Artists

Jerry Rivas, career, and support for the Spaha Salsa Gallery Museum

The Spaha Salsa Gallery Museum has been the recipient of a good number of objects donated by artists and their families after they had died. This time, it is the turn of Jerry Louis Díaz Rivas, better known as Jerry Rivas in the music scene, who is one of the main singers of El Gran Combo de Puerto Rico.

We want to use his pleasant visit to our museum and his forty-sixth anniversary with El Gran Combo to talk a little about his great career and everything achieved in his long musical career over the past decades.

Jerry with Johnny — El Gran Combo De Puerto Rico singer Jerry Rivas and Johnny Cruz

Life and career of Jerry Rivas

Jerry Diaz was born in the city of Tampa, United States, on August 25, 1955 and his parents were of Puerto Rican origin, so it is undeniable that Puerto Rican heritage greatly influenced the path he would take later on.

About five years later, Jerry and his family moved to the city of Bayamón, Puerto Rico, where he began to take his first steps in the world of music with the guitar, the Puerto Rican cuatro and the Cuban tres, counting on the support of professor Carlos Seguí to learn to play the latter. However, shortly after, he would decide that singing was his thing.

While still a young teenager, he was part of various groups such as Grupo Complicación, Conjunto Cojoba and Grupo Chaney, being in all cases a very important part of the body of musicians who were in these bands.

His big great came in 1976 when Don Rafael Ithier, who was interested in the artist to be part of El Gran Combo De Puerto Rico, after he was recommended by Don Quique Lucca, who thought of this boy as replacement of the legendary Andy Montañez, singer of the group for more than 14 years.

Jerry signing a tres — Jerry Rivas signing the Cuban tres he donated

Although it was not believed that Jerry could fill the shoes of his predecessor, his talent, effort and support from the music director of the orchestra, made him consolidate in the institution along with the rest of his colleagues and become one of the longest-serving members of El Gran Combo.

International fame came with the album ”El Gran Combo En Las Vegas” thanks to the song ”La Clave”, in which he proved his vocal abilities to new levels. After that, he achieved his consecration as an international star with the album ”Happy Days” thanks to the song ”El Menú”.

After that, everything that followed for Jerry was success with the orchestra, which resulted in approximately 30 recordings in a span of 45 years with El Gran Combo de Puerto Rico, his musicians and the extraordinary team behind the group.

Other details of his life and support to the Salsa Museum

In addition to being a vocalist for El Gran Combo de Puerto Rico, Jerry also participated in backing vocals with other great musicians for their respective musical works such as Willie Rosario, Bobby Valentín, Yuri Buenaventura, Gilberto Santa Rosa, La Sonora Ponceña, Adalberto Santiago and many others.

Jerry with Johnny and the tres — Jerry and Johnny with the tres and the jacket Jerry donated to the museum

In each of these projects, the Puerto Rican artist has always given his personal touch and his unmistakable vocal chords, so it is normal that he is considered a legendary voice within the salsa movement not only in his country, but also worldwide.

Due to all of the above, it is a true honor for the Spaha Salsa Gallery Museum to receive this great musical luminary in its facilities, where he was welcomed by its president and founder, Mr. Johnny Cruz.

Some photos on the Cruz’s official Facebook page, it is evident that both shared a very pleasant time remembering things from the past and talking about music. In addition, Jerry donated one of his shirts and a Cuban tres to the museum so that they can be exhibited to the public along with the rest of the objects in its collection.

We thank Jerry for his kindness, generosity and great talent, which we hope will continue to accompany us in the years to come.

“My best inspiration and my best teacher is my dad.” Inheritance, discipline and academic training forged the Padilla dynasty that empowers salsa.

Robert and Ricardo Padilla have a fundamental importance within the musical movement we know as salsa. The father is a historian, curator and consultant. The son is a journalist, producer and broadcaster.

The role of Robert Padilla, who tropical music connoisseurs consider the most important salsa collector in the world, is unrepeatable, as he weaves together history, characters, facts and archives; delivering a holistic approach to salsa as a concept. His motivation is pure interest in preserving and spreading the culture.

