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Interviews

Veruska Verdu

Latin America / Lima / Peru

Veruska Verdu “The only formula to keep the Salsero genre alive is to give support and credibility to the next generation”

Veruska Verdú
Veruska Verdú

Despite her youth, Veruska Verdu knows where she is going, without forgetting the roots where she comes from, this young woman has an interpretative strength and intensity that made her be considered by Peruvian critics as “The new Voice of Venezuela”, we do not doubt it , sings salsa and bolero very well, in addition to strolling through Afro-Venezuelan rhythms. In Venezuela, we enjoyed many of his presentations with the different orchestras with which he worked, and we witnessed how he left his soul in each one of his presentations and performances.

His greatest musical influence has been Celia Cruz and Oscar de León in terms of the salsa genre, and in the Afro-Venezuelan genre he admires Betsayda Machado and the Experimental group “Vasallos de Venezuela”. She tells us that, “in her family there are no musicians”, her grandmother and grandfather were rumberos and she believes that the musical vein comes from there, thanks to her grandparents, and to have the unconditional support of her parents and relatives, who have helped him get to where he is.

From Afro-Venezuelan music to salsa, from Barlovento to Caracas, from Venezuela to internationalization, this is how her career goes, in constant growth and evolution, nothing stops her from demonstrating her artistic quality and continuing to establish herself in this tough market.

Barlovento has a rich folk manifestation, all this mix of rhythms is in Veruska’s blood, therefore, she likes rumba, partying, music.

“What a black rock, how does she get into the rumba”

Veruska Verdu singing

How were your musical beginnings?

“In my town of La Balsa, in the Panaquire parish, it was there that I began to sing music of the Afro-Venezuelan genre, thanks to Professor Adrián Méndez, I began to participate in the “Canta Claro” Festivals, in the cultural activities that were held, They invited me and I went, I had great support from my teacher, my school teachers, my family and the residents of the town”.

“I continued with my popular singing training at the high school, I participated in the high school voice representing my municipality Acevedo and the high school where I studied, I met my guide teacher Richard Rivero, who invited me to participate in the Afro-Venezuelan music group “Ritual Negro de Barlovento”, where I had the opportunity to travel and learn more about this beautiful genre that identifies us as Venezuelans”.

After this beginning, how was your evolution?

“I went to Caracas to work with other groups, among them are; Drum Show from Venezuela, Caña y Miel, Autochthonous from La Vega, Freddy Madera, Grupo Cosecha, Grupo la Calenda, among others”. “I received an invitation from some friends whom I love Miroslava Torres and Fernando Mozas very much, they encouraged me to join the Venezuelan Orchestra “Simón Bolívar”, I took them at their word, I auditioned and stayed, I participated for a time with the orchestra, I learned much more of our genre, stepped on stages that I had no idea I could step on”.

“Then my singing teacher Corina Peña motivated me to participate with the “Latino Caribeña Simón Bolívar” Orchestra, thank God I auditioned and I also stayed.”

Tell us about your time with the “Simón Bolívar” Latin Caribbean Orchestra?

“The teacher Alberto Vergara saw my interest in belonging to the orchestra, just that day the Venezuelan lyrical singer Iván García was arriving, who was going to sing in a musical project called “Negrísimo”, the teacher gave me the opportunity to be participated. of this great concert with García”.

“Later came more concerts with the orchestra, many learnings with maestro Vergara, for me he is number one, he is super important in my life, he helped me open my senses towards the music of the Latin Caribbean genre, love it, respect it, I give it thank you for giving me the opportunity to belong to the orchestra, for being part of the row of singers”.

“With the “Latino Caribeña” Orchestra, I stepped on incredible stages just like with the Afro-Venezuelan one, but here it was another level, another feeling, feeling the euphoria of the public that likes salsa, moving so many people, transmitting to so many people, thanks to the orchestra many people have known me and support me”.

So the “Simón Bolívar” Latin Caribbean Orchestra has been a springboard for his career.

“Of course, it has been the showcase to show the gift that God gave me, to all those who value this beautiful feeling and support me, I must thank all the teachers, all those who have been there for my musical growth, the orchestra It will never cease to be present in my career, in my present, in my future, I will always be grateful for it, thanks to it I met the teacher Alfredo Naranjo and his Guajeo, who took me into account to participate in his project”.

How did you feel working alongside Alfredo Naranjo?

