Europe

Mozart & Mambo

The Instrumental Music Album With The Major Projection Of 2021

Sarah Willis playing the French Horn with Yuniet Lombida playing the saxophone — Mozart & Mambo was recorded in Havana (Cuba) in January 2020

After six years of Horn Discovery, Sarah Willis brings us in her third album the discovery of two worlds through a completely harmonic and natural fusion. Her album Mozart & Mambo combines solo pieces for Horn of classical music originating in Western Europe with the traditional rhythms of Cuba Island.

Sarah had this magnificent and unusual idea due to her multiple trips to Havana city to teach how to play this brass instrument.

“As a Horn player, I always wanted to record Mozart’s horn concerts … And when I met the Havana Lyceum Orchestra and its conductor José Antonio Méndez Padrón I had the idea of recording with them. I love the way they play Mozart. I love the way Pepe works with them… So, what better way than to mix some pieces of Mozart and Mambo? Then, we have pure Mozart. We also have some purely Cuban songs, but we also have a wonderful fusion of Mozart and Mambo. And, It is the title.

… The main concert on the album is the third concert for Mozart Horn, which is one of my favorites… It’s a catchy tune… I have an arranger in Australia called Joshua Davis, and I said, listen! I have this crazy idea.

– I want to turn this piece into a Mambo.

– He said, sure, no problem.

But he didn’t know much about Cuban percussion. So, I said:

– I have the ideal person to help us.

And I turned to a wonderful musician from Cuba, Yuniet Lombida, who plays the saxophone on the album and is one of the best saxophonists in Cuba”. Willis commented on a digital medium.

The splendid trio between the first woman in the brass section of the Berliner Philharmoniker, the Havana Lyceum Orchestra under the baton of José Antonio Méndez Padrón (Pepe), and the consecrated saxophonist from Havana, Yuniet Lombida managed to create an exceptional experience among the Concerts for Mozart Horn and Caribbean intercalated rhythms: Mambo, Son, Salsa, and Bolero.

Harold Madrigal, Yuniet Lombida, Sarah Willis, Pepe Méndez, and Jorge Aragón

The album consists of 10 Tracks, which stand out: Rondo Alla Mambo and the two great Cuban classics Dos Gardenias and El Manisero with arrangements by Joshua Davis and Yuniet Lombida. Likewise, Rondo K. 371 and the first movement of Eine Kleine Nachtmusik (titled Sarahnade Mambo) demonstrate the subtlety of classical music with the interventions of the Cuban tradition, extolled by the Havana Lyceum Orchestra. In the other hand, the trumpeter Harold Madrigal Frías displays his virtuosity in the album with the pieces: El Manisero, Dos Gardenias, and Qué Rico El Mambo.

For this month, you will be able to witness this extraordinary musical fusion live at the Rheingau, Kultursommer Nordhessen, Young Euro Classic festivals in Berlin City, and Elbphilharmonie in the town of Hamburg in Germany.

Much of the proceeds from the purchase of the Mozart & Mambo album are for the benefit of the Havana Lyceum Orchestra to provide them with modern and new musical instruments.

Who is Sarah Willis?

Based on the biography written by Sarah

Sarah Willis in black dress with French horn on her legs — Sarah Willis was included on Queen Elizabeth’s Birthday Honor Roll, which indicates that she has been granted the title of Member of the British Empire

“People often ask me for more details about my life and my career. No dates or names, but about the how and why. So, I share a little more of the most influential and inspiring events of my life playing the Horn.

… It is true that I decided to play the Horn in my first Trumpet lesson. Actually, my first teacher was the Trombone and I adored it and the Trumpet, so I practiced as much as I could… I was used to practicing. My parents were quite strict about it, something for which I am very grateful.

… School became quite a lonely place as my classmates didn’t understand my passion truly.

… I must say that being a member of various youth orchestras was one of the most important and enjoyable parts of my musical training. Here, I met other young people who did not find it strange to spend a lot of time just practicing and listening to classical music.

