February

Víctor Cuica “The Eternal Breath of Latin Jazz and Venezuelan Identity “

The legacy of a visionary who fused the saxophone with the essence of the Caribbean and national cinema.

Víctor Cuica was more than just a musician; he was a bridge between two worlds. Born on April 19, 1949, in the iconic Caracas neighborhood of La Pastora, Cuica established himself as a preeminent saxophonist and actor, earning global acclaim for his innovative fusion of Jazz with Afro-Caribbean roots.

His presence defined a golden era in Venezuelan culture, as he shared the stage with legends such as Tito Puente, Paquito D’Rivera, Porfi Jiménez, and Gerry Weil.

Victor Cuica “The Eternal Breath of Latin Jazz and Venezuelan Identity”

Training and First Steps: The Birth of a Style

The journey of this virtuoso—master of the tenor and soprano saxophone as well as the flute—began in 1963 at the Military Music School of La Victoria. His time in the Venezuelan Navy band served as the catalyst for his love of Jazz, leading him to deepen his knowledge of flute, harmony, and composition at the “José Ángel Lamas” Higher School of Music.

His professional career took off in Chucho Sanoja’s orchestra. Shortly thereafter, he joined Oscar D’León’s ensemble. It was actually Cuica who suggested the name “Dimensión Latina” to replace the group’s former name, “Oscar y sus Estrellas,” thereby christening what would become the most iconic salsa orchestra in Venezuelan history.

Victor Cuica in concert held on August 22, 2011 in Juan Pedro Lopez Square in Caracas

Latin Jazz: From the Silver Screen to International Stages

By the late 1970s, Cuica expanded his horizons into the “seventh art.” In 1978, he composed and performed the soundtrack for “The Sea of Lost Time” (El Mar del Tiempo Perdido), based on the short story by Gabriel García Márquez. A year later, he solidified his own group, “Víctor Cuica y su Jazz Latino,” debuting to resounding success at the Alcázar Theater in Caracas and gaining international momentum in Costa Rica.

Throughout the 1980s, critics hailed him as the most important innovator of jazz fusion in the region. His talent brought him to historic venues:

1981: He triumphed at the “Memphis in May” festival in Tennessee.
1982: He performed at the prestigious “Domicile” club in Munich, Germany.
1985: He reached a milestone as the leader of the first Venezuelan group invited to the Montreal International Jazz Festival, where he shared the limelight with the legendary vibraphonist Lionel Hampton.

Artistic Maturity and Recognition

In the 1990s, his music reached new academic heights when Maestro Eduardo Marturet composed the work “Music for Six and Sax” specifically for him. It premiered with the Sinfonietta Caracas and represented Venezuela at the 1992 Universal Exposition in Seville.

Víctor Cuica was not just a musician; he was a bridge between two worlds. Photograph at Juan Sebastian Bar

His discography, which includes gems such as Que sea para siempre (1984), Noctámbulo (1993), Just Friends (1998), and Los Locos de Caracas (1999), stands as a testament to his versatility. In 1995, the Venezuelan Artist’s Guild (Casa del Artista) honored him as Musician of the Year.

A Farewell with the Flavor of the Streets and Bohemia

Víctor Cuica passed away on Saturday, December 26, 2020, at the age of 71 due to a heart attack. His departure left a void in the film industry, where he starred in memorable films such as Santera (for which he also composed the award-winning soundtrack in 1997), and in the bohemian nights of Caracas, where his saxophone was often the soul of the evening.

A Tribute from His Peers

Multi-percussionist José Hidalgo, known as “El Tokun Mayor,” describes Cuica with words that summarize his essence:

“Víctor Cuica is the finest example of an artist intimately linked to his daily reality and cultural origins, without ever losing sight of the cosmopolitan and universal nature of his musical message. Cuica is the expression of genuine jazz performed with the simplicity of the streets.

Víctor is as authentic in his personal character as he is as an artist. This virtue was his companion as he traveled across numerous international stages, spanning the worlds of music, film, theater, and opera always with the transcendence of a bohemian, simple, and bold minstrel.

Cuica never ceases to surprise us, whether through his voice or the sound of his saxophone an instrument that, with his habitual ingenuity, he turned into a centerpiece of performance through his creativity and versatility.

His talent has graced stages across Europe and the Americas. His work projects far beyond the commercial mainstream and, today, leaves us with a brilliant musical improvisation that is truly beyond compare.”