“With Maestro Naranjo I got the proposal to do my first concert, which was called “Caminando”, this was in the Experimental room of the “Bod Cultural Center”, he likes things to go well, he left me a great learning to work with his side”. “The concert was super nice, I had as a guest Alfredo, my godfather Rodrigo Mendoza and my great brother musician par excellence and multi percussionist “Patatín” Guacaran, I also had the opportunity to meet Edgar “Dolor” Quijada, Soledad Bravo and Rafael “The “Chicken” Brito”.

Your career has been constantly on the rise, how has your time in the different groups been?

“I participated in a project called “Ellas son Boleros”, with Anais Torrealba, Gisela Guedez, with professor Corina Peña, I was with all those bolero ladies in Venezuela, this was under the production of David Peña “Zancudo”. “On the other hand, Carlos Padrón was there, he called me to participate in the 10th anniversary of Rumberos del Callejón, I feel very happy, because Domingo Quiñones, Maelo Ruiz, Gilberto Santa Rosa, Luis Fernando Borjas, Memo Arroyave, Gonzalo Díaz participated there. , wow!, a lot of people who have years of experience and I am like the puppy of the project, and look, however, Carlos believed in my talent and made me be part of his production”.

“I was with the Sopranos for a while, on the album that won the Pepsi Music Awards (Decade), my choirs are out there, with Sonero Clásico del Caribe, a Son institution in our country.”

How have you felt taking on these challenges?

“It has been tremendous, to have the support of some tremendous musicians who are legends, “Nene” Quintero, the pianist par excellence Pedro Pérez, very cool, in all those groups that I have been thanks to the projection I had with the Latin Caribbean Orchestra and my commitment day by day to all this”.

Apart from singing, do you play any instrument?

“I had a short time at the Bigott Foundation, they taught me certain things to learn to compose, I like to play the guitar, and now I am dabbling in the bass”.

From Afro-Venezuelan music to salsa, how was that transition?

“We are not very far away, remember that Afro music its main root is the drum, just like in the Caribbean genre, in salsa, the root is the percussive, the blows, the leather, the key, the swing, that taste, that sense of enjoying what you do, rather the Afro-Venezuelan genre helped me a lot because of the free way of singing.”

“I feel freedom when singing salsa, because I learned in Afro-Venezuelan music how to improvise, to have that ability, I have enjoyed it, in some shows I remember any verse from some party or ass e` puya and singing salsa I say it, it is “cheveroski” as they say around here”.

Did you ever think that being so young you would be next to many who have years of musical career and are already recognized in this medium?

“I never imagined it, it is a blessing from heaven, I am just starting out on the path of music, I still have a long way to go, God has given me the blessing and joy of being able to share the stage with El “Pollo” Brito, Edgar “Pain” Quijada, Alfredo Naranjo, Francisco Pacheco, meeting Betzayda Machado, being with Sonero Clásico, Canelita Medina, I feel happy that in my short time I have met wonderful people and been able to share the stage with them, just like here in Peru”.

What do you think of the support for national talent in Venezuela?

“It has been excellent, I feel that right now they are giving credibility to the successor generation, it is very important to give support, it is the only formula for the genre to remain alive, credibility must be given to the one who is being born and has the ability to make music”. “In Venezuela they have given the artist great support.”

You continue to be “Enchanted with life” despite the regrets…

“If everything was placed on a silver platter, there would be no achievements, the greatest satisfaction is hard work and discipline, I am living my experience that seems spectacular to me, I am enjoying my moment, I am learning things that I did not know in its entirety, I am maturing as an artist and as a person.

“All things go through a moment of difficulty, we must always highlight the good things.”

Its jump to Peru a market that is in the musical arena, the critics baptized it as “The new Voice of Venezuela”, What do you think of this?

“I am grateful that in Peru they have that appreciation of me, it feels super good, on each platform that I mount I will give my best, my tricolor goes with me upstairs.”

How has the receptivity of the Peruvian public been?

“It is not easy to arrive in a country and start from scratch, however, it is a matter of continuing to work, to continue showing what we are made of and to make good music, to do a job like a ant, things have flowed in a very good way, I have participated in productions of the master Tito Manrique, Manongo Mujica, I met the people of a group that I greatly admire Peru Negro, they play Afro-Peruvian music, I did concerts with Carlos Mosquera, a super singer, incredible, a blessing from heaven.

“The support of the Peruvian public is always present, what should Veruska do, continue working constantly, I must thank you for having been very receptive to the work that I am doing.”

In Peru they also have payola?