After 3 years at the London music school, I “discovered” Berlin. The city was incredibly vibrant and exciting, and the first time I heard the local Philharmonic live, I decided that I had to be as close to this orchestra as possible, so I moved there. My first job was with the State Opera under the direction of Daniel Barenboim in 1991, just after the fall of the Wall that ran through the capital, so it was a very exciting time to be in the city at that time.

In 2001, I won the position at the Berliner Philharmoniker, something I had dreamed of since I first heard them play.

I started playing an Alexander horn when I was 16 years old. It was very unusual in England! I fell in love with the sound of this speaker and would not play anything else.

… My day job takes up most of my time and mental space, but since I started doing interviews with soloists and conductors for the Digital Concert Hall of the Berlin Philharmonic Orchestra (BPh) and I became involved as a mentor and presenter of the BPh on YouTube since 2011, I have become very passionate about online music communication.

I started Horn Hangouts (musician talk show) in 2013 and have been presenting the Sarah’s Music TV show (conversations format with conductors, students, musicians, and dancers) for Deutsche Welle TV since 2014.

I love doing both with passion and I enjoy connecting with musicians from all over the world, reaching out to people who may not have easy access to live concerts or teachers”.

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Guspira Records Presents The Karamba release their first album “Camino Así”

The Karamba is a musical group formed by six women from Venezuela, Cuba, Catalonia, Panama, and Argentina. It is a multicultural mix that creates a new, special and powerful musical color.

Between the chaos, traffic, the city, and stress, they joined in 2018 with the name of the Karamba on the streets of Barcelona. Of the need to acquire strength, get rid of fears, and spread joy, members share their way of understanding music to claim the strength of women.

Together they have been strengthened, combining rhythms and tunes in order to compose a single melody that fuses son, chachachá, salsa, timba, and rap rhythms. Enthusiastic melodies that explode with effusion and a powerful message of protest and feminine sovereignty that transmits the full force of past generations who championed the feminist fight and change.

Since their union, and in just two years, the Karamba has become one of the most internationally recognized bands at large festivals in Europe. They were especially noted for their performance at the Eurosonic Noorderslag (ESNS) 2020, which is the most important professional music festival in Europe that takes place in Holland, and also at the Flawa Festival in London. They have also got Catalan audiences to fall in love with their presence at renowned festivals such as the Black Music Festival, Bioritme, Clownia, and the Esperanzah Festival, among many others.

Las Karamba is a musical group formed by six women from Venezuela, Cuba, Catalonia, Panama and Argentina. A multicultural mix that creates a new, special and powerful musical color. — The Karamba who are releasing their first album “Camino Así”.

The lyrics of their songs talk about the stories of all those women who kept silent, were under the shadow, fought alone during the course of history, and who could not explain. Now the Karamba endorse these stories in their new album “Camino Así” (Guspira Records, 2021).

The record starts off with “Presentes”, which is a clear declaration of intent. Through the music for the eponymous poem by Guisela López, they remark their values, objectives, and principles to the rhythm of a rumba tonada in collaboration with Erik Castillo, director of the group Compota de Manana.

With a Trap base, they surprise us with a change of register as they bet on electronic sounds that mark a considerable difference with respect to the rest of the songs. — The Karamba’s Cha Cha Chá takes us back to the life of “Margarita”

One of the values that take on special importance is gender equality. The Karamba leads us with a cha cha to the life of “Margarita”, a grandmother addicted to freedom. In the song “No Sabe Nah” they take a more vindicatory position, and together with singer Paula Grande, they call for the power of women. With a Trap base, they surprise us with a change in the register as they opt for electronic sounds that make a substantive difference from the rest of the songs.

The band is characterized by its constancy reflected in “Voy Subiendo” with the collaboration of trumpeter Yuri Hernández and trombonist Albert Costa. Slowly but steadily, the Karamba work to draw their path cut out for them. A path where they leave behind everything that weighs on them and does not work. In “Pasa la página” they look up to a relationship that is destined to fail.

Finally, Las Karamba strips off in "Basta Ya" — Finally, Las Karamba strips off in “Basta Ya”

With a salsa song that warms up in each beat, they encourage to look to the future with optimism and to overcome everything that has thrown them. Finally, in “Basta Ya“, the Karamba remove all social pressure and the alleged dogmas stipulated to be successful in life.

