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A video tutorial by musicians for musicians

Virtuous percussionist, Giovanni “Meñenguito” Hidalgo, proves his talent in the video tutorial entitled Conga Virtuoso. In this masterclass, you will learn about rhythm, technique and improvisation to develop your percussive talents.

Throughout this video, you will observe the legendary Maestro Hidalgo accompanied by Changuito, Ignacio Berroa, Ray Romero, Eric Figueroa, John Benitez, Danilo Perez and David Sanchez issuing instructions in both languages (English and Spanish).

Also, you will be able to recognize the Tumbadora as a non-handed percussion instrument, that is to say, you will learn to play the tumbadora like a right-handed musician even as a lefty and the Maestro Hidalgo with more than three decades of experience teaches you that.

The legendary and multi-talented Puerto Rican musician, Giovanni Hidalgo, a outstanding percussionist, born in San Juan, Puerto Rico on November 22, 1963.

Today he is known as one of the best congueros of his generation in the world.

And quite possibly one of the fastest of all known congueros. Through International Salsa Magazine, I introduce a tutorial method where Maestro Hidalgo gives a master class on rhythms, technique and improvisation; Method that, by the way, you can get in full on the YouTube channel entitled: “Conga Virtuoso”; which is bilingual in English and Spanish and is distributed by Warner Bros. Publications; it is notable that, in the tutorial, Giovanni Hidalgo is left-handed and the examples are written for people who use the right hand.

The tumbadoras as protagonists

Examples of three tumbadoras, including the position of the drums can be played the same way, even if one is right-handed.

Evolution of the tumbao: Around 1940, the bandleader Arsenio Rodriguez began to incorporate a tumbadora (conga), a bongo, a bell, two trumpets, a piano, and a tres (derived from Spanish guitar, but with three double strings and triple voices three).

In the late 1940s, Frank “Machito” Grillo also added the tumbadora to the Afro Cubanos Orchestra, thus achieving the percussion section composed of bongos, tumbadora, and timbales. At that time, the “conguero” performed with a single drum.

Different sounds were produced by dry beats, muffled beats (mute), open tones and deep tone (created with the palm of your hand).

Giovanni Hidalgo explains all these sounds in this YouTube video “Conga Virtuoso”. As Giovanni says, the traditional way of playing only with a tumbadora comes from 40s.

Although he begins almost all examples in lifting (with upbeats) on beat 4, the beginner should know that he starts on beat 1 in most musical situations, without lifting.

Another factor to remember is to use an open tone at the beginning of the first bar, as Giovanni demonstrated by Giovanni.

This initial open tone helps to “anchor” and synchronize the rhythm section in the first measure.

This initial open tone helps to “anchor” and synchronize the rhythm section in the first bar.

It is eliminated by repeating the pattern and replaced by a left clap (P). Caption: O = open tone. P = with the palm of your hand, which is similar to the bass sound. B = deep sound (with the palm of your hand). S = dry. T = with the tip of your fingers. M = “muffled” note. It is accomplished by pressing the leather down with the same hand (cover). Two tumbadoras: the first step in the evolution of the tumbao was to perform with a drum.

The second phase incorporated the use of two tumbadoras. It was during this stage that the art of playing the tumbadora upgraded to a higher level.

Some of pioneers of the style with two tumbadoras are: Carlos “Patato” Valdez, Mongo Santamaría, Cándido Camero, Tata Güines, Francisco Aguabella, Armando Peraza, and Ray Romero. In the examples, Giovanni plays a “seca´´ (term to refer to a dry sound) in the later half of the third beat of the first bar.

This is a light “seca´´ as opposed to the most pronounced. By adding the bass: This is a modern approach to how you play the basic tumbao with two tumbadoras.

This pattern uses the bass sound in the fourth bar. Giovanni lifts the tumbao minimally with his legs while playing the bass sound in the fourth bat. He lifts the drum and lets the sound out of its lower part. He also adds the timbales and bongos: This section demonstrates how the tumbadoras, the timbales and the bongos work together in a section.

The pattern for the tumbadoras is the tumbao with variations combining both ancient and modern styles, as Giovanni mentioned. The rhythm of timbales is based on a shell pattern played on the cáscara (the sides of the timbales).

The bongo drum plays the basic pattern called “martillo” with improvised phrases called “chime”

The bongo drum plays the basic pattern called “martillo” (the most important bongo pattern in Afro-Cuban music, which means “hammer” in English) with improvised phrases called “chime”.

When repeated, the first open tone is replaced by a left clap (P). Example of bongos: “Little” Ray Romero starts chiming immediately.