DJ Augusto Felibertt with the one and only virtuoso Víctor Cuica

Today, the name Víctor Cuica remains etched in history as the man who gave Jazz a Caribbean color and gave the Venezuelan saxophone a voice of its own.

Victor Cuica and his Latin Jazz, March 23, 1980 at the Cantv Theater in Caracas

Also Read: Oscar Rojas Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor

The Callao Carnival A Burst of Gold, Rhythm, and Tradition

The Cultural Heartbeat of Bolívar State

In the mining heart of Venezuela, where gold dictates the pulse of the land, an annual celebration arises that transcends simple festivity: The Callao Carnival.

This is not merely a costume party; it is a living chronicle of resistance, cultural fusion, and joy that has echoed through Bolívar State for over a century. Declared a UNESCO Intangible Cultural Heritage of Humanity in 2016, this festival is the result of a fascinating blend of West Indian, African, and European cultures.

El Carnaval de El Callao de Venezuela, Patrimonio Inmaterial de la Humanidad

A Journey to the Roots: The Origins of Calypso

The history of this carnival is intrinsically linked to the 19th-century gold rush. Immigrants from the British and French West Indies (Trinidad, Grenada, Saint Lucia) brought with them their languages (patois), their cuisine, and, above all, their music: calypso.

Unlike Trinidadian calypso, Callao Calypso developed its own distinct identity. It is sung in both English and Spanish, accompanied by the bumbac drum, the rallo (metal scraper), the bell, and the Venezuelan cuatro, creating a contagious rhythm that narrates the hardships and hopes of the miners of that era.

Iconic Characters: Guardians of Heritage

El Carnaval del Callao. Un Estallido de Oro, Ritmo y Tradición

What makes the Callao Carnival unique is its colorful and unchanging hierarchy of characters, each carrying deep significance:

The Madamas: They are the central figures and pillars of the tradition. They represent the matriarchs of the West Indies, dressed in regal, brightly colored gowns, headscarves (turbans), and abundant jewelry. The figure of Isidora Agnes, the legendary “Negra Isidora,” is remembered as the great defender of this culture.
The Dancing Devils: Dressed in red and black, they wear impressive masks with multiple horns. Their original role was to clear the path for the parade and maintain order with their whips, symbolizing the protection of the festivities.
The Mediopintas: Characters who roam the streets smeared in a mixture of charcoal and molasses. With humor, they threaten to “paint” passersby unless they are given a coin (a medio).
The Miners: Clad in helmets and carrying tools, they pay homage to the region’s primary economic activity and the workers who founded the town.

More Than a Party: An Identity

The Callao Carnival is a prime example of cultural resilience. During the festivities, social barriers dissolve under the sound of the bumbac. Families prepare all year to sew costumes and rehearse songs, passing this legacy from generation to generation.

Visiting El Callao during this time is to immerse oneself in a whirlwind of energy, history, and hospitality, where every parade tells a story and every beat celebrates freedom.

Isidora Agnes: The Eternal Queen Who Turned Calypso into World Heritage.

To speak of Isidora Agnes, universally known as “La Negra Isidora,” is not just to remember a figure from the past; it is to invoke the very soul of the El Callao Carnival. She was the vital force who rescued, protected, and championed this tradition until it reached its current status as a UNESCO World Heritage treasure.

Isidora Agnes La Reina del Calipso de El Calla

A Leader Forged in El Callao

Born on August 17, 1923, Isidora was much more than a festive figure. With a firm character and clear convictions, she stood out as a social leader and labor unionist. Her role as the town’s first telephone operator was no coincidence; this position allowed her to be the town’s communication hub, hearing firsthand the needs and struggles of her people.

With deep West Indian roots (the daughter of immigrants from Saint Lucia and Martinique), Isidora grew up with calypso in her blood, leading her to fiercely defend her identity at a time when the tradition was beginning to fade.

Rescuing a Fading Tradition

In the mid-20th century, the El Callao Carnival was facing an identity crisis and losing ground to outside influences. Determined not to let her heritage die, Isidora launched a cultural crusade:

Institutionalization: In 1954, she founded the “Friends of Calypso Association,” giving the festival a formal structure.
Discipline and Aesthetics: She organized the parades under strict standards of authenticity, demanding rigor in costume making and respect for traditional music.
National Exposure: She took calypso beyond the borders of Bolívar State. Thanks to her, Caracas and the rest of Venezuela discovered the thundering bumbac and the patois choruses.