“In the whole world there is payola, this market is managed like this, salsa, merengue, joropo, tango, pop, jazz, reggaeton, you have a good product, but many times you have to “encourage” the person to show it.”

How do you see the salsa movement at the moment?

“It is a good time to continue highlighting our genre, we are in the here and now, ah! which is not the same as in the past, those times do not compare, for me this is a super excellent moment, many people are doing their work, Víctor Cardona, Carlitos Padrón, Pumaband, La Latino Caribeña, right here in Peru, how many new artists they have, all these people have been promoting salsa”.

Tell us about your solo career.

“It has not been easy, but I continue to give my all, thanking the people who have supported me even without knowing me, I must thank Mr. Alberto Vale who has joined this Veruska project and tells me; -black let’s go forward, everything will be fine, -let’s do this, that-”.

Your first musical production “Fusion -Venezuela – Mundo”, which musicians participate in it?

“Sabrosito Así”, is the promotional theme, we wanted to make a very cool fusion, which was reflected there, thanks to Juan Carlos Linares who gave us all the support to materialize this single and that people knew it, I had excellent musicians; Mario Pasmiño as Musical Director, in addition to Patatín Guacaran, Gisel Brito, Gray Peña, Aarón Cabrera, Ángel Peña, Jeison Ascanio and Darwin Latan”. “This experience was great, beautiful, in the Velvet studio.”

Define yourself in one sentence

“Feeling and rumba, I like the alegríadera”.

Venezuela in one sentence

“Good people, hardworking, like my people none.”

Veruska Verdu
Veruska Verdu Orquesta Son Desangrado

Translated by: Thisby Ferrara

 

By Eiling Blanco, Correspondent for Latin American

 

Renis Mendoza

Europe / Colony / Germany

Renis Mendoza “San Agustín is like a continent and Marín is its capital”

Renis Mendoza
Renis Mendoza

Renis Mendoza is a long-standing Venezuelan percussionist, who has participated with renowned groups inside and outside our country, sprouting from the Marín neighborhood, in the San Agustín parish. A character full of great spirituality and magic, transmits us with his joy and slow way of talking.

He has been based in German Colony for 33 years, together with a group of countrymen who decided to expand their borders and internationalize, to leave the tricolour imprint throbbing in every touch of a drum.

He remembers San Agustín as a vibrant neighborhood, where as a child he listened to “gaitas” (typical venezuelan December music), rock, salsa, parrandas, drums, music downloads, among other cultural activities. In his home, art was always present, his parents were excellent dancers, and Mendoza always lived with his ear attached to the radio to listen to what was playing.

In his early stage, he also liked to rub shoulders with the greats of the neighborhood, Jesús “Chu” Quintero, Carlos “Nené” Quintero, Alfredo Padilla, Crucito Mijares, Carlos Daniel Palacios, Pedro “Guapachá” Father, Manuel Madriz, Carlos Orta, as they were his great teachers and role models. He witnessed many famous people visiting the parish, among them the visit of Ángel Canales, Eddie Palmieri, Peter Conde Rodríguez and many others.

Everything has not been rosy for our interviewee, he had to go through a difficult health situation and be almost on the verge of death, this did not intimidate him and he confesses that; “In the midst of this tragedy I never lacked love, the warmth, the prayers and good vibes of my dearest beings,” – it was a true miracle – he assures us. He recovered from an aneurysm, the doctor said he was going to die despite the 2 interventions performed, but the desire to live, love and music broke with all the prognosis, Mendoza woke up and the machines he was connected to started working normally, it was a real miracle.

Living in a musical parish does not allow anyone to escape from this spell. How were your beginnings in music?

“Being surrounded all the time by people who sing, dance, listen to different types of music, allows you to open a range of possibilities, there it all started, at home, in the corner, watching the “Gaitetricos” and the “Super Cremas” rehearse, your parents , your grandparents, your friends, the sound neighborhood and how not to be part of that musicality, the milk pot, any object that allowed you to play and download ”.

Is it true that the best percussionists were born in San Agustín?

“It would be necessary to make a survey – laughter -, before“ Guapachá ”- father – arrived in the neighborhood, there were musicians and people who played percussion, it is important to name them all, we must not forget them, nor can we name two or three people, but in my way of seeing it, I think it’s great that many percussionists were born in San Agustín, I love it because there is so much quantity and quality that is very important, the quantity and quality of the percussionists specifically from Marín, the neighborhood where I am from. ”

So all this influenced your life. Could you have had any other profession not having lived in San Agustin?