The relevance of the museum that he conceived and guarded is unquestionable. He acquired the property and fitted out the building with the required specifications and ambience with the purpose of having a repository that keeps the salsa memory alive and in force.

When Ricardo was asked if his father influenced his training in the preservation of the musical archive, his successor answered: “That’s right. My dad and I have many things in common; among them, we love salsa. I grew up watching my dad play records and listen to music. But, my grandfather also had an influence because during the 1940s and 1950s, (the golden era of the Palladium, with Tito Rodriguez) Don Hector Padilla Rosado (RIP) had bodegas in New York.

My grandfather was part of what was happening there and danced mambo in that environment. My grandfather told me all that story and my father repeated it to me (…) the Padilla family would not be the Padilla family if we did not talk about my grandfather, Don Héctor. So we are three generations that in one way or another have dedicated ourselves to supporting music because it has changed our lives for the better.”

Robert Ricardo — My best inspiration and my best teacher is my dad.” Inheritance, discipline and academic training forged the Padilla dynasty.

Ricardo considers his father the biggest fan of salsa. “Beyond being a historian, he is the number one salsa fan. My dad has the largest collection of tropical music in existence.” That collection includes records in different formats, photographs, memorabilia, videos and audios of live shows, all documented and classified. Recently to his already incalculable collection was added that of Don Mariano Artau (RIP), who was collecting and curating unique musical treasures for more than seventy years.

In Ricardo’s case, he studied Journalism at the University of Puerto Rico, Rio Piedras Campus. What the father began as a hobby, the son saw as a profession. The gratitude and admiration he has for his father is evident when he says: “I thank my dad (…) all those concerts he took me to as a child formed me. And all those people he connected me with, later became mentors for what I do today as a Salsoul programmer.” And he adds: “my greatest inspiration and my best teacher is my dad; and he will continue to be so in every sense of the word”.

Speaking of orchestras, the salsa sound that Robert favors is that of the duo that popularized Willie Colón and Héctor Lavoe. For his part Ricardo affirms: “I say that Willie Rosario doesn’t have a bad album. He is a role model; being true to himself, molding a sound supported by great arrangers that he himself chose to refine that style.

He is so special in so many areas (…) So much so that even his life has been compiled in a book, and at 99 years of age, without having the need to play, he continues to do so because music is not necessarily something that only generates money for him; it is something that generates motivation to continue living. Without detracting from Don Rafael Ithier with his mulatos, or Don Papo Lucca with that southern giant, or the orchestra of the King of the bass, Don Willie transcends music and is an example of how to live”.

The Padilla’s, organically; to the succession they added a good dose of discipline and polished themselves with the commitment to take their musical training -which has not yet culminated- seriously, becoming the most admired influencers of salsa.

This dynasty is committed to their self-imposed mission of excellence. They say goodbye as a team and almost in unison affirm: “we are at your service”. I responded gratefully with “we’re still in salsa”, knowing that neither Puerto Rico nor the salsa world can repay this dynasty for the monumental contribution to the culture and musical history of this archipelago that has been the cradle of the greatest exponents of salsa, which the Padillas empower by sharing these stories of Puerto Rico with the world.

Bella Martinez ISM correspondent – Puerto Rico

When it comes to compositions, Luis “Tata” Guerra is widely known internationally

On June 9, 1934, in Guanabacoa, Cuba, Luis “Tata” Guerra was born. Excellent Percussion Master with a Guinness World Record for having accompanied more orchestras live and in recordings.

A virtuoso musician, Luis Tata Guerra, member of a humble and hard-working family, is the last of 4 brothers, born of a musical tradition, his father played guitar, and his older brother Emerio Guerra is a guitarist in Havana.

He studied music and saxophone at the Salesian School of Guanabacoa. He learned to play the tumbadora, and the rhythms of Rumba and Guaguancó in his neighborhood in the 50s.

