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Artists

De Tierra Caliente founder Bronson Tennis talks about his career and band

There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.

Bronson playing
De Tierra Caliente founder Bronson Tennis playing the guitar

Bronson’s beginnings in music

Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.

In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.

Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally. 

Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.

Bronson posing for the camera
Bronson Tennis playing the guitar while posing for the camera

Professional debut in music

Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.

It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.

Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.

Prior to De Tierra Caliente

When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.

The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.

Bronson and his band
(L to R) Papo Buda, Bronson Tennis, Eubie Nieves, Andy Meyer and Steve Cochran

In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.

Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.

How De Tierra Caliente started

Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.

After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.

Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.

De Tierra Caliente playing
De Tierra Caliente playing live in Yardley

Read also: Latin jazz and mambo trumpeter Jonathan Powell and his great collaborations

Damian Ballester and the transformations of Cuban Folk Dance

Latin America / Cuba
Photo 3- Damian Ballester on stage
Photo 3- Damian Ballester on stage

The relationship of Africa within the musical and dance culture in Latin America is notorious when we see the cultural expressions of the peoples of this continent, it is easy to see how similar they are, the use of percussion is one of the most relevant topics, in itself a mixture of cultural customs, religion, musicality, dance, in itself all the elements of the black race.

America, one of the main destinations of the ships with black slaves from many areas of Africa, caused our culture to be armed with a bit of each custom, therefore, we can say that in America there is a bit of each African people, this relationship of variety of slaves focused on dividing the forces of the race so as not to make it powerful, divided languages, customs, words and religions only left the marginalized population to communicate through percussion, an element that made the system improve at times of understanding within the fences where they lived.

Due to the above, African religions and customs are born in Cuba but, adopted by those already existing on the island, this combination gives us a rich variant of movements from three continents, Europe through Spain and Africa in all its splendor.

To clarify some topics of the folklore of the Caribbean island and its current dance transformations, we had to contact a great teacher, Damian Ballester, director of Iya Aye, one of the best folklore groups on the island of Cuba, to speak with this professional of the dance is necessary if we want to obtain real information about Cuban traditions, a great teacher who has left his teachings in many Spanish-speaking countries, among which Venezuela, Colombia, Ecuador, Mexico and now in the United States stand out…

we begin by greeting him and opening a pleasant conversation, to which we got an original response “Greetings acere, what was it”, calling him opens up a range of questions on the subject in question, here is an extract of the most common doubts generated around the relationship with salsa, its festivals and diffusion in the world.

Greetings Prof. Damian, grateful for your receptivity, we want to give information to our readers about the relationship of Cuban folklore within our world, Salsa, to begin with, what is defined as Cuban Folkloric dances?

Grateful for the opportunity and sure, that if we report on the case, folk dances are nothing more than the set of cultural goods or phenomena that constitute a cultural complex with manifestations of all aspects of popular life. It is the sum of the manifestations acquired by experience, by inheritance, by tradition, by the satisfaction of biological or sociological needs, among other things. This lasts through several generations and almost always undergoes transformations.

They will get compound terms in the word folklore, which speaks of people or people, popular knowledge, together with the popular knowledge of the people. It is a very long topic, because I should talk about so many things about my culture, better let’s leave the definition until here and thus add flavor to the interview.

Much better, we continue then, do African dances have any impact on Cuban folk dances?

Yes, of course, it is the root, the exercise of dance has always characterized my land and has suffered the same processes of contagion and transculturation between the ways of dancing of the colonizer and the styles introduced by African ethnic groups since the 16th century, in fact, the colonizers brought romance, active in the Cuban countryside for several centuries, with its couplets and their ways of singing and founding alegrías, while the black slaves included their ancestral rites, their drums, and their particular sense of rhythm and movement. bodily.

Given this brief explanation, we can say that not only dances of African origin contributed or influenced Cuban folklore, we can say that there is also an incidence from Spain, France and the Caribbean, but its main axis was born from the Spanish and the African.