“I don’t know, but, -how do you escape your destiny if there was art in your house-, my dad wanted me to be a sailor, but there was a great influence with everything I experienced, my father was a sailor and he brought many records, many Lp’s, a lot of varied music, he was a tremendous dancer, a great salsa player, just like my uncle Joselito, they called him José salsa ”. “At the age of 4, I was pumping the “Super Crema” rehearsal, I had to listen to all that, as I saw all those people playing, that was a great influence for me.”

“In the period of the “Gaitas” I was the drummer – Marín, Marín, Marín, Marín, is the neighborhood that’s always in something, and in it the Christmas carols are enjoyed – right now I don’t remember the name of the group, at that moment I realized that I liked to play, although my grandmother didn’t like that noise at home. ”

The music from home seduced you..?

“Yes, I learned from all those great musicians, Crucito Mijares, Manuel Rico (my father), José “Salsa” Quintero, José Alberto “Caraotica” France,“Chacho” Pérez, Nano Grant, Melquiades, Carlos Orta, Los Quintero, Los Palacios, Los Rengifos, Los Blanco, watching the rehearsals of Mon Carrillo, Frank and his Tribe, Group 3, Los Gaitetricos, took us to the downloads, with the Maderita group (Wood Group), to the young people I advise you to pay attention to our history, all those people who have been trainers must be given credit, they are eternal for me. ”

“On the other hand, Felipe Rengifo announced the parties, with a lot of talent, he has been a key guy in percussion and the creation of instruments, his influence was Mr. Jesús Blanco, they always did something out of nothing, for me it was great to learn the percussion, San Agustín is a garden of different trees ”.

Talking about San Agustin and not talking about the Madera Group is almost a sin. Tell us about your time at the Maderita Group and after your growth with the Madera Group.

“Many people forget and we must activate the memory of all, the Madera Group for me is a nectar, the nectar of a fruit brought to juice, they were part of many groups at the beginning.”

“The Madera Group formed a group of young people since they were little, I believe the Maderita Group, there were Daniel silva, Jesús Paicosa, Chopo, Martin – with his noise – Robert and Chipilín were dancers, Ramón Gil, Cron Cron Orta, Luisito Quintero, there were others that I don’t remember. ”

“There was dance, theater, Venezuelan and Caribbean folk music, the texts that had significant depth, still today for me become eternity.” “Everyone should be mentioned, not one, two, those who left and those who survived, the wood represents wind, rain, sun, it’s sadness and joy, it’s creativity, it’s fidelity and musicality, those who were part of the Madera Group, are part of our trees, of which all of us are wood ”.

When did the tragedy dissolve the grouping?

“That hurt us a lot, there are wounds that do not heal, after the tragedy we finished all the concerts, one hand it was excellent, but sad on the other, we had to sell joy, when we were going through a very sad moment, many things happened , when the time is right, each one will say them, then I leave with the Coreoarte group with Carlos Orta, for me the wood is infinite, for me we are all wood, it is important to build, rebuild and continue creating ”.

The dilemma of the “original” Madera and the “copy” Madera, still, after so many years there are controversies between them, what do you think of this?

“With the reformed Madera group played; Felipe Rengifo, Migdalia Felipe’s mother, Noel Márquez -he was already taking the reins of the group-, Carlos Daniel, José Rivero, Simón Blanco, Farides Mijares, and many of the former members, then they left, they must explain their reasons, we played a lot, even with Ali Primera. ”

“With this current project we must see things from a constructive and objective criticism, from my point of view, they have done many things, they have been constructive and have kept that name, there are boys who are playing and it seems great, Noel has moved a lot as President of this new project, he is like an engine, without an engine, the car does not roll, although a name should not be repeated, it should be a tribute to the Madera, something that represents the Madera or something, we must recognize that he has done positive things. -Who is saying but not doing-, it is better to do than to say ”.

“This story is very long, yes, something original should be done.” “Following the death of some members of the Madera group we formed the Kimbiza group and then Cimarrón, the Madera Group should remind everyone, the Madera is root, stem, leaf, flower and fruits, who attack the Madera, -the parasites – Those who do nothing … We are all Madera”.

What does San Agustin mean to you?