He joined the Almendra Orchestra in 1954, performing in the best nightclubs of the island. He rehearsed with Conjunto Casino and Conjunto Arsenio Rodríguez.

In 1956 he arrived in Colombia with the Cuban Swing Orchestra, he stayed for 4 years working with the groups Sonera del Caribe and the Pepe Reyes Orchestra (Cuban singer). From there he went to Venezuela where he has lived since 1960.

Maestro Guerra has an extensive career as a musician for his activity in different groups such as: Los Melódicos, Víctor Piñero y sus Casiques, Aldemaro Romero, Chucho Sanoja, El Pavo Frank, and accompanying on percussion in Caracas Tito Rodríguez, Miguelito Valdez, Rolando Laserie, Daniel Santos, Olga Guillot, Rubén Blades, Paco de Lucia, including the Timbal King Tito Puente and many Others.

Recognition for Luis "Tata" Guerra — Recognition for Luis “Tata” Guerra

His compositions have been played in the media in Santo Domingo, Spain, Cuba, Puerto Rico, Colombia, Venezuela.

The composition “Son Matamoros” dedicated to this famous Cuban trio, was included in the movie “Salsa” with the participation of Celia Cruz, Tito Puente, Mongo Santamaria, Grupo Niche and other values. He was a member of the VTV Orchestra (channel 8) for 23 years (1965-1991).

Member and Director of the trio Hermanos Rodriguez, in 1994 they traveled to the Canary Islands invited by President Hermoso, and are well known there for the hit “Son Canario” (composition by Guerra himself).

Again in 1999, they returned to the Canary Islands for more than 2 months, in addition to performing at the fabulous The Trump Taj Mahal Casino Resort in Atlantic City, New Jersey.

He presented his program “RAICES CARIBEÑAS” on ANTV.

When it comes to compositions, Luis "Tata" Guerra is widely known internationally. — When it comes to compositions, Luis “Tata” Guerra is widely known internationally.

His fondness for acetate collection was recognized throughout Venezuela. A work with his conjunto became very popular and the voice of “Kiko” Mendive reminded us of the grilles and discómanos of Cali in the 80’s. “Barara Bururu”.

We also remember the time he shared with his compatriot Rafael “Felo” Bacallao Hernandez, who had retired from the Aragon orchestra.

With great regret we recorded on February 24, 2015, the unfortunate news of the death of Tata Guerra, four months shy of his 81st birthday, he had been suffering from an accelerated affection in his respiratory system, remaining hospitalized at the Florida Clinic in the city of Caracas, where in the early morning of that day he left us.

“When I listen to reggetón/ my heart stops/ because my thing is rumba and son”.

Maria Luisa Guerra

Source:

Por: Carlos Molano Gómez

Bogotá – Colombia
Derechos Reservados de Autor -primera publicación – 2016
Actualizado 2021.

Antonio Cartagena is an acclaimed artist, leaving the name of Peru on high all over the world

Antonio Cartagena is one of our best bastions who was born artistically in 1990 from a humble family with Afro-Peruvian roots.

Born in the Constitutional province of Callao (Bellavista) and having studied higher education in the National Police of Peru and half of career in the course of Psychology at the University San Martin.

Being able more the art is consecrated presenting his first success “Sin Ti” belonging in that instant to the Orchestra Peru Salsa All Star at the same time is invited to record songs like Niña and Tengo Todo Execto a Ti by the Orchestra of the Prestigious Oscar “Pitín” Sanchez La Sensual 990 achieving a greater acceptance the demands of work.

They were not made to wait in all the Peruvian literal for such reason is that Antonio Cartagena is traced important goals as the conquest of other countries reason others so that in 1991 produces his first album as a soloist with 10 songs where they highlighted songs like; Sedúceme and Necesito un Amor.

Becoming known in countries such as Colombia, Venezuela and part of the United States.

In 1992 he launches to the market a fresh and romantic Salsa where he highlights songs like Y que Tiene el and M Dueña; from there he reaffirms the internationalization being hired for a tour in the United States with all his group visiting places like New York, Los Angeles, Atlanta, Virginia, Dallas, Texas, San Diego, among others.