In “El Beso“, the first song they composed as a band, they remind us to love each other with intensity and continue the journey to the “Sabana”, a reflection on the frenzied pace of life that we talk. On a busy day-to-day basis, the Karamba invite you with their album “Camino Así” to relax, forget all the troubles and see the world in their own way following their tempo.

“Camino Así”, their first album, will be available on March 4th in physical and digital formats.

https://guspira.net/ca/las-karamba

LAS KARAMBA “CAMINO ASÍ” (Guspira Records 2021)

FormaGran Via de Les Corts Catalanes 1176 Bis 3º 5º (08020) Barcelona

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GLASS MARCANO

SOWING ART IN PARIS

Young Venezuelan who marks a milestone in Paris. Her story predates her potential talent and invades the hearts of classical music fans. She was considered a potential marvel at the baton in the La Maestra contest held in France. She has explosive energy, interpretive intensity in directing, and she looks lighthearted. It is how the famed Latin American and music director, Gladysmar Marcano, is shown.

The story of Gladysmar del Valle Vadel Marcano, better known as Glass Marcano is very unique and has captivated the hearts of Parisians. This Venezuelan girl from Yaracuy state (Venezuela) with 26 years old has sown her art in the French capital since she entered the first edition of the contest for women conductors called La Maestra.

This three-day-long contest was held at the Paris Philharmonic Concert Hall in mid-September 2020 during the Covid-19 Pandemic. In this competition, which brought together 12 candidates out of a total of 220 from 51 nationalities, a repertoire was required for the execution of outstanding works from the 18^th, 19^th, and 20^th centuries, as well as contemporary works to observe the versatility of women leaders of the baton.

Glass was not the winner of this contest, but she was the greatest teacher of the sympathy of the group of musicians led by her after receiving the orchestra award and the institutional support necessary to continue with her training.

From the beginning, this disciplined and talented conductor captured the attention of the founder of the Paris Mozart Orchestra and member of the competition jury, Claire Gibault, who invited her to participate in a series of concerts with the Paris-Mozart Orchestra. “She told me:” in September I’m going to do a concert with the Paris Orchestra at the Paris Philharmonic and I’m going to share it with you “and that filled my heart a lot”, confessed the passionate music director to a digital medium.

… When you have a motivation that is additional to the professional when it is from the heart, you want to take over the world: I’m going there, I’m going to stand on the podium and I don’t speak English or French, but come on, I do know can…”. Glass Marcano

JUMPING OBSTACLES

Glass Marcano conducting the orchestra — Glass Marcano would like to direct Stravinsky’s Rite of Spring due to the level of technique required

The national and international press plus the regulars of social networks echoed his story. Glass Marcano with determination participated in the La Maestra contest in France, jumping all the obstacles prevailing in Venezuela.

The faithful anecdote of her aroused the interest of an audience. Glass wanted to advance in her artistic profession and thereby help her family financially. While browsing the Internet, she came across information about the Contest aimed especially at women symphony orchestra conductors, however, there is the first obstacle and it was the registration, they needed 150 euros. At first, Marcano was discouraged, but then she looked for the solution, borrowing money.

OK! The first hurdle cleared, but now she would have to buy suitable clothing to present herself. Glass, who lived in the Venezuelan capital for her law studies at the Central University of Venezuela, decided to return to her Yaracuy state and earn that money at her family’s fruit store.

Between dreams and practices, she was already managing to attend the contest. Wow! Glass is how it is done. However, the pandemic arrived that she did not have and for the fourth time. Another obstacle was approaching, the cost of the plane ticket with the date already close.

She thus informed the organizers of the French competition who helped her fulfill her dream. A humanitarian flight was the destination to reach Europe and that same day of her arrival it was her participation in the competition that would lead her to direct her new story.