“It is a beautiful parish, I consider it as a galaxy surrounded by various planets such as La Charneca, Los Hornos, La Fila, El Manguito, La Ceiba, El Mamón, La Ford, Marín, etc. you should not name a single family , a single person, we are a salad, we are a pavilion, we are what we are for what we are, and we have all put a grain of sand, we are taking root in many places ”…“ San Agustin is like a continent and Marín is the capital. ”

With so many experiences, what memories do you have of the parish?

“San Agustín has been boxing, volleyball, baseball, musicality, dance, as a child I remember the story of Los Rebeldes de Marín, a baseball group, they wanted to take them to play outside the country – a fascinating story – the final was against Willis Willis, the Marin Rebels won and the prize was a trip to Venezuela, this story is as fascinating as the Madera Group. ”

“I remember when we wanted to be evicted and the No to Eviction movement was formed, in the end they built the Yerbera buildings.” “The disc jockey in the neighborhood on weekends, the Parra family played excellent music, Carlos Daniel replied, on the other hand the chicheros -familia Mata-, each alternated, they were all excellent, the true history of the neighborhood , we must open that trunk and get the stories with all those names. ”

Your jump to Germany, How has been the receptivity of the public?

“The love is felt, we mix folklore with the classic, with the neighborhood and people like it, whatever you do, do it positively, transform and do not copy, do not imitate.”

His journey has paid off. On which projects have you worked in Germany?

“Of course, with the Modern Talking duo, the second most successful group in Germany, with Jesse Milliner -is like a brother to me-, a Rock monster quoted in the US, I owe him a lot, when I was serious he was always by my side Milliner has been a pianist to artists such as Lee Ritenour, Chaka Khan, Trilok Gurtu, Tierra Viento y Fuego; I also worked with Afro-Jazz-Gruppe Cámer; Nélio Costa Band, from Brazil; DJ Olly Tonköpfe ”. “With many famous artists, in the atmosphere of soul and funk. And I recorded a lot of Brazilian, African music, with the Chilean group called Loa. ”

“In the world of jazz I have accompanied great musicians such as Eric Marienthal, Nelson Rangel and Rick Braun, among others. In addition, I have participated in musicals such as “Saturday Night Fever”; “Tabaluga; Miami Night ”, at the“ Montreaux Jazz Festival ”. I am requested in the curricula of the institutions the “Folkswangs Hochschule de Essen”; the “Johannes Gutenberg-Universität Mainz”; “Hochschule für Musik und Tanz Köln”.

Dance and percussion, your two passions, the sublime and the loud, is not something ambiguous …

“Both go together, we dance through music, here the phenomenon of osmosis occurs, the drum is not to hit or slap, it is to caress it, the world of dance had a great dancer Pina Bausch, she created contemporary dance, with her danced Arnaldo Álvarez – nephew of Carlos Orta – whom I thank very much ”.

You went through a very difficult stage when you got sick, it almost ended in a sad outcome, what triggered all that?

“Look- I was playing a lot, I did not stop, my cousins ​​and my brother told me (Luisito and Robert Quintero, my brother José Luis and Charles), and I simply ignored them, and then I began to feel tired, weak, sweaty. The first diagnosis was wrong (allergies), then they found me high blood pressure, I had to go to the doctor on December 2nd, but on December 1st, I lost track of me, I did not have time to go to the consultation ”.

“The medical evaluation determined that I had an aneurysm, the doctor told my relatives that I was going to die. Two operations were of no use to me, I was in a coma, however, in the midst of this tragedy, faith, love, and miracles, those that happen every day were always present, and there were my friends, they never failed, you know, Jesse Milliner came with his piano , others approached with their violins, they sang to me Godspel ”.

“When the day of the farewell arrived, they were going to disconnect me, they were all present, they started taking all the cables off, Jesse told me, then my daughter Fe arrived and started singing and rubbing my feet”… “ when they got sick I used to rub their hands and their feet, and the doctor, who didn’t let anyone come near me, let my daughter do it. ”

“I woke up, the machines started working, what could have been my funeral, became a miracle, the doctor said: -we are not going to get Renis out of the hospital, Renis is alive-, I weighed 40 kilos.” “The doctor was surprised, my daughter Fe came back the next day and was surprised by my physical improvement, and then repeated the therapy.”

“They played Kimbiza music, with themes of Yma América, and Jesse Milliner, it was a real miracle, the doctor says it and I reaffirm it.”

Being so close to death, How do you value or see life?

“It gave me a wide sensitivity, I am fully convinced that there are two dimensions, before I didn’t believe in anything, people change to another level, to another dimension, for me life is the awakening.” “Every day that passes is a day we win, but every day that passes, it is one day less, life is infinite, someone that leaves and leaves a good memory, is someone who lives forever by leaving us their energy.”