Then in 1993 he is hired by the prestigious international record company RMM of Mr. Ralph Mercado, one of the biggest salsa producers in the world; recording his first international album entitled Dime Que Si, where the most outstanding songs are Apaga La Luz and Perdone Querida.

To perform in dream stages such as Carnegie Hall, Madison Square Garden and Miami Arenas, alternating with many stars such as Oscar Leon, Van Lester, India, Marc Anthony, Tito Puente, Cheo Feliciano, Ismael Miranda, Celia Cruz, Domingo Quiñonez, Ray de la Paz, Tony Vega, Ray Sepulveda, Johnny Rivera, Tito Nieves, Jose Alberto el Canario, Luis “Perico” Ortiz, Giovanni Hidalgo, and an innumerable list of the greats of the firmament of the salsa market. The tour continued to include Canada, Panama, Venezuela, Colombia, Santo Domingo, Puerto Rico and Argentina.

These were events that marked a milestone in the vertiginous career of the artist; who arrives in his country after three years of coming and going; with a production titled Punto de Vista (1996), where he consecrates himself with the songs Si Tu No Estas and Pídele Perdón, successfully placing himself at the threshold of his career in his own country.

Already in 1997 he wants to impose the criollismo converting famous and traditional waltzes of our country in salsa; Disc that made him known all over the world even in Europe, presenting himself in stages of Germany, France, Holland, Italy, Switzerland, Spain among others.

In the year 2000 and without stopping touring nationally and internationally, Antonio Cartagena produced a new album which highlights the theme Nadie Quien te Quiera como Yo.

Then in 2001 he travels to New York to produce an album titled Volveré, with songs such as Ni Siquiera, giving much to talk about in that country and in Latin America, visiting countries such as the United States, Colombia, Venezuela, Ecuador, etc.

In 2005 he presents a renewed and updated product imposing themes such as Salsa Regaee, titled No Me Digas Que No, placing himself in the first places of our musical environment.

Antonio Cartagena, is one of our best internationally recognized bastions, who is going through his best moment, considered in salsa as the best exponent of music in his genre and winner for this year of a number of awards such as: Nominated for Best Interpreter of the year in the salsa music genre.

Cartagena is an acclaimed artist, leaving the name of Peru on high all over the world.

Antonio Cartagena

Alex Sánchez “Salsa has always had a special place. It is a genre that will never go out of style ”.

Latin America / Venezuela / Miranda

Mulato en Rumba his greatest bet Alexis José Sánchez:

He is a versatile artist, who like many other musicians begins his training from home, with his brothers he learned to play the cuatro and the guitar, this motivated him to continue his formal studies at the School of Music “José Lorenzo Llamozas”, where he also studied trumpet alongside maestro José “Cheo” Rodríguez; He jointly studies Afro-Latin percussion with maestro Orlando Poleo, Barloventeña percussion with Alfredo “Pandilla” Bolívar and Arturo Piñango, African percussion with José Shalons and Yonder Rodríguez.

At the “Nicomedes Marrero” Cultural Training Center in Tacarigua, he took piano lessons with professor Manuel Sepúlveda, Afro-Venezuelan percussion with maestro Alexander Livinalli and Choral Direction in the free art workshop of “Río Chico”.

Photo- Alex Sánchez — Photo by Alex Sánchez

Although he was born in the city of Caracas, all his life he has lived in the Barlovento region, an area with a great cultural and musical richness, there he also performs the role of teacher, being a facilitator of the Afro-Barloventeña, Afro-Venezuelan and Afro-Venezuelan percussion chairs. Afro-Latin, in School District No. 4.

From a very young age he has been linked with the traditions of his town; Tacarigua. This young man is an active part of the cultural development of the area and together with his wife Yermy Martínez and his mother-in-law Zenaida Gamboa, founders of the group “Danzas Tacarigua”, they are in charge of training the youth of relief, in order to keep the demonstrations alive. traditional barloventeñas for many generations.