The “Madama” Par Excellence

While the carnival features many “Madamas,” Isidora became the ultimate icon. She didn’t just wear the dress; she personified the elegance, respect, and stately joy of the figure. Her presence in the streets dictated the rhythm of the entire festival.

Beyond the Dance: Her Social Legacy

“La Negra” Isidora’s commitment didn’t end when the drums were put away. She was a tireless advocate for El Callao. It is said she never hesitated to travel to the Miraflores Palace to demand improvements from the nation’s presidents, achieving milestones such as the installation of the sewage system and the construction of the local hospital.

Facts That Immortalize Her Legend

The Carnival Anthem: The famous song “Isidora, Isidora, Isidora Callao Calipso Queen,” composed by her close friend Lulú Basanta, is considered the unofficial anthem of the festivities today.
A Poetic Farewell: She passed away on March 5, 1986. Ironically, it was Ash Wednesday—the day the carnival ends. She was laid to rest with state honors and, as per her final wish, to the rhythm of calypso.
A Date of Honor: In commemoration of her birth, every August 17th is celebrated as Municipal Calypso Day in El Callao.

Also Read: Samba el baile que despierta el Carnaval en Brasil

Chicago International Salsa Congress

North America / USA / Chicago

Mission of the Chicago International Salsa Congress

The mission of the Chicago International Salsa Congress is to unite cultures and generations, engender leadership through empowerment opportunities in its showcase and to keep alive the history of the many cultures collaboration in the creation and evolution of Latin and Afro-Caribbean music and dance.

The Chicago International Salsa Congress is brought to you by a special group of dedicated individuals whose energy, skills, passion and perseverance unite to bring you the number one Latin Music and Dance event in the Midwest!

In 2002 they produced the first Chicago International Salsa Congress (CISC) now in its 14th year. The CISC fosters personal awareness, develops leadership, creativity and inspires highest performance by providing emerging artists an opportunity to learn from and perform with professional artists in the congress showcase.

Schedule: Chicago International Salsa Congress

Día	Horario	Actividad
Jueves 2/9/17	3:00 PM – 11:30 PM	Onsite Registration opens
	7:30 PM	Rueda Summit
	8:30 PM – 9:30 PM	Opening Night! Meet & Greet the STARS of the 2017 CISC
	9:30 PM – 10:30 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series featuring Carpacho y Su Super Combo!
Viernes 2/10/17	9:00 AM – 4:30 PM	Onsite Registration
	9:30 AM – 3:30 PM	Workshops
	4:00 PM – 5:30 PM	Emerging Artist Showcase / Chicago Midwest Salsa & Bachata Open Competition (Elimination)
	5:30 PM – 7:30 PM	Youth Performance Challenge w/Natasha Silva
	6:00 PM – 8:00 PM	Kizomba Bootcamp with Philippe & Upa Danca
	6:30 PM – 11:30 PM	Onsite Registration
	8:00 PM – 10:00 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series: Tromboranga / Bachata Ballroom / Kizomba Party!
Sábado 2/11/17	9:00 AM – 4:30 PM	Onsite Registration
	9:30 AM – 3:30 PM	Workshops
	4:00 PM – 5:30 PM	Emerging Artist Showcase
	5:30 PM – 7:30 PM	Youth Performance Challenge w/Natasha Silva
	6:30 PM – 11:30 PM	Onsite Registration
	8:00 PM – 10:00 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series: Jimmy Bosch with Yoko, La Japonesa Salsera! / Bachata & Kizomba
Domingo 2/12/17	9:00 AM – 4:30 PM	Onsite Registration
	9:30 AM – 3:30 PM	Workshops
	12:00 PM – 2:00 PM	Youth Performance Challenge w/Natasha Silva
	4:00 PM – 5:30 PM	Emerging Artist Showcase / Chicago Midwest Salsa & Bachata Open (Finals)
	6:30 PM – 11:30 PM	Onsite Registration
	8:00 PM – 10:00 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series: Herman Olivera with Nelson Gonzalez / Bachata & Kizomba

Photo 1: Chicago International Salsa Congress

INSTRUCTORS

Enjoy 3 days of over 70 workshops covering Beginner, Intermediate and Advanced levels of dance styles, movement and musicality. The instructors are from American and European continent to don’t stop dancing.