We know the extent of Cuban folklore, for how long should a person prepare to be called a professor in this branch?

First of all, to carry the name, whether it is a teacher or instructor of Cuban folklore genres, there are two factors that are very important, the first is study, since Cuban folklore is made up of a very wide range of genres divided into different styles, I could mention some examples: Peasant, popular, Afro-Cuban and Franco-Haitian folklore.

Within the styles of peasant folklore, examples could be given of the Cuban zapateo, the ripiado parakeet, the chidonga, the hawk, the caringa, the son montuno, among others.

Within the styles of popular folklore, the Complex of the rumba, the mambo, the chachachá, the danzón, the dance, the pilón, the congas and the comparsas, the casino can be mentioned, within the Afro-Cuban folklore the Bantú cycle can be mentioned, the Yorubas, the Arara, the Abakua, within Franco-Haitian folklore we can mention the French tomb, the Haitian merengue, the gaga, the vodu among others, if I continue we will not finish today. (laughs to close)

Of the folkloric dances, which are the most outstanding or spread worldwide?

It could be said that there are several, examples are the popular folkloric ones, one could say the casino, the mambo, the chachachá, the son, the rumba complex, that the latter people tend to say are African or Afro-Cuban dances, that have African influence does not mean that they are classified within Afro-Cuban dances because this genre emerged in Cuba, was used as an object of protest against the government of that time and was eradicated in the essence of Cuban. In the same way, the one that has had the most impact and remained in the whole world are the Yoruba dances or dances of the orishas.

Should we open another interview to just talk about the many genres that the island embraces, what institutions correctly form the folkloric traditions in Cuba?

There are many institutions in Cuba, from the community point of view what is named in Cuba as amateur dancer are the community projects and actions that are nothing more than groups created in the communities, all of these supervised technically and methodologically by specialists from the houses of culture of each area by provincial and national methodologists governed by the Ministry of Culture.

From a professional point of view, there are art schools such as the ENA (NATIONAL SCHOOL OF ART) and the ISA (SUPERIOR INSTITUTE OF ART) all governed by a logical curriculum organized by specialists and connoisseurs of the genres.

Photo 2- Damian Ballester on stage
Photo 2- Damian Ballester on stage

Other institutions that could be mentioned, is the little school of the national folkloric group of Cuba with 56 years of creation in charge of rescuing and safeguarding the traditional Cuban musical and dance traditions.

Wao, Enough, Do you know if there is any similar institution in the world?

In the world there are countless schools that are training dancers with the Cuban style and technique, whether they are Cuban or foreign teachers, but nothing like the preparation of art schools in Cuba that work with a logical and well-prepared program, in some schools around the world it could be said that they do not work under a logical methodological program for the teaching of these genres due to the commercial and monetary part, unfortunately there are many dedicated to commerce, to money and not to the necessary dedication.

This dissemination has been achieved while respecting the roots and traditions of the farmers? The root? The original essence?

Unfortunately, it could be said that a good diffusion of Cuban genres worldwide has not been respected or achieved, of 100% of the performers, it could be said that only 10% are protecting Cuban traditions, it is sad to say, but trade and populism it is destroying the folklore of an entire country.

Have these changes in traditions positively or negatively impacted Cuban culture?

First of all, traditions do not change if they are not passed down from generation to generation. In terms of their impact, I see it negatively because the dissemination that is taking place is incorrect and worst of all, there is no organization, which was of Cuba, can follow up on the program that is being given to Cuban genres, in itself, many see the commercial and hence they do not care about the poor distribution of what is taught.

What is the reason that so many dancers seek to perform Cuban dances? It is notorious to see it at festivals and congresses.

There are two very important factors: 1 Cuban music, which has been evolving in an incredible way, fusing Cuban rhythms within its repertoire, and the other factor is not because I am from Cuba, Cuban folklore could be said to be the most complete genre available. world level from the point of view of dance, is that it has a history, virtuosity is varied, it could be said that it is well complemented, due to its complexity and interpretive difficulty, it is what attracts attention, additionally, salsa comes from us, from these roots is born what now wants to be denied.