Sánchez, assures us that he has a great responsibility, to preserve the legacy that the Africans left in their path through our land, that despite the obstacles he gets along the way to carry out his work, he is overcoming them one by one with perseverance and dedication. that love he feels for music, his family, his traditions and his other passion for teaching.

Salsa and Venezuelan Folklore, two different worlds, each rich and varied in rhythms and styles, however, it takes them by the hand, something that is not strange in a country where the mixture abounds, that we Venezuelans are the product of an ethnic and cultural mix.

How were your beginnings in music?

“I started in music at home with my brothers. I learned with them to play cuatro and guitar. That was the fundamental basis of what has been my musical career up to now and it also inspired me to continue with formal studies in music ”.

Your musical training has been very broad. Why did you decide precisely to specialize with the trumpet?

“I decided on the trumpet, since it has been the traditional instrument in my family, first my great-grandfather Gregorio Machado, then my great-uncle“ Perucho ”Machado and my brother Wilman”.

A man from Caracas who decides to emigrate to Barlovento Why not Barquisimeto or another region?

“My whole family is from Barlovento, since I was born I have lived here in Tacarigua, Brión municipality. After studying music I realize the musical wealth that exists in this region. That is why I decide to bet on the musical production of my homeland and also be part of that artistic movement that represents Barlovento and that has given so much to our country ”.

Composing and arranging music, the work that leads its creators and orchestras to position themselves in the first places. Which of your works as a composer and arranger have been positioned in that place?

“That is the dream of every arranger, to achieve that an orchestra reaches the first places of popularity and in sales. I haven’t had that luck yet, but it’s my dream as a songwriter. I have arranged for many orchestras that have been quite popular and are playing in various countries ”.

Alex Sánchez — Mulato in Rumba your biggest bet

There are many orchestras for which you have done this work, could you name them?

“I have arranged for orchestras and singers such as: Bailatino, Cheo Linares and his Orchestra, Víctor Cardona and the Salsa Machine, Cheo Navarro and his Tribute, Francisco Pacheco and his People, Hildemaro Jr., Orquesta Sarayé (Colombia), Orquesta La Suprema (Panama), Orlando Watussi and my musical project “Mulato en Rumba”, among other national artists “.

Percussion is another of its virtues, of the different rhythms. Which of them is more difficult to teach or learn?

“Percussion is a world that allows you to express yourself and make contributions based on its rhythmic quality. All rhythms have difficulties, but their great musical richness and the magic of the ancestral charge make it possible for us to digest them naturally ”.

“I invite the musicians and the community in general to come to Barlovento to learn about the regional culture, so that they learn to play Mina, Culo e puya, Quitiplás, Fulía and Parranda.”

In the vineyard of the Lord there is everything and for everyone. What has been the most difficult thing about this profession?

“Music gives you a lot of satisfaction, but around it there are circumstances that create disappointments – they can scam you, you have friction with colleagues, etc. – you will find obstacles, but I think that all this is overcome with perseverance and dedication to work. That is what it takes to stay in the musical world ”.

The Music Producer is the architect of a record. What do you feel at the end of each record? What do you feel at the end of each work done?

“Music production is hard work, bringing together musicians, writing and selecting songs, directing, molding and creating a pleasing product for the public, where feelings are reflected on paper, which in turn become sounds that will mark the life of anyone who is a music lover. That is the greatest satisfaction ”.

Each era has its ups and downs, do you think you can make a living from music?

“Of course, if we think of music as an industry we can find that starting from being a composer, arranger, through instrumentalist, singer, among other things, always keeping in mind the quality of the work to be able to sell it, it can be said that we are prepared to live from what we love to do ”.

How does it feel to be part of the cultural development of Barlovento?

“It is a great responsibility to know and feel that you are the bearer of such an important heritage for the development of the culture of an area where the legacy of the Africans who populated our lands will always prevail. Maintaining, disseminating and promoting the culture of my people through workshops, talks and exhibitions will guarantee that tradition is not lost and that these children and young people, just like I started, will be the future protagonists of the traditional Barlovento demonstrations. ”

Tell us about the Black Theater of Barlovento and Danzas Tacarigua. How do you undertake the preparation of the new generations so that the traditions last over time?

