, the drum is not to hit or slap, it is to caress it, the world of dance had a great dancer Pina Bausch, she created contemporary dance, with her danced Arnaldo Álvarez – nephew of Carlos Orta – whom I thank very much ”.

You went through a very difficult stage when you got sick, it almost ended in a sad outcome, what triggered all that?

“Look- I was playing a lot, I did not stop, my cousins ​​and my brother told me (Luisito and Robert Quintero, my brother José Luis and Charles), and I simply ignored them, and then I began to feel tired, weak, sweaty. The first diagnosis was wrong (allergies), then they found me high blood pressure, I had to go to the doctor on December 2nd, but on December 1st, I lost track of me, I did not have time to go to the consultation ”.

“The medical evaluation determined that I had an aneurysm, the doctor told my relatives that I was going to die. Two operations were of no use to me, I was in a coma, however, in the midst of this tragedy, faith, love, and miracles, those that happen every day were always present, and there were my friends, they never failed, you know, Jesse Milliner came with his piano , others approached with their violins, they sang to me Godspel ”.

“When the day of the farewell arrived, they were going to disconnect me, they were all present, they started taking all the cables off, Jesse told me, then my daughter Fe arrived and started singing and rubbing my feet”… “ when they got sick I used to rub their hands and their feet, and the doctor, who didn’t let anyone come near me, let my daughter do it. ”

“I woke up, the machines started working, what could have been my funeral, became a miracle, the doctor said: -we are not going to get Renis out of the hospital, Renis is alive-, I weighed 40 kilos.” “The doctor was surprised, my daughter Fe came back the next day and was surprised by my physical improvement, and then repeated the therapy.”

“They played Kimbiza music, with themes of Yma América, and Jesse Milliner, it was a real miracle, the doctor says it and I reaffirm it.”

Being so close to death, How do you value or see life?

“It gave me a wide sensitivity, I am fully convinced that there are two dimensions, before I didn’t believe in anything, people change to another level, to another dimension, for me life is the awakening.” “Every day that passes is a day we win, but every day that passes, it is one day less, life is infinite, someone that leaves and leaves a good memory, is someone who lives forever by leaving us their energy.”

Currently, what activities are you doing?

“I am working in two universities; in one, I give what they call co-repetition, I teach contemporary dance students what is the rhythm and interpretation of the movement and feeling, and the creation of choreography. In parallel, I am at Johannes Gutenberg University, I work in Latin Jazz – which I thank the neighborhood, since I introduce things I have lived through -, besides this, I play a lot, I tour with jazz, soul, pop groups, the boys created a group and named it Renis “ Live ”, which means that I am alive, due to the health accident I had and when I returned they were impressed.

“To teach people, to contribute to my neighborhood, to create and not copy, to be part of those trees, I dream of taking these kids to my neighborhood, to exchange what they have learned with us, I reaffirm you” to be, you have to do. “

A recommendation for the new generation

“We must investigate all our roots, music, dance, boxing, theater, “bolas criollas” games, baseball, all this as a representative identity of our neighborhood, we must recognize everyone who has done something for the parish, because thanks to them, we will be eternal. ”

A phrase by Renis Mendoza …

“Live today and now, be constructive, do not copy.”

Translated by: Thisby Ferrara

 

By Eiling Blanco, Correspondent for Latin American

 

Will Phillips

North America / United State / Los Angeles

Will Phillips is an endorsee of Gon Bops Percussion & also endorses products from Innovative Percussion and Timbra Top Percussion.

Will Phillips born and raised in Texas and having relocated to Los Angeles, Will Phillips is rapidly gaining a reputation as an in-demand percussionist.

Captivated by Brazilian music, he’s spent extensive time living in Brazil studying with Brazilian masters and deepened his knowledge of the style.

Will has also recorded on a number of TV jingles during his time in Brazil. Inspired by this deep experience, Will now enjoys the continual journey of adapting Brazilian percussion to all styles of music.

Will Phillips
Will Phillips

In 2011

Will was presented with a Latin Grammy Certificate of Nomination for his performance on Claudia Brant’s album “Manuscrito”.

He has appeared on TV mega-hits like The Voice, American Idol, and MTV Brazil and was the house percussionist for the 2010 American Music Awards Red Carpet Gala.

He has recorded and performed with some of today´s finest artists, such as will I am, Ellis Hall, Persian superstar Googoosh, Michel Teló multiplatinum selling Brazilian artist, Academy/Grammy Award-winner Jamie Foxx, NBC´s The Office/original member of The Grass Roots, Creed Bratton and many more.

Phillips has toured extensively around the world and feels blessed to have worked with musicians who are not only a constant source of inspiration, but also who he counts as friends.

Will Phillips
Will Phillips

Renowned percussionists Luis Conte, Kevin Ricard, Michael Shapiro, Adam Topol, Randy Gloss and Jimmy Paxson have all sung Will’s praise, considering him to be one of LA’s up-and-coming percussion artists.

Some of Will’s most recent projects include playing on a recording project featuring Jackson Browne and Ozomatli entitled “Como Ves” and a soon-to-be released album from Andrea Day.

He also been touring with American punk rock band The Offspring. Will Phillips is an endorsee of Gon Bops Percussion, having a Signature product with them, and also endorses products from Innovative Percussion and Timbra Top Percussion.

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