Currently, what activities are you doing?

“I am working in two universities; in one, I give what they call co-repetition, I teach contemporary dance students what is the rhythm and interpretation of the movement and feeling, and the creation of choreography. In parallel, I am at Johannes Gutenberg University, I work in Latin Jazz – which I thank the neighborhood, since I introduce things I have lived through -, besides this, I play a lot, I tour with jazz, soul, pop groups, the boys created a group and named it Renis “ Live ”, which means that I am alive, due to the health accident I had and when I returned they were impressed.

“To teach people, to contribute to my neighborhood, to create and not copy, to be part of those trees, I dream of taking these kids to my neighborhood, to exchange what they have learned with us, I reaffirm you” to be, you have to do. “

A recommendation for the new generation

“We must investigate all our roots, music, dance, boxing, theater, “bolas criollas” games, baseball, all this as a representative identity of our neighborhood, we must recognize everyone who has done something for the parish, because thanks to them, we will be eternal. ”

A phrase by Renis Mendoza …

“Live today and now, be constructive, do not copy.”

Translated by: Thisby Ferrara

 

By Eiling Blanco, Correspondent for Latin American

 

Adelaide Tropical: Salsa reaches a wide audience at Disney California Adventure

North America – California – Anaheim

Adelaide Benavides is an artist, a businesswoman and the band leader of Adelaide Tropical.

Born in Texas, Adelaide is based in California with her different projects and putting a lot of creativity and innovation in each one of them.

Adelaide Tropica
Adelaide Tropical; a band that has become the official Salsa set of Disney California Adventure.

One of the projects that have brought her the most gratifying moments is Adelaide Tropical; a band that has become the official Salsa set of Disney California Adventure.

They are being featured on their largest stage for their Food and Wine Festival. As Adelaide expresses, this band differs from many other Salsa bands because she has achieved bring together a show of which she calls “Salsa Americana“.

Perform classics from Celia Cruz and Tito Puente, but also incorporate a lot of Latin pop that people of all cultures will recognize. Salsa arrangements of popular hits like “Havana”, “Despacito“, Cardi B, Selena and even some original Salsa arrangements of popular Disney songs. This presentation of Salsa has been very successful at Disney and many festivals because of its ability to reach such a wide spanned audience.

Currently, Adelaide Tropical is recording a salsa version and video of “Me voy a enamorar” which will be released this summer. While that moment arrives, you can see Adelaide Tropical perform at Disney California Food and Wine Festival. The Adelaide band is also continuing to perform at Downtown Disney and will be all over the west coast through the end of the summer at various festivals, city concerts, popular venues and every Sunday at Knott’s Berry Farm where they will also be doing a special tribute performance to Selena.

Adelaide Benavides
Adelaide Benavides

Adelaide Benavides has created different successful formats with great musical quality ando performances that have led her to a variety of venues ranging from Disneyland and Knotts Berry Farm, popular music festivals, grand casinos, and even the Staples Center. She was also a contestant on La Voz México 2018-2019 edition, and recently released her 2nd and all original album “Reflexiones De Mi Mente“, which can be found on all major streaming applications.

Adelaide Tropical
Adelaide Tropical Photo

You can also listen the new Adelaide’s album and presentations of Adelaide Tropical on her social media:

Website: Adelaidetheband.com

Email: [email protected]

Instagram: @adelaidepilarmusic

Facebook: Facebook.com/adelaidepilar

Twitter: AdelaidePilar

José Madera Niño – “Salsa became part of my growth”

Latin America / Venezuela / Caracas

José Madera Niño, The plastic artist also has the technology to complete his project in the midst of the pandemic

The Venezuelan orchestra José Madera Niño & 3er.Mundo launched its new song “I like it, but…”, in the voice of the guest singer Memo Arroyave, accompanied by a video clip that shows the other facet of Madera Niño: painting. This single is the fifth to be part of his second production titled Matices.

José Madera Niño - Front photo

    José Madera Niño

The musician, composer and leader of the orchestra clarified: “This theme of my authorship was already in the post-production phase when the pandemic was announced. Without the technology, dedication and commitment of Irving Manuel and Jorge Estévez, for mixing and mastering, the hours of work of Alfredo Montilla for editing the video clip between Venezuela and Colombia, it would not have been possible to complete this project from our homes” .