When Glass came to the concert hall to perform, the strategy was simple and consisted of only two pillars: fun and connection. “The fun” was always present at the time of directing. Her dedication and passion confirmed it. The second pillar “the connection” was also achieved even though she did not speak the native language or English however, she established that connection with the musicians and the audience present who gave her an ovation when coming down from the podium. “I can tell you that before leaving for my participation, the organizers of the contest told me that the public applauds the director when he enters, but does not applaud when he leaves. When I finished directing the masterpiece, the audience immediately applauded. That was very impressive to me. For that reason I raise the orchestra because thanks to the orchestra it was the applause and I had to thank them”. Glass explained to a digital press.

Glass Marcano currently represents the Latino and Afro-Caribbean communities. Her next goal is to direct with the French technique and add the Latin “flavor” to it. “I like to feel the music, to be musical, to be passionate, but the technique is important, and that is why I am in Paris”, she said in an interview with journalist Pía Castro.

A week after the contest Glass began to attend rehearsals, she saw master classes and continues with her academic training at the conservatory. By 2022, her participation in a festival in Belgium is confirmed and she will have a presentation in Barcelona (Spain).

There are many ways to interpret a masterpiece, but the goal of a conductor is to convince the orchestra that your version is the right one”. Glass Marcano

SalsaGoogle.com is International Salsa Magazine

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Manuel “Pancho” Montañez Drummer and Jazz Professor

First group in which he participated “All Skaleno”

Manuel “Pancho” Montanez. (Caracas, 1978), at the age of 14 he began to study drums privately with Professor José Antonio Mato. From 1996 to 2005 he studied drums with Professor Andrés Briceño.

In 1998 he began his studies at the “Escuela Superior de Música José Ángel Lamas” where he completed the first two years of Theory and Solfeggio and the first and second year of Academic Percussion under the tutelage of Professor Jorge Dayoub; also in the same year he entered the School of Arts of the Universidad Central de Venezuela, studying at that institution until 2000. In this date he was accepted at the University Institute of Musical Studies (IUDEM, currently UNEARTE), to study academic percussion at the university level under the direction of Professor Edgar Saume and in 2006 he developed in more depth the studies of the drums in the chair of Jazz at the same institution.

Manuel "Pancho" Montañez. (Caracas, 1978) — Pancho Montañez Drummer and Jazz Professor

As a performer he has made several presentations in most of the national territory and abroad (Argentina, England, Mexico, Aruba, Germany, Japan, Hungary, Austria, Switzerland, Spain, Holland, Belgium) accompanying bands, singers and musicians in general of different genres (Victor Castillo, Nene Quintero, Biela da Costa, Natalia Barahona, Desorden Público, Mágica Mystery Band, Gonzalo Micó, etc.), and is a permanent member of the groups Jungla Boulevard and El Arca.

He teaches Academic Percussion and Drums at the Sistema de Orquestas Infantiles y Juveniles de Venezuela (San Antonio de los Altos), where he also founded the San Antonio Big Band Jazz, with young people between 9 and 17 years old with the intention of generating a seedbed of young jazz players.

In 2015 he published his first album titled IMPROVISTO. He is accompanied in this recording by Heriberto Rojas (Bass), Jesús Azócar (Piano) and Juanma Trujillo (Guitar), and has the special participation of the master Gerry Weil (Fender Rhodes) in the song “Problemas Paralelos”; together with Horacio Blanco they make “Moscas”, an original song by Desorden Público and with José Alejandro Delgado he performs a duet of voice and drums on a poem entitled “Mi nombre es…”.

In 1998 he began his studies at the "Escuela Superior de Música José Ángel Lamas" where he completed the first two years of Theory and Solfeggio and the first and second years of Academic Percussion. — Pancho Montañez Drummer and Jazz Professor

He is currently pursuing his PhD studies at the University of Valencia, after having completed his Master’s studies at Berklee College of Music, Valencia Campus, in the “Master in Contemporary Performance” program, in Valencia, Spain.

Discography

2001 – Horacero – Superllanero – Radiopirata Records

2003 – Desorden Público – Aniversario 18 años (live), Teatro Teresa Carreño, Buenos Aires, Argentina.