PERFORMERS

The CISC produces seven Dance Showcases to excite your senses and inspire your creativity. Featuring world-class dancers from near and far, you will be captivated as we unleash their talents on the stage. The shows include our Matinee Emerging Artists Showcases at 4:00PM and World Class Dance Spectacular at 8:00PM featuring national and international performers.

LIVE MUSIC

CICS will present an unforgettable dancing experience in an elegant Grand Ballroom where Latin Music’s top artists and salseros connect. Enjoy four nights of non-stop dancing on our spacious dance floor until 3:00 AM to the hottest sounds of yesterday and today. The Chicago International Salsa Congress Concert Series is unmatched in celebrating Latin Music’s timeless presence in honoring the legendary pioneers while inviting a forward vision as new, young artists take up the torch and carry it forward.

Photo 2: Chicago International Salsa Congress

TROMBORANGA SALSA ORCHESTRA

As part of the new generation of independent latin orchestras, Tromboranga is the pure essence of “Salsa Dura”. Tromboranga’s spicy ingredients are the trombones sound, solid and strong percussion, and they recover the essence of “soneos” (voice improvisation among the chorus). With influences from the salsa music from the 60s and 70s, maintaining a raw, strong and a very danceable sound.

His original songs like “Humildad”, “Palo pa la campana”, “Amigo el ratón”, “Adios que te vaya bien”, talks about stories that can describe the life of any of us, and they have become number one in Latin radios and dance floors worldwide. Tromboranga is made up of musicians from the Caribbean and Europe, all residents of Barcelona, Spain.

JIMMY BOSCH

(18 October 1959, Jersey City, New Jersey), known also “El Trombón Criollo”, is a trombonist, composer and producer of Afro-Cuban jazz, salsa and Cuban music.

At thirteen he was already part of different local bands of Latin music. At age 18, while studying classical music at Rutgers University, he meets Manny Oquendo and joins his band. He plays with Manny Oquendo about two decades; then comes to work with Marc Anthony. In 1996 he created his own band, “Los Masters”, with whom he recorded two albums. He has his own record label, JRGR Records.

Photo 3: Chicago International Salsa Congress

YOKO LA JAPONESA SALSERA

Born in Osaka, Japan, Yoko Mimata began her artistic career at the age of fifteen as a vocalist in a rock band her native Osaka. Las Estrellas, a salsa band composed of former members of the famous Japanese orchestra “Orquesta de la Luz”, invited Yoko to join them as lead vocalist.

Subsequently, in 1997, settled in the Big Apple, city in that began to venture into the salsero environment. Her great debut took place at the Salsa Congress in New York in 2006, where she performed with the orchestra Chino Nuñez and Friends. Later she became the lead vocalist and participated in the recording of the second album by Chino Nuñez, “Dr. Salsa”; In which she sings duet with Ray Sepulveda “Hoy les cantamos”.

NELSON GONZÁLEZ

(Born May 30, 1948) is a Puerto Rican tres player. He specializes in the Cuban tres, and only occasionally plays the Puerto Rican tres (similar to the cuatro). He is a prolific session musician and has been a member of renowned salsa ensembles such as Fania All-Stars, Orchestra Harlow and Típica 73. He has authored a book on the tres guitar method published by Mel Bay. Together with Pancho Amat and Papi Oviedo he is considered one of the most influential modern tres players.

Photo 4: Chicago International Salsa Congress

HERMAN OLIVERA

He is a salsa singer from Newark, New Jersey. Born to Puerto Rican parents, he began his career in New York City where he earned his reputation as a “sonero,” that is, an expert in the demanding art of lyric extemporization. In a genre overrun by pop-oriented singers, Herman’s musicality and mastery in this regard garnered him the sobriquet of “El Sonero del Siglo XXI”. Today Herman counts among the most in-demand and hardworking salsa singers around. His voice literally permeates the sound of hard-hitting salsa from the 1980s to the present-with album credits with the likes of Tito Puente and Eddie Palmieri, among many others where he has contributed to the continued vitality and development of the sonero tradition.

DJS

The fifteen DJs at this year’s congress will definitely get your feet, hips, shoulders, and everything else grooving on the dance floor with the best Salsa, Mambo, Cha Cha Cha on the planet!!!

VENUE INFORMATION

HYATT REGENCY O’HARE is just 5 minutes from O’Hare airport with a free shuttle. Easy access by train or car. Beautifully appointed guest rooms, great amenities and nearby shopping and dining make this a perfect getaway for your CISC weekend.