José “Flaco” Bermúdez was in charge of the musical direction and arrangements. The sound performance was in charge of Yomar Méndez “Caballo” (timbale), Arnaldo Guacarán “Patatín” (bongo and bell), Wilman Sánchez Jr. (trumpets), Hugo Olivero (saxophone), José Antonio Padilla (trombone), David González (bass) and Irving Manuel (Piano); in the choirs, Rodrigo Mendoza and Eloy Ríos, all under the executive production of José Madera Niño (congas and minor percussion).

Matices combines the diversity of voice colors of each of the solo singers invited to date, such as Pedrito Flores, Irving Manuel and Charlie Guzmán. This salsa album will be made up of ten pieces and will feature the participation of several performers: “We want to give the world good music, food for the soul and spirit during this difficult time we are experiencing.”

MULTIFACETED

It should be noted that José Madera Niño is very multifaceted because in addition to being a plastic artist as a profession, he is a musician by conviction: “I draw since I can remember. At the age of fourteen I entered the Cristóbal Rojas School of Plastic Arts. I alternated this with my high school studies and the weekends were for music”.

1- José Madera Niño
José Madera Niño playing the drum

Hence, he became a self-taught percussionist from a very young age, thanks to the rise of salsa in Venezuela in the mid-seventies. This synergy between his two passions leads him to form his own orchestra: José Madera Niño & 3er Mundo, which flirts with Latin Jazz. Its purpose is to extrapolate his plastic compositions to music, creating true works of art for the ear of the demanding music lover, but at the same time for the elegant dancer.

His first recording, De amor, desamor y rumba, took four years to come out, due to the pauses that self-management imposes on us: “It’s not easy to make a record without solid financial backing. This first album is a kind of chronicle of the day to day life of any ordinary person. Inspired by all the music I listened to in my adolescence, with a simple and diaphanous language”.

The journalist María Fernanda León recently interviewed him for his second CD, Matices, which consists of ten songs. Between last year and 2020, it has launched four on digital platforms.

-Why the name 3rd World?

-The name was an irreverent way of saying that despite the disadvantages we may have, we are capable of doing great things, from passion, talent and study. We are much more than a rating.

-Why salsa and not another genre?

I listen to all kinds of music. In fact, when we decide to make a living from it, we have to deal with different genres and I enjoy that, but I have a special taste for salsa because it became part of my growth. It was always in the atmosphere while I was playing on the street in my neighborhood, at the high school and on the bus on the way to art school.

– Most of the songs come from your own handwriting. What inspires you?

-Writing always caught my attention, I had many unfinished, shelved ideas. When I started pre-production I dusted off all that stuff and turned it into songs.

-Why nuances?

– This production is a kind of canvas; music is the pigment, the matter. The musicians and singers are its nuances. I think it is a different production from the first but with the same essence.

-You changed your concept of an album with a single artist. Now you invited several…

-For me it was very important to build a sonority, that the public, when listening to a song of ours, recognized us. Gustavo Gerardo was, for a long time, the voice that identified us, but it is not easy to retain someone if you cannot guarantee economic stability. In addition, it was already in his plans to embark on a solo career that by the way is already beginning to bear fruit internationally.

-Those who participate?

-In this second production I have Pedrito Flores, who is an excellent singer and inherited this responsibility leading the band in live performances. In addition, I have the privilege of having several guest vocalists such as Rodrigo Mendoza, Irving Manuel, Charlie Guzmán and Memo Arroyave, among others, who I will be announcing soon. All this with the intention of reaching a wider audience. I think that these types of alliances are beneficial for the genre.

-When will all the songs come out of the oven?

-The themes I have been presenting as singles, every month or every 45 days I make a release, this until completing the ten themes. Since the end of last year and until now there are four. However, the pandemic that affects the entire world delays production a little more, but we continue working.

-You are a plastic artist. How do you alternate your two passions?

-It is not easy but I think it would be more difficult not to do it. I’m not very organized so I live in a constant effort to allocate time. I have participated in more than sixty collective exhibitions and three individual exhibitions. My work is present in several art galleries and private collections.

José Madera Niño
José Madera Niño Photo

-Your son also dabbled in salsa last year. What do you think of the support that is offered to talent today?

-I believe that the boys are increasingly better prepared to take on the challenges. The industry has changed and perhaps those of us who have been in this business for years have a harder time assimilating it. Young people know that in addition to recording on their own they must manage the multiple ways of promoting themselves, they know about graphic design, marketing, etc. And that’s very good because there are no longer record companies that invest in emerging artists. There is a lot of young talent.