2006 – Horacero – Fusil – Radio Pirata Records

2006 – Horacero – Unplugged – New Bands Foundation

2007 – Jungla Boulevard – Jungla Boulevard – Independiente

2008 – El Arca – Buen Viaje – Independent

2008 – Horacero – Desde Cero (1998-2008) – Sonico Subte Record

2009 – Jungla Boulevard – SurRealistas Productions

2011 – Andres Lasso – Sin Otro Sentido – Sonografica

2011 – Samuel Nexans – Samuel Nexans – BabyMusic

2012 – Various – My Independence a Flower – Cendis

2012 – José Alejandro Delgado – Rueda Libre – Independiente

2015 – Pancho Montañez – Improvisto – MMM Productions

2016 – José Alejandro Delgado – Something – Independent

2021 YEYA – Album YEYA – Valencia, Spain. February, 2021 – Jazztone Studios

Mix and master by Ricardo Osorno & Sebastian Laverde.

Personal:

Pancho Montañez: Drums/Comp.

Roberto Quintero: Percussion

Ricardo Osorno: Bass

Sebastian LaVerde: Vibes

Dani Orts: Piano/Keys

Pancho Montañez uses MasterWork Cymbals, CODE Dumheads & Collision Drumsticks

Roberto Quintero uses Gon Bops Percussion, Sabian Cymbals

YEYA https://youtu.be/qEilvwRI5gE

Bateristas Venezuela: https://bateristasvenezuela.wordpress.com/manuel_pancho_montanez/

WedSite de Pancho Montañez

https://panchomontanez.com/

Canal YouTube: Pancho Montañez

https://www.youtube.com/channel/UCT9JEx9adiwGB_JbqFqdTjw/featured

Improvisto: https://panchomontanez.bandcamp.com

Pancho Montañez Drummer and Jazz Professor

Salsa’s Clubs And Academies Continue Closed In Italy

Corresponsal: Pietro Mingarelli (Italy)

More than a year after the security measures implemented by the national government against the Covid 19 pandemic, the Salsa’s Academies and Clubs in Italy continue closed to help safeguard the health of the population.

Since February 24, 2020, the Salsa Academies, Discotheques, Clubs, and Outdoor Salsa floor have ceased their recreational, fun, and educational activities of this tropical genre in the country for seven months with a reopening of 15 days during October 2020, unfortunately, there was a new wave of the SARS-CoV-2 Coronavirus that caused the total closure of the establishments once again.

Currently, the country of the Colosseum in Rome began the de-escalation and the nightclubs are expected to reopen their doors to the public this March 2021 respecting the social distancing between clients, the dance academies on June 8 with an operation of small groups of people. While festivals, congresses, and similar events still have no start date for activities.

From SalsaGoogle are optimistic and we hope that the beginning of spring will coincide with the reunion of salseros in this peninsula that has been the venue for more than a decade of the main and most innovative international festivals and world congresses, as well as it has been recognized for his high levels of teaching in Salsa dance academies.

General Hygiene Rules

These are some basic recommendations for the assistants to the Salsa lessons in academies to enjoy the maximum of their dance experience with greater security:

– Wear a mask (Cover mouth) during the entire dance lessons.

– Hand disinfection before, during, and after class.

– Adaptation of small groups of people to the size of the room in the courses.

– Distance between couples.

– Independent entrances and exits to avoid meeting areas.

– Regular ventilation between courses and course units.

– Periodic disinfection of the establishment.

– Cleaning maintenance in sanitary rooms.

Event Postponed

Learn the On2 style during 3 days of workshops with the best teachers and DJs from all over the globe.

13th WORLD SALSA MEETING 2021 has been postponed to next year. This three-day event will take place in an elegant and modern area of the Hotel Da Vinci in Milan. It has a stage for all styles and levels, national and international artists, and a large free parking space.

13th WORLD SALSA MEETING 2022 will bring you the new and best artists from around the world in the styles of Cuban Salsa, On1, On2, and Bachata. All the artists are exceptional teachers, amazing artists, and nice people. The details of the program will be available very soon on its website and Tickets for the theme nights of the event can now be reserved.

2022 WORLD SALSA MEETING presents 3 days of Study and Passion.

Date: Friday, January 21st – Sunday, January 23rd

Venue: Hotel Da Vinci, Via Senigallia 6, Milan, Lombardia, Italy

Price: €5 – €30

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