Teacher and the Cubans? Have Cubans spread their dance correctly?

It could be said that the vast majority of Cubans have disseminated the genres well, why do I say that the vast majority?

Because there is another small group that deforms it, money changes everything, foreigners think that all Cubans They dance, it has happened that they say Cuban and quickly you think he is a dancer, he knows everything, he is good, and no, that is not reality, one thing must be clear about being an opportunist, not a dancer, being a dancer by hobby and another is being one by profession or for being a teacher.

There are Cuban teachers who are hurt by the deformation that is happening with what has been studied so much, but there are others who only care about getting paid and do not care if their students do it well or badly.

How has the interpretation of Cuban roots impacted the so-called Salsa Casino in the world? Has the original and real spread of traditions been respected?

Look, since Cuban music began to evolve inside the casino, it began to undergo a series of transformations from movements to choreography due to the musical style that Cuban orchestras began to spread, known as TIMBA, which was well accepted by the public, If we talk about the impact from the traditional point of view, it could be said that there is no original interpretation of the Cuban roots because they are not executing a specific traditional genre, but rather what they are using different styles of the traditional folk dances that all this could be called Variety.

Have Cuban music and dance festivals or congresses devoted time and effort to improving these transformations? Have they worried about minimizing the damage?

In most cases, very few, first of all, if it is a competitive event, the organizers make the mistake of hiring unqualified personnel to evaluate genres of Cuban origin, and that is where the serious faults come from. There have been cases where there are groups , couples or soloists who perform a good technique within normal limits and the jury evaluates for a taste problem if they see it as beautiful and give it less points, or disqualify it, it is not about beauty, it is about correctness, the organizers should be more careful about these things.

What recommendations would you give to our dancer readers on this controversial topic?

The dancer must be clear about four aspects that are fundamental to his artistic life and entire career: dedication, love of dance and, most importantly, study.

Do only what you love and you will be happy, the one who does what he loves is blessedly condemned to success, which will come when it should come, because everything that should be, will be, and will come naturally.

Photo 1- Damian Ballester on stage
Photo 1- Damian Ballester on stage

Let’s spend time respecting the roots and cultures of peoples, and above all, let’s take a good look at who we entrust our desire to learn, there are thousands of ways to learn correctly, everything is in the research, knowing who we contact and why There are hundreds of excellent instructors in the world, not to mention the many means of learning today.

I invite you to learn a little about this and other topics, I have a virtual classroom where I teach a lot of the theoretical and practical content online, I do it through the son rumbero academy and its virtual classroom format, follow the @sonrumbero accounts on Instagram and Facebook.

Marcial Isturiz. The Versatile of Salsa

Latinoamerica / Venezuela / Caracas

Martial Isturiz. The Versatile Salsa 28 Years In Music

Marcial Istúriz
Marcial Istúriz

“28 years in Music. It is said easy. Very easy”

But *ALL* that path of dirt and grime that has been walked, is now a flowery field. I thank those who have supported me and those who have not, because they make the perfect balance.

To my brothers in life that I have cultivated in music, old and new.

Photo - Marcial Istúriz and his drums
Photo – Marcial Istúriz and his drums

To my ancestors for bringing the Drum and its color and making me the Negro Congo that I am.

To *my mother*, for life and for giving me love in her own way.

To *my father*, for the seed and the iron upbringing that many young people currently lack. Bad or good, I had it next to me, and that’s more than enough.

To my musical influences, foreign and national, with whom I have largely had the blessing of working with them.

Photo 2 - Marcial Istúriz and his drums
Photo 2 – Marcial Istúriz and his drums

To those who reached out to me at specific moments in life: Tomás, Jimmy, Manuel, the Calatayud García. They are in my heart.