-How do you see salsa in Venezuela? Is there enough promotion and support?

-There is not enough support so I think we can’t keep waiting, we have to act ourselves. To work hard for our dreams, we must learn to use the tools that technology offers us.

Do you consider your albums a work of art?

– Yes, they consist of the same elements: color, balance, space, atmospheres.

-What does José Madera Niño want to show every time he is on stage?

-A good show, a well-assembled band, appropriate costumes, in short, the respect that the public deserves.

José Madera Niño
José Madera Niño & 3er Mundo feath Memo Arroyave

 

María Fernanda León – ISM Journalist Correspondent – Venezuela

 

Sirak Miguel Baloyan. Bassist, Musical Creator and Songwriter

Sirak Miguel Baloyan, artist, producer and composer, originally from Tijuana, Mexico “is the most internationally recognized Mexican salsa artist, the first in history to have appeared at the OSCAR’s on two consecutive occasions, also, singer-songwriter of numerous hits of the romantic cut (boleros & ballads).

 

Photo by Sirak Miguel Baloyan
Sirak Miguel Baloyan

Sirak Miguel Baloyan, talented musical creator, prodigy son is now among the best exponents of music in the world.

Sirak, from a very young age, was amazed at his creative ability that has led him to countless recognitions and satisfactions. His particular interpretative expression with different musical instruments gives an example of his originality and style.

Sirak Miguel Baloyan
Photo by Sirak Miguel Baloyan

The experience of living and traveling around the world has taught him the styles, culture, rhythms and different musical genres around the planet.

Now, with more than 20 years of experience, we see his impressive work both in his albums as an artist and in his productions and compositions for performers of the highest level.

Sirak Miguel Baloyan and his Sonora Antillana
Sirak Fund Miguel Baloyan and his Sonora Antillana

In 2002 he obtained the PLATINUM AWARD for his production of the album “SABOR A MEXICO” by singer Bertín Osborne.

He is affiliated with the society of composers ASCAP. In his multifaceted experience and participation within the musical range we can include; Graduated from Dick Grove Music School Los Angeles, Graduated from San Diego State University, student at the Puerto Rico Conservatory of Music, artistic director and producer of the SBB Records record label, research studies in the Afro-Antillano genre and director of renowned radio programs , among others.

1- Sirak Miguel Baloyan
Sirak Miguel Baloyan

Sirak, with more than 130 musical works (Ballads, Bolero pop, Bolero Trio, Bossa Nova, Chachachá, Dance/Pop, Flamenco, Jazz, Latin Jazz, Mariachi, Norteño, Rock, Salsa, etc.) demonstrates his skill as a composer. His compositions have been recorded by artists of great international prestige.

In 2002, Sirak’s innovations still continue. His dream of bringing together excellent musicians from the Antilles (Caribbean) now comes true with the formation of his well-known orchestra LA SONORA ANTILLANA.

Sirak Miguel Baloyan
Sirak Miguel Baloyan in concert

His new album DE LA MATA will surely become one of the most innovative albums of the moment. DE LA MATA, a top quality project, promises to be very successful in the Latin American and European markets. Album recorded in Puerto Rico, it has 10 songs inspired by Sirak and produced by himself, it includes the most prestigious arrangers of the tropical genre such as: Jose Madera, Tommy Villarini, Rafael Torres, Tito Rivera, Mandy Vizoso and Sirak.

On Feb 24, 2008, Sirak y Su Sonora Antillana performed on OSCAR night at a concert sponsored by Billboard Magazine and Children Uniting Nations. The guests at this annual event are movie and music personalities.

Previous years have featured artists such as Prince, Wyclef Jean, Ruben Studdard, Stevie Wonder, Chaka Khan, The Black Eyed Peas, Gladys Knight, Al Green and many more.

Singer-songwriter, 2 Shows at the Oscars, winner of awards: M.V.Award, cd triple platinum, walk of fame, 100 videos on YouTube, 150 compositions (salsa, bolero, ballad, latin jazz, bossa nova, etc.) 200+ articles press.

Sirak album Miguel Baloyan and the Sonora Antillana

Sirak Miguel Baloyan and the Sonora Antillana

To see his YOUTUBE channel (98 videos):

http://www.youtube.com/user/sirakbaloyan

For more information:

www.sirakbaloyan.com

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.