I had recently spoken with broadcaster and event promoter Jesús “Chuy” Martínez about his beginnings, career, experiences, unpublished facts and other details concerning his brilliant career in the entertainment world. Without further delay, we will carefully read his words and enjoy the stories he has to offer.
Jesús “Chuy” Martínez some years ago
Good morning, this is Karina Garcia, North America director for International Salsa Magazine. I am very happy today to have a very special guest, who is none other than broadcaster, promoter and organizer of events born in the Dominican Republic, specifically in the city of Pacheco, Jesus ¨Chuy¨ Martinez, with whom we will have the pleasure of talking. How are you today, Mr. Martinez?
Very well. I am here ready for your interview.
Okay, Mr. Martinez. You have a long and successful career in the world of the arts. Could you start telling us how it all started and what made you turn to the entertainment world?
It all started in New York City in 1970 when I began to do activities in lakes. In New Jersey, there were many lakes and we started doing dances with Pete ¨el Conde¨ Rodriguez and many other orchestras. After doing a few activities in New York, I moved to the city of Los Angeles, where I worked for a radio station called 107.1 FM KMAX starting with two hours of tropical music and we lasted about three years. We started with two hours and then we had five hours per day. We were supported by some record labels that gave us all the music, especially Fania Records and TH Company. We brought all the music to Los Angeles, which was practically in its infancy. There was no tropical music. There were only three stations that were only dedicated to playing norteño music, so we were an option for the California audience. We had salsa, Merengue, Colombian, Venezuelan, New Yorker, and Puerto Rican music. We started the program with two hours a day, came to have five hours a day and it was a success for the public, but at that time, FM radio stations were only present in the houses. At that point, FM did not yet exist, which started appearing in cars and cassettes in 1979 or 1980. Prior to that, a thing called cartridge was used, but with the coming of FM stations in cars with cassettes, this frequency began to become stronger because people could still listen to the radio in their vehicles and homes. That was a process that in which made the radio strong and able to work with FM. I worked at KMX radio for about three years and then I went to other places like Radio Cali KLOVE as an account executive before I started a new program at KFOX 93.5 FM in 1982. At that time, we did activities in nightclubs like Virginia, Los Globos, Sombrero, among others, and we used the different orchestras of the time like the Siba orchestra and Azuquita Y Su Melao. All that was a process in the 70s. Then, we started in the 80’s to do FM radio with all the guarantee of the radio in the cars, which was when we began to work in discos like Candileja, La Bamba, and Escondite. Something important was the experience gained and, in view of my studies as a sound engineer, I learned a lot about equalization and all that stuff. I went to Cali, Colombia a few times and then to Venezuela, where I learned equalization and the system for discotheques. We had not only the 80’s, but many South Americans in Los Angeles like Venezuelans, Colombians, Ecuadorians, Peruvians, and Central Americans. Something that helped to internationalize the rhythm in Los Angeles was to take Saturdays and most Sundays to make projections at KFOX 93.5 FM. In the case of Saturdays, we had four hours of Central American music, we had a large audience of Salvadorans, Guatemalans, who listened to our program.
Jesús “Chuy” Martínez interviewing Oscar D’ León at Kfox 93.5 fm in 1990
All right. Taking into account the emergence of the FM frequency in cars, playback devices, the internet, and digital media, could you say that people like you have had to modernize and reinvent themselves to stay relevant in the market?
That’s right. At the time of the existence of record companies like Fania, Sony, RMM, MP, everything was easy and everybody could project their music in the 80s and 90s. First, people used LPs and cassettes, but the first CDs began to appear in 1986, so no one wanted the old LPs and cassettes anymore. Music was played on the radio where I did my show and at KLOVE, where salsa artists like Grupo Niche with their song Cali Pachanguero were played. Then Marc Anthony and many other artists appeared, so record companies promoted you and you had the ease of projecting a singer, but by the year of 1996, people no longer wanted CDs because modern technology came in and everyone started downloading music with the new internet system. All of this has contributed to a total change and it is the same thing that exists now, which makes it difficult to project an orchestra or a soloist. There is no longer the question of radio promotion and now everything is digital, so we have had to adapt to the new technical internet system with all its means of communication.
Would you consider that this new system has been beneficial to fans and detrimental to artists at the same time?
That is right. They do not have the opportunities they had before. In the late 80’s and early 90’s, there were many record companies with which everyone could be promoted, facilitating the projection of an artist in the market quickly. Now it is different and a determining factor was the death of most of the good artists from Fania and other companies like Pacheco and Larry Harlow, so young people who want to project themselves do not have the record label and the CD. They have to use other methods such as the internet, the downloading songs, and the sale of songs. There are some DJs who are experts at downloading music and there are many channels focused on providing DJs with both video and audio.
Poster announcing Oscar D’ Leon and Grupo Niche’s concert at the Palladium Hollywood in 1987
There are many web portals dedicated to offering music through which people can get songs without even spending a cent, so the artist makes nothing to offer his art.
That is true, but there are companies dedicated to selling songs on an individual basis. They can charge up to 99 cents per song and different things that have been invented. There are artists who gain some profit from selling their songs, but it is not what it used to be. In times gone by, people used to buy CDs, but now there are some DJs who are specialists in downloading music and connected to sites which offer the possibility to download videos and songs in exchange for a monthly allowance. I know about five DJs who have the ability to download songs, but it is not the same as before. We are in the year 2021 and things are not easy for new artists who are making themselves known because they no longer have so many benefits.
Modern salsa and memorable experiences
What do you think of current salsa?
There are quite a few orchestras here in Los Angeles, which perform at the Mayan, the Granada and Steve’s Steak House. There are many orchestras that project themselves through their performances, but with COVID-19, everything has gone way down in terms of concerts. We are doing concerts, but in a very limited way because the community had great fear of going to the venues, especially now that there is talk of the Delta variant. People are really scared and it is unbelievable what is going on in the California artistic scene, the world with the COVID problem and people’s fear of getting infected. That is why a large part of the population does not go to concerts, except for the youth that defies the moment and is not afraid.
Poster made by KFOX 93.5 FM, the radio station where Martínez worked
Could you tell me which venues are open for dancing salsa in Los Angeles?
Granada, Steve’s Steak House and the Mayan are the most active for tropical music. The Mayan is hosting the largest number of concerts. Toño Rosario’s was a success and Jerry Rivera will come soon, so let’s see what happens. Other promoters are going to bring La Sonora Ponceña and different singers, but there is no certain that people will come for all that has happened.
Could you tell me which is the most memorable experience you have had in your career?
The most memorable experience was when Frankie Ruiz had a concert at the Bonaventure Hotel and the man went to jail the same day (laugh). That was the greatest trouble because there were so many people interested in seeing him and he never came. That was a really bad experience in life. I did a lot of dances with Oscar D’ León, Eddie Santiago, La Orquesta Inmensidad. The first time