Thanks to music, which saved me from being the best *Pran* in the world. Because my grandfather told me that if he wanted to be the best at something, he’d pigeon him. Whether he was a sweeper, or a bricklayer, or a salesman, but he must be the best.

Thanks to my brothers Ángel and Armando, and to my cousins ​​Manuelito and William, inveterate music lovers, who fed my soul and ears, and opened my brain musically.

To my teachers and brothers of the Latin Dimension, because our anniversary dates coincide, and for allowing me to be One more DIMENSIONER, when they require #Eteketakí. They carry 46 by the chest, today too!

I am not what I am without any of you.

Marcial Istúriz singing
Marcial Istúriz singing

Thanks.

There are 28. And those that are missing, Dad!

#AmberWedding

WATER FOR THE ROOSTERS!

Photo of Marcial Istúriz singing
Photo of Marcial Istúriz singing

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Marcial Istúriz singing on stage
Marcial Istúriz singing on stage

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Logo - Marcial Istúriz
Logo – Marcial Istúriz

 

Federico Betancourt “Pioneer of Salsa in Venezuela”

Latin America / Venezuela / Carabobo

Jesús Federico Betancourt was born in the city of Valencia, Carabobo state, on March 22, 1940. He was always attracted to music from a very young age.

Photo of Federico Betancourt on stage
Photo of Federico Betancourt on stage

In his adolescence, he liked Cuban rhythms, being influenced by Sonora Matancera, Mon Rivera, Eddie Palmieri and Joe Cotto. Before entering the entertainment world, he works at the Bank of Venezuela.

He affirms that he has not carried out formal studies at the musical level, learning the necessary theory to be able to perform as an orchestra conductor, but without interest in interpreting any instrument, but with a well-tuned ear, which has allowed him to remain in the music business for decades. , in fact on certain occasions he is named as the King of the Güiro.

Photo by Federico Betancourt
Photo by Federico Betancourt

His career began when he entered the Los Selectos Orchestra, where they played songs by the Billos Caracas Boy’s and the Los Melodicos Orchestra, which were at their peak in the 1960s, all this in a particular way, said Orchestra did not go beyond that.

In 1965, Federico Betancourt decides to satisfy his artistic restlessness and founds a band called Federico y su Combo Latino. The members that made up this band were chosen from among the founder and together with Roberto Monserrat.

But it was not until the middle of 1966, when the twenty-six (26) year old undertook the recording of the LP that would make him famous forever. This record production entitled LLEGO LA SALSA, would mark an important stage in Venezuelan Salsa, because it was the first LP that made use of the word SALSA in the country.

Federico Betancourt
Federico Betancourt

Federico Betancourt himself recounts that the Venezuelan announcer Phidias Danilo Escalona had a Radio Program called LA HORA DE LA SALSA, EL SABOR Y EL BEMBÉ, where all the Cuban and Puerto Rican Caribbean rhythms that were fashionable at the time were placed, among those who highlighted La Sonora Matancera with Celia Cruz, Tito Puente, Joe Cuba, Tito Rodríguez among others, and who was the one who supported them the most in terms of recording the album.

The production was recorded under the Palacio label, and the LP was titled LLEGÓ LA SALSA, he affirms that the title was chosen without taking into account the importance that it would revert in the future, he also affirms that it was not the name that gave him success , the album was a “bump” in sales, since all the songs were the most requested at the time, using his words: “The album sold like hot cakes”.

The music lovers of the time requested it on specialized sites such as the LA SALSA album. Federico says: “The father of the word SALSA was Phidias Danilo Escalona, ​​he used it for the first time in his radio program, and I, humbly, with the success of my LP, gave him the push for its mass use.”

Federico Betancourt - Photo
Federico Betancourt – Photo

In Venezuela, the word SALSA was welcomed by the public willingly, since it suggested a mixture of flavors, which was exactly what happened in the Phidias program, but at the level of rhythms. After the appearance of Federico’s album, all the shows that were performed at the level of Caribbean and Cuban rhythms, carried the name of SALSA.