“The Black Barlovento Theater, a group that has 43 years of artistic experience, also proudly carries the cultural heritage of the Miranda State. It is and has been a great school for me for 27 years when I made my first presentation with this great family. I say that it is a great school because it is characterized by being an avant-garde group and that it has given me the green light and total confidence to develop and put into practice all the knowledge acquired musically throughout my career through the different productions of the theatrical works brought to the scene ”.

“Following this example and great experience with the Black Theater of Barlovento, we have been working with the Danzas Tacarigua group, directed and founded by my wife Yermy Martínez and my mother-in-law Zenaida Gamboa for 20 years, training children and adolescents in terms of traditional Venezuelan culture, emphasizing the Barloventeña. They are currently part of the main actors in the traditions of my Tacarigua people. It is an arduous work in favor of the diffusion of the same ”.

His wife is an active part of the Cultural development of the young people of Barlovento, here we could say that “Next to a great man goes a great woman”?

“When one is passionate and responsible with what he does, with his profession, his home, that is accompanied by a great companion, I thank my wife very much, a large part of who I am and what I have achieved is accompanied by her great support, she is passionate about what she does, and that gives me a lot of strength ”.

Salsa and Venezuelan Folklor take you by the hand, how does it unfold between these two worlds?

“Despite the fact that they are two different worlds and from different markets, I have tried to take them by the hand, since from a very young age I was linked with the tradition of my town and the Barloventeño region in general, participating in the demonstrations held throughout of the holiday calendar. The salsa world has helped me understand and handle our culture in a more respectful way through arrangements, compositions, and also when interpreting it”.

Flyer Alex Sánchez — Alex Sánchez & Mulato in Rumba

How do you see the sauce right now?

“Salsa has always had a special place. It is a genre that will never go out of style. We must thank the DJs very much, who, whether they like it or not, have been a fundamental part of the salsa being maintained over time, since the media have lost that interest in promoting and promoting new salsa talents for their music. respective development.

In Venezuela the salsa movement has suffered a lot, since orchestras and producers have had little support at the level of the music industry, since it has diverted its attention to urban genres, which according to them is the most commercial. Despite all this panorama, many musicians, singers, producers have made efforts to continue working in favor of Venezuelan salsa with what we call “record pocket” -hahaha-. All this so that his musical work does not remain only in a dream ”.

Barlovento and its sauce, what can you tell us about “Trabuco Barlovento”? “Trabuco Barlovento is an initiative of my cousin Richard Frías. He told me one day at a salsa concert held in Mamporal, seeing that the great stars were accompanied by musicians from Barlovento, -with all those musicians who are there you can make a blunderbuss that represents Barlovento- and that is how the group was born ” Trabuco Barlovento ”, with more than 10 years of artistic life and 1 recording production to be finished.

I remember that among those musicians who accompanied the artists were Rodolfo Rada (trumpet), Ángel González (saxophone), Darlin Palacios (trombone), among others who are today the fundamental pillar of this group. It has 14 members, where I work as the musical director and main arranger of this prestigious group”.

Orlando Poleo, a national and international percussion reference. What anecdotes do you have of his training with him?

“Orlando Poleo arrived in Tacarigua in 1986 as a percussion teacher at the” Nicomedes Marrero “Cultural Training Center, which was a great experience for me, since he was venturing into the world of Afro-Caribbean music”.

“I remember that once he came with his orchestra“ Casino ”and as he was quite advanced in his classes, he rewarded me by playing a song. It was the glory for me to play with the maestro. It was a great experience for the musicians of Tacarigua and other nearby towns because it helped improve playing techniques and understanding of the use of the clave. Much of that learning I apply to create arrangements. ”

He is a teacher and a student, what is more difficult for you to teach or learn?

“Both are difficult, because to teach well you must learn well.”