Photo 5: Chicago International Salsa Congress

Ricardo Vega and Karen Forcano

Latin America / Argentina /

Ricardo Vega and Karen Forcano. Salsa dancers and instructors of Latin dances.

Karen Forcano is originally from Argentina and took her first steps into the dance world at an early age, largely due to the influence of her mother, who was a ballet dancer. At 6 years of age, she began with ballet lessons and then at age 7 she was introduced to the exciting world of salsa and merengue, which would now be known as the start of her professional career.

Ricardo Vega is from Chile and began dancing ballet when he was only 7 years old. Although much of his influence came from his grandparents, who were tango dancers, Ricardo’s experience in dance included the styles of ballet, contemporary, jazz, as well as many others.

Karen and Ricardo met when they were 9 years old but their start in the professional/competitive world of salsa began in 2009. Since that time, they have been conquering championships as a couple, both on and off the dance floor.

Jorge Duran

Europe / Germany

Interview to Jorge Duran & his Jalea de Mambo

Now settled in Europe, venezuelan vibraphonist Jorge Duran is leading Jalea de Mambo band which mix musicians from different nationalities recovering the swing and mambo of the 50s with the smart flavor of the New York Palladium, the famous Broadway dance-hall, and the color of the best Latin Jazz that can be heard in Europe right now. Its characteristic vibraphone sound makes this band a unique and raw example in the current music panorama.

Recently documentary “We Like It Like That” has been released worldwide http://latinboogaloo.com/ emphasizing that cultural revolution where boogaloo, mambo, among other genres, were considered the so-called “Latin Soul” creating that cultural movement which day by day takes more strength everywhere.

1) Jorge, tell us a little bit about your background, your roots, and your musical influences.

Well, I started playing Latin American percussion in Venezuela (Caracas) having the chance to share with great musicians beside studying with amazing percussion players but my degree was focus in composition. Then I begun to play jazz vibraphone and it took me a few years to play again Latin American Music although here I am ready to give my very best.

2) How did you come to the idea of Jalea de Mambo?

The idea of Jalea de Mambo came to me long time ago (10 years ago or more) when I first heard the album Cal Tjader Modern Mambo Quintet, quite old album indeed (1955). That record change everything for me and blew my mind up focus then on mambo, latin jazz and what so called “Latin Soul”.

3) Mambo, Boogaloo, what many people called “Latin Soul” was a revolution during the 50s. Do you think that nowadays these genres could reach something similar?

I really think everything is possible if you work hard, I’m not trying to make a revolution my idea is that every single person come to see us playing, enjoying magic music, having a great time. Obviously that “revolution” happened once but its essence has come along the years in all musicians who play caribbean rhythms. Nowadays, this genre is getting popular again but honestly I believe it has never lost validation.

Photo of Jorge Durán and his band members in the music world

4) What are your feelings coming from Venezuela performing in Europe and worldwide? Is the musical movement opened and active enough over there?

My feeling is that in Europe we, musicians, have more opportunities to show our culture and most of the people here are opened enough to hear or see our projects.

Beyond Europe is quite the same because I have Heard about concerts with more tan 100.000 audiences in Arab Countries, for instance. It simply means that latin and caribbean music “hook” people hearts so they enjoy it full.

5) Now that you are settled in Europe tell us a bit more about your projects and expectations.

I’m living in Germany now and it is a huge challenge for me as it is a real different culture and language but my idea is to spread the Latin American culture and music not only in Europe but worldwide. We are living very tough moments at this very moment and firmly believe that músic and culture are more needed than ever because music tame the beasts, as people usually say, and that’s what we need now, I mean, peace, calm and mainly love.

Photo of Jorge Durán and his team at the live concert

6) Looking for these goals, are you working on your own or you are supported by a company, agency or similar.

Now I have the great pleasure to say that I’m not alone in this business because Cat 7 Production is my new family and they are really focused in spreading my music to reach more people. I think this is the idea, music is a language we need to be heard as I said before.

7) Finally Jorge, let’s share a message for all your fans beside colleagues who work hard to achieve similar goals you are looking for.

Well, I’m always very grateful when some one takes time to send emails or messages after watching us in a concert, I love it and love fans who give me strenght to keep doing what my heart says. My humbly advice to all musicians who have an idea or project is that never stop making music because everything is possible in life and the real power is inside us. This is one of more beautiful and hard profession but sure worth it!