It is important to name the musicians who took part in this historic production: The musicians are: Ali Rojas Bongo and Cencerro, Roberto Monserrat Music Director and Timbal, Pedro Medina Congas, Alfredo Arcas Trombone, César Pinto Trumpet, Enrique Iriarte Piano, Rafael Prado Bass, Carlín Rodríguez Singer and maracas, Dimas Pedroza Singer, Federico Betancourt Güiro and Director of the Orchestra. The musical arrangements were by the famous trumpeter Eduvigis Carrillo (RIP). Production themes:

Llego la Salsa CD - Federico su Combo Latino
Llego la Salsa CD – Federico su Combo Latino
1.- Cocolía

2.- Conmigo
3.- El Pachanguero

4.- Sancocho Caliente
5.- Guaguancó Manía

6.- Celosa

7.- Despierta Rumbero

8.- No Critiquen
9.- Saoco

10.- Baila Yemaya
11.- Café Y Pan

12.- Que Me Querías

After the success obtained with the record work, the time came for the first international outing, which was to Colombia, in 1969. It happened because the singer of Los Melodicos, Víctor Piñero, informed Betancourt that he was stuck in Cartagena and Barranquilla with the themes El Cobrador and Federico Boogaloo. After the information, the young musician went to the neighboring country and got a contract for the famous Reina del Mar parties, in Cartagena, on November 11, 1969.

The experience of the band was so good, that in 1970 they returned to visit the country. From then until our days Federico y su Combo continues to be an emblematic and legendary band in Venezuela, for this reason the WEB of the classy salsero SALSA BRAVA, offers its respects to such an important salsa figure.

Discography
1966 Llegó La Salsa Palacio (LPS-6171)
1966 Salsa y Sabor Palacio (LPS-6185)
1967 Más Salsa Palacio (LPS-6205)
1967 Durísimo – Vol. 4 Palacio (LPS-6216)
1968 Federico Boogaloo Palacio (LPS-6228)
1968 Psicodélico Con Salsa Gilmar (LPG-110)
1969 Mejor Que Nunca Gilmar (LPG-111)
1969 Vibración y Ritmo Sonus (102-17080)
1970 Dos Sets Velvet (LPV-1539)
1970 La Machaca Velvet (LPV-1539)
1973 Federico Si Te Pone A Bailar Palacio (LPS-6332)
1975 Derrape De Salsa BASF (10.068)
1976 Siguelo Ahí…. a Lo Cortico BASF (10.070)
1977 Ayer y Hoy BASF (10.076)
1977 Esto Es Lo Mejor Palacio (LPS-6372)
1978 Mis Exitos y Más BASF (10.079)
1978 Sabor Foca (LPF-10.037)
1979 Federico y Su Combo Foca (LPF-10.120)
1979 Federico y Su Orq. – El Maestro Discomoda (DCM-1128)
1980 Federico y Su Orq. con Memo Morales Discomoda (DCM-1148)
1982 No Le Digan Integra (PF-14.075)
1983 Nuevamente Palacio (LPS-66.541)
1984 SaaaBroooSo! Palacio (LPS-66.552)
Compilation
1996 Mis Exitos y Más…Vol.1 Sonograma
1996 Mis Exitos y Más…Vol.2 Sonograma
1996 Mis Exitos y Más…Vol.3 Sonograma
2005 El Pionero De La Salsa Palacio
2008 Salsa De Oro Gilmar

 

Pirisalsa Orchestra

Latin America / Venezuela / Falcon

The music is the result of the creation of a rhythm that tries to convey a message that the artists give to their audience and depending on the voice, the lyrics, the instruments and above all the desire to transmit that feeling, they make people want to listen to it and dance to it.

Pirisalsa Orchestra
Pirisalsa Orchestra

The Orchestras became known for being dynamic groups, creators of rhythms and party entertainers; something that cannot be replaced by a DJ or digital music, since recorded music and live music are two different things.