You are working with a new musical proposal. What do you have in store for us with the Mulato en Rumba project?

“Mulato en Rumba is my biggest bet. This movement has more than 15 years, began as “Alex Sánchez and his Orchestra” to accompany artists and participate in ¬estas and salsa events in the area. One day recording for another orchestra, we met my brother Edward Plater, my compadre Yoryi Pacheco and I fine-tuning details of what we had already recorded. We saw each other’s faces and said -Why don’t we make an orchestra that is ours? -; we always record and produce for others ”.

“It is then that we decided to set up and start this musical project with our own songs composed by Yoryi Pacheco and myself and arrangements made by me as well. The main members are: Yoryi Pacheco (singer), Edward Plater (trumpet), José Madera Niño (tumbadora), Jonal Rivero (trombone), Rodolfo Frías (bassist) and Alex Sánchez (trumpet, piano and musical direction). Soon our first record production will be ready, which has been done uphill because it is financed by “Pocket record”

–”jajajajajajaja”-.

That name sounds like ¬esta, joy and sauce. How was the name Mulato born in Rumba?

“This name was given to him by my friend and brother Cheo Linares. I told him that we had a new project and he told me

-The mulattoes are going to start partying in Barlovento- and from that moment we call ourselves “Mulato en Rumba”.

Creativity is in decline in Venezuela, you are a composer and arranger and many of the Salsa orchestras are betting on versions or tributes, they do not risk innovating, creating or inventing. What do you think about this matter?

“I think that covering is very fashionable, I think that for many people it is easier to live attached to the shadow of another than to risk producing their own.

Perhaps it is fear of failure due to the lack of support for the artist that exists in our country. There are those who do take risks and bet on other markets (other countries), where the appetite for good music is always thanks to the fact that in those countries there are people eager for new things. In our country that culture of wanting to hear something new and as the saying goes: “-No one is a prophet in his land-” has been lost.

If you bet on innovating and creating, what are the themes of your production?

“We have 10 songs, 2 versions and the other 8 songs are unpublished, we bet on ourselves, not to be in the shadow of others, here the lyrics and music are by José Madera Niño, and my person, Yoryi Pacheco also writes some of the topics. In the version of “Tú mi Delirio” I sing ”.

“The song, get ready, Dancer, the lyrics and the music are by Freddy Junior Solórzano.”

The support of the media is important to show the work done by national talent. Do you feel that there is little dissemination by the media to show the work done by the different groups?

“-Well-, in previous questions I have said that there is no support from the mass media. Hopefully that will end one day and they give importance to Venezuelan music and talent as much as they give it abroad.

La Payola, many criticize it and want it to disappear, however, there are musicians who contribute to this scourge that hurts everyone. Would you ever pay to play?

“I don’t agree with the Payola. Colleagues have told me that if they have done it that it is a rather shameful situation, since many times they have to play without any remuneration in exchange for playing on the radios several times a month. Personally, I would never pay for what he calls Payola ”.

What would be the good and not so good things about this beautiful but tough profession?

“I think there are more good things than bad things, and more when we take music as a profession. The musical world is very satisfying, since it makes you live unique experiences that fill your soul and spirit with joy ”.

Teacher, musician, arranger, music producer What do you feel you need to do?

“Learn, learn and keep learning to make good music and also be able to make” Mulato en Rumba “recognized nationally and internationally.”

His daughters have grown up in an environment full of music, tradition, folklore, they have the musical vein Sánchez, would you like them to be musicians, what legacy would you leave them?

“Hopefully they decide to be musicians, I would never force them to do something they don’t want to, because I think that everyone should do what they really like and are passionate about. The legacy that I will leave you will be all I can do in my musical life, since a large part of what I do is for my family. My daughters at their young ages have already been immersed in the artistic world, they sing, dance and participate in the cultural manifestations of our people. ”

In a word, who is Alex Sánchez?

“A fighter”.

Barlovento and Venezuela in one sentence

“My homeland, My Dear Homeland”.

Eiling Blanco Latin America Corresponded