These phrases must also comply with the clave. The first example is the basic “martillo”, which is the basic function of the bongo drum in a section. The second example is a transcript of the chimes played by Ray Romero. Basic Martillo: T = fingertip. TH = thumb side. O = open tone on the bass drum (female).

Pattern for timbales: the changuito plays a shell pattern on paila (sides of the timbales) in a 2-3 clave.

In addition, he has a bass drum to which is added a pattern as would a drummer. The fingers from the left hand play the “Ghosts” notes while the right hand plays the bass drum. He also plays an open tone with the third finger from the left hand on the bass drum (female) in the first bar. This creates a melody line between the bass drum and the “hembra”. Also, Giovanni Hidalgo explains the rhythms from Puerto Rico, such as: jíbara, quás, plena, bomba, yubá and Dutch music. To conclude, we invite you to watch the videos “Conga Virtuoso” by Maestro Giovanni Hidalgo in full, which will be very useful for both beginners and advancing musicians.

Video: Conga Virtuoso Giovanni Hidalgo

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Cano Estremera’s career as a solo singer was characterized by ups and downs.

Maybe it was not successful or prolific in terms of recording, but he maintained a presence on the show business thanks to his talent as a clever improviser.

His first solo album El Niño de Oro (1986) follows the line of traditional salsa with songs such as “Viernes social”, “Nací y así soy” and including two boleros, among them, “Emborráchame de amor” recorded before by Héctor Lavoe.

Then he produced the album Salvaje ’88 (1988), “El Toro”, the covers of “Ámame en cámara lenta”, “Te amaré”, and a merengue version of the Brazilian song “Pleno verano”.

In the next two discographic works, Estremera dabbled in romantic or sensual salsa. Phonograms Dueño del Soneo Vol. 1 (1989) and Dueño del Soneo Vol. 2 (1990) did not have sufficient impact on the salsa community.

After the hit “El Toro”, his public expected a hardcore salsa record in line with the title used for both productions. However, the self-proclaimed “Dueño del Soneo” could not prove it in those recordings, but in his live performances.

In 1990, Cano made the world record for consecutive soneos without repeating verses. His exploit begins in the town of Guánica with 105 soneos without repeating any rhyme. Weeks after, he improved the record to 128 in Yabucoa and finally reegistered 130 in Juana Díaz in front of five thousand spectators.

Staring in the 90’s, the musical career of Cano Estremera has stalled by several factors. After years of never recording, he resumed his career with the album Cambio de Sentido (1994).

In this production, Cano could find the balance between romantic and traditional salsa, but with an identity of its own. Novelty songs such as “Pobre diablo” and “Profesor de décimo grado” stand out, where he added some mischief in the soneos.

The record includes the salsa ballads “Por ti me casaré” (Eros Ramazzotti) and “Alguien” (Camilo Sesto). We also find songs that tell urban stories in “Con ojos de dólar” and “Compañera de trabajo”. Thanks to this production, Cano Estremera returned to the stage in force.

The best part of Carlos E. Estremera’s musical work is found in the last three productions. His voice in full maturity, a pre-defined style and a reputation of being an irreverent sonero helped him to make three masterpieces. In the album Punto y Aparte (1996), song lyrics perfectly fit his character.

The personality of the singer is portrayed in songs like “Amigo de qué”, “Se busca”, “Un loco como yo” and “Llorando me dormí”, the latter was recorded before by Ismael Rivera.

Years later, he reappeared with the recording entitled Diferente (1999) where he solidified his place as a salsa legend.

All the numbers are excellent from start to finish, especially “Agüita pura” and “La salsa está buena”.

By the first decade of the new century, Estremera produced his greatest work Ópera Ecuajey (2008) in tribute to El Sonero Mayor Ismael Rivera.

This was an unprecedented concept album in his professional career. Cano Estremera always sought to evolve and diversify as an artist.

In his personal shows, he performed classic boleros and salsa songs which were hits in other singers.

Estremera delights us with the classics “Periquito Pin Pin”, “Boranda” “La esencia del guaguancó” and many more with arrangements adapted to his tone.

Furthermore, he also reinterpreted the hits that he recorded with Bobby Valentín with new arrangements that not resemble the originals at all.

Estremera’s last recordings were the singles: Bello amanecer, Uno se Cura, Después de Todo, La Profecía with José Lugo Guasabara (2012), La Dieta, (2014), and Los Cobrones (2016).

Cano Estremera was a complete artist in the improvisation on stage

Pulmonary fibrosis fulfilled by the very fact of being an albino impacted on the health of the renowned salsa singer.

Carlos Enrique Estremera Colón, simply “Cano Estremera” for the Caribbean crowd who knew him and applauded him with the title of “Dueño del Soneo”, passed away in his native Puerto Rico around 2:00 p.m. on Wednesday, October 28, 2020.

He was born on September 2, 1958 in Santurce, San Juan, where he also passed away.

Source:

Saúl López García © 2020 and Augusto Felibertt © 2021

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Is a commitment to music and his people

Percussionist, Flautist, Arranger, Composer and Director of the Orchestra “La Masacre” Julio Castro López was born on April 30th in Santurse, Puerto Rico.

He was also percussionist with legends such as Eddie Palmieri, Héctor Lavoe, Tito Puente, Richie Ray & Bobby Cruz and Tommy Olivencia.

Born in Santurce, but raised in the town of Bayamon, Julio Castro López is rapidly approaching five decades as a musician.

From 17 years old, he is a professional musician since the age of 17 as well as being a percussionist with Rafael Cortijo, Mario Ortiz, and the Orchestra of Babó Jiménez.

He has fond memories of his trips abroad with maestro Cortijo in the 1960s.

In salsa, there are artists who, despite their importance, are largely unknown to the general public, even the most avid supporters of the movement.

However, this apparent indifference is not consistent with the respect and consideration their fellow musicians have for them, as was the case of conguero and flutist Julio Castro, especially when he is associated with La Masacre, a project he founded in 1979.

Julio Castro & La Masacre New Generation Orchestra 1979

In any event, the dream of having his own orchestra came true. In the case of Castro, as the natural culmination of the many experiences in the salsa ambiance, which led him to lead one of the most interesting bands to the late ’70s.

At the beginning in Puerto Rico, we find Julio Castro as a member of the orchestra led by the pianist Fernando Ojeda, which was a group whose vocal part was in charge of Sammy Marrero, long before this singer was part of Raphy Leavitt and his Selecta Orchestra.

Subsequently, he was in the La Única Orchestra for a short while at the beginning of the salsa boom in the city of skyscrapers and met Junior Córdova, later the vocalist for La Compañía of saxophonist Bobby Rodríguez. As a fun fact, it should be pointed out that Córdova would later write “Dolor, esquina, miseria”, one of first hits of Julio Castro as a soloist with his group La Masacre.

Julio Castro Y Orquesta La Masacre Mamey 1980

His first album brought eight songs that are still reminded by the followers of the expression.

Lyrics with an experiential content, not without social burden, made such an impression on the general public. Two examples, we must mention “Las Amistades” and, above all, “Dolor, esquina, miseria” composed by Junior Córdova, who was a partner of Julio Castro since the days of the La Unica Orchestra as we mention before.

Given the factors outlined previously, it is necessary to highlight Humberto ‘Tito’ Nieves’s participation in the vocal part. Tito, who came from recording with Johnny Ortiz and Taiborí, was emerging as a singer who worked in the highest registers at that time, a certainly innovative trend which was emerging in the pathway chalked out by vocalists of the stature of Lalo Rodríguez and Néstor Sánchez.

Julio Castro & his La Orqueta la Masacre,Vocals: Nestor Sanchez  1984

However, the stay of Nieves in La Masacre was brief. A few months later, he became part of the Conjunto Clásico, a project that Ramon Rodriguez had been pondering since the days he was a backup singer for Johnny Pacheco and his Tumbao.

Rodríguez, who is an outstanding composer before being a choirboy, joined forces with Raymond Castro to create this ensemble in which the vocal part of Tito Nieves was its hallmark.

Nevertheless, being part of the Clásico, Tito was still known as “El Pregonero” in allusion to the first hit he imposed with La Masacre.

La Masacre was a musical concept that, in the format oJulio Castrof the conjunto or expanded soundtrack, brought together diverse musicians with common aesthetic music interests. This idea led by , his testimony is the commitment with his music and his people.

Facebook: Julio Castro y su Orquesta La Masacre

 

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Héctor Lavoe y Willie Colón

A finales de los sesenta, el mundo fue testigo de un interés por la música latina, y esta vez, el sonido se llevó a cabo en Nueva York con condimentos puertorriqueños y dominicanos y un condimento basado en los sabores culturales que se mueven en la Gran Manzana.

Fue una mezcla de sonoridades latinas aromatizadas por las calles de Nueva York, que resultó en una especie de guarnición musical que se llamó Salsa.

Concretamente en el año de 1967, que es cuando este sonido cobra vida de la mano de la combinación más letal concebida por nuestra música latina, Héctor Lavoe y Willie Colón.

El primero es oriundo de Ponce con un registro vocal envidiable que se fue a probar suerte a Estados Unidos con tan solo 17 años. El siguiente era un neoyorquino de ascendencia puertorriqueña con el oído más privilegiado de su generación, unido por Johnny Pacheco para iniciar el imperio de los primeros chicos malos de la música latina con el disco “El Malo”.

Esta es la primera producción de Willie Colón que realmente se empieza a grabar en el 66 desde Alegre Records. Sin embargo, el sello cerró y el proyecto se detuvo hasta que recibió la propuesta de Fania Records con la condición de buscar un nuevo vocalista, y es entonces cuando apareció Héctor para terminar el disco.

Cuando se estrenó en el 67, fue un bombazo en todos los sentidos, desde la estética hasta los sonidos sofisticados que Willie capturó como líder de orquesta al traer elementos de mambo-jazz, son montuno, timbales diabólicos por parte de Nicky Marrero, Guaguancó, blues. pianos y Boogaloo.

Todo el mundo hablaba de la trágica vida de Héctor Lavoe, pero Willie Colón vio más allá de eso, e hizo once álbumes de estudio, lo vio como un dulce chico de campo con buen sentido del humor. Lo vio como el mito antes de convertirse en tal.

Willie Colón & Héctor Lavoe, este dúo es considerado uno de los más importantes de la música salsa.

Criado entre los “chicos malos” del Bronx, Nueva York, Willie Colón se ha hecho a sí mismo a pulso y ritmo, innovando y esforzándose siempre por ofrecer algo diferente. Y no fue fácil. Así que tuvo que inventar otro Willie con el que nadie se enredara.

Así nació “El Malo” con una niñez poco común, también es “El Malo” de Salsa, el que cambia las reglas en cada disco. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años.

Su abuela fue la que le regaló su primera trompeta, le enseñó a hablar español, también tocó música tradicional a cambio de que él le leyera el periódico.

Willie tocaba la trompeta y ese parecía ser su instrumento. Luego escuchó el solo de trombón de Barry Rogers quien tocó la pieza “Dolores la Pachanguera” con Joe Cotto y también descubrió lo que hacía Mon Rivera con el bombo y el trombón y nunca quiso volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No cualquiera celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística.

Así nació “El Malo”, con una niñez poco común, lo que también lo llevó a adoptar el nombre a su pasión por la música, pasando a ser conocido como El Malo de la salsa. Cambia las reglas introduciendo algo diferente con cada álbum. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años en ese momento. Su abuela le regaló su primera trompeta, le enseñó a hablar español y también le tocó música tradicional a cambio de que leyera el periódico.

Willie tocó la trompeta como su instrumento hasta que escuchó el solo de trombón de Barry Rogers a dúo con Joe Cotto en la pieza “Dolores la Pachanguera” desviando su interés por ese instrumento pero descubriendo lo que hacía Mon Rivera con el bombo y el trombón. lo llevó a no volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No todo el mundo celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística lo que lo convierte en un ícono de la salsa.

 

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In the Caribbean there is a group of islands that attract many tourists all year round for its warm beaches, music, history and / or culture, one of the most visited is the beautiful island of Cuba, where tropical tourism is excellent for tourists. , one of the provinces that stands out for being a land of beautiful landscapes and hospitable people who preserve their traditions is Pinar del Rio which is located in the westernmost part of Cuba, it highlights its extraordinary natural charms such as its caves and Pinar del Rio parks, its beaches are bathed by two waters “the Atlantic and the Caribbean” which you can see with the naked eye when you go there and having this great diversity and beauty, you can explore the seabed as there is great tourism ecological and practicing water sports, it also has green gardens, the mogotes of Viñales and its guano houses where tobacco leaves are dried, there is an impressive Mural of Prehistory, a huge cave painting g burned on the surface of a mogote where its tropical and exuberant colors allow it to be distinguished from afar.

This time we have the Cuban singer Marielys Castillo Prietos also known by the stage name Liz Castillo, who was born in this beautiful city Pinar del Rio, Cuba on September 20, 1985, tells us with affection the place where she was born and is the perfect description that we mentioned at the beginning of this article; currently she lives in Havana to better develop her musical career.

In 2000, he began his musical career where he joined the movement of amateur artists of “Casa de Cultura”, a place that belongs to the network of cultural institutions that make up the Ministry of Culture of the Republic of Cuba. where there is concerted cultural development between the community and state entities, aimed at the preservation, transmission and promotion of artistic and cultural samples of the community, there were workshops where visual arts, dance, music are taught … was able to present singing songs for both children and adults; which obtained several prizes in the diverse Contests.

During these 5 years he dedicated himself to recording his album called “Cosas Contigo” with full authorship, his songs have a great variety of musical genres such as Bachata, Salsa, Vallenato, among others in order to have a great musical enrichment and in turn achieve a greater reach to your audience.

In 2004, she graduated from Elementary Level in Singing Specialty, and jointly received Popular Singing classes in Havana with her teacher Robertina Morales Silva, who is someone very important to her since she mentions that she owes her musical career to him. because during his beginnings, he was born with the concern and doubt of being a musician and she was the one who showed him his path and what is correct or not; When he received his classes with her, he discovered and obtained the answers to his concerns in his musical career, even today they keep in contact supporting her.

She begins to work on the composition of the songs of her authorship, where until today she has more than 25 works registered in the National Copyright Center, performed by recognized Orchestras and Soloists and by herself.

The emotion and inspiration to create his songs is “Love”, the most sincere and most sincere feeling there is, it is also inspired by its derivatives such as heartbreak, life and lived experiences; This is one of the ways that you express what you feel, what you like and what you don’t like and what you want to send to your audience.

A year later (2005), he joined the Ebano y Marfil group and the Ireme Group. On this same date the Polyphonic Choir of Pinar del Río was integrated, these were the first groups with which I worked instead of working as a soloist, it was a new world where he does not deny that for those who start in group music and with experience it is scary because they do not know if they will measure up or not (their own insecurities), if your desire to move forward and progress is stronger it will be appeased by gaining experience and more security, as happened to her, who is a person characterized by a person who never backs down and moves on, to catch up and strive to defend himself for which he has fought, since she herself knew what would happen by studying it, thought and assumed in his future, making this a wonderful and great experience.

What better happiness and personal reward than listening to your musical themes on the street and expanding to radio stations and the internet, this is the best happiness that a musician has.

After 4 years he retired from the musical group to go to Havana (2009) to train more as an artist for a year at the Mariana de Gonitch Singing Academy, directed by Maestro Hugo Ósle, a very prestigious teacher from Havana, he is known As the director of the group that bears the name of the famous internationally renowned Russian singer and pedagogue, who preferred to live in Cuba and was in charge of preparing young talents, there Liz Castillo had her lyrical and popular singing classes and above all they took you to to do shows and concerts in all the theaters of Havana either as a soloist or in a group, thus cultivating in his career and to have a more accurate criterion in a few words he was covering a wide repertoire and varied musical genres from Folklor A; upon graduating he continued working and always asking his teacher Robertina Morales Silva for support.

She mentions that during the COVID-19 pandemic, she did not see the bad things but the positive things, it has been for her during that difficult year, very prosperous in her career since she has been able to get 2 singles that were previously in process or paused, 2 salsa songs ʺCanción sin Rostroʺ which is currently coming out these days with its video clip and soon ʺWhere our Love is bornʺ … the pandemic has paralyzed many things but we must take advantage of this time at home and she did it promoting herself and obtaining a greater reach through the internet platform using social networks.

“For live music to be heard by the public, that they like it and identify with it and to achieve at this time is through communications especially the internet and social networks”

“Canción sin Rostro” is a musical theme that aired recently, it tells us that during its creation it was not called that, but “De que vale”, because that change arose, it was a theme related to an unrequited love and at the end of the song was a happier ending instead of the sadness it had at the beginning, it is like for example seeing the dark side of life comes at the end to see the light, the most beautiful part of life.

To the new talent that is currently emerging, Liz Castillo mentions that currently many people want to be a fast and famous artist, but the truth is… “the person who is going to be an artist is because they have it in their soul, mind and it is written in Life will go on and overcome its obstacles, no matter how difficult … the artist is born with that quality, those who are not will not be able to continue even with all the support in the world “…” the artist’s work is not for himself, but for others, respecting his audience with respect to his lyrics, a clear message without many complicated words ”

If you want to know more about her, listen to her songs or contact her:

• Facebook: https://www.facebook.com/lizcastilloficial/
• Canal de Facebook: https://www.facebook.com/liz.c.prieto.7
• Instagram: https://www.instagram.com/liz.c.prieto.7/
• Linkedln: linkedin.com/in/liz-castillo-09b005124
• YouTube: https://youtube.com/channel/UCVBBbLlsIt2vv1WD-JjlxlA
• Twitter: https://twitter.com/liz07156882

Spotify

• https://open.spotify.com/artist/0FMLrFYvhu14ITV7ecMHpx?si=9_e5Ru99QBqn_kWvZ3U7EA

Pleylist

• https://open.spotify.com/artist/0FMLrFYvhu14ITV7ecMHpx?si=9uUH-GunTUKJ3R2DvPsibg

 

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