In the state of Falcón, Venezuela, there is the Grupo Piritu, who make up the Pirisalsa Orchestra, they are a group of talented young people who, despite their young ages, know how to transmit the flavor of Salsa to their audience.

Members of the Pirisalsa Orchestra
Members of the Pirisalsa Orchestra

They emerged and were educated in schools and through the selection of the most outstanding children in music, they gradually gave rise to the orchestra, being a pleasant and rhythmic sound to the audience to date, not to mention that it is a group with many followers full of dreams and musical desires. They mention that “since our first presentation on October 19, 2011 to date we have not stopped working…”.

Pirisalsa Orchestra with Augusto Felibert - Asocosalsa
Pirisalsa Orchestra with Augusto Felibertt – Asocosalsa

Currently his manager is Frank Molina, he says:

“That as a manager whenever he discovers a rough diamond project what he wants is to make it shine to achieve and achieve the dreams of each member and turns it into a single dream, because the Pirisalsa orchestra is a family. …the goal is to ensure that our work is recognized both nationally and internationally, I have been working for some time now, spreading this project on radio, television and social networks, we also have the support of many artists who believe in this Project. These young people are admirable because at their young ages they decided on this genre that is SALSA”.

Franky Frorentino - Pirisalsa
Franky Frorentino – Pirisalsa

The Pirisalsa Orchestra plays SALSA, with a smooth style in its message and melody, despite the fact that the rhythm is very lively, thanks to the percussion instruments, showing us and maintaining its Latin, Afro-descendant, and Caribbean roots in its music.

Photo by Franky Frorentino
Photo by Franky Frorentino

They have had the opportunity to participate in several important events in Venezuela, such as the PDVSA Salsa Festival held in La Estancia, Caracas in two editions, where they managed to share with great bastions of this genre throughout Venezuela, especially in Caracas, there were also a Festival in Maracay, Aragua and recently at the Whatuyusei Festival in Punto Fijo, Falcón, where they shared with artists such as Omar Enrique, la Melodía Perfecta, Gustavo Eli, los Bois Servando and Florentino, among others.

Franky Frorentino
Franky Frorentino

However, their goal and desire is to take their music throughout Venezuela and abroad so that the whole world can listen to them, appreciate their talent and be able to project themselves as an orchestra, since when they are on stage in a presentation they sing full of a feeling of love but that is with great elegance, with a fresh, tender language, full of emotion and kindness, but always transmitting his deep love for his homeland Venezuela.

The members of the orchestra are mostly young people and children from the town of Piritu, Falcón, dividing into:

Pirisalsa Orchestra
Pirisalsa Orchestra
●      Evannys Lorves – Vocalist ●      Daniel Peña – Hand Bell
●      José Amundarai – Vocalist ●      Bongo Wullian Álvarez – Piano
●      Yerli Lugo – Vocalist ●      Javier Gómez bajo eléctrico
●      José Daniel  Lugo – Timbal ●      David Gómez (director musical) – trombón
●      Reinaldo Pérez – Congas ●      Reinaldo Antonio Pérez – Trumpet
●      Navarro trompeta y Luis Navarro – Trombón

The Pirisalsa Orchestra and its Manager Frank Colina gave a message to all the new talents, which goes like this “if you have a musical dream, don’t let difficulties stop your path, believe in your virtues, try to be yourself, don’t copy nobody, be original, offer your own proposal and believe deeply in it, don’t stop no matter how hard the circumstances are, fight relentlessly until you break down the barriers and achieve your goals. He who perseveres achieves.”

Pirisalsa - CDs
Pirisalsa – CDs

For more information Pirisalsa Orchestra:

  • Facebook: @frank.colina
  • Instagram: @managerpirisalsa
  • Twitter: @pirisalsamanage
  • Phone: +(58) 4168076199 / +(58) 4168044073

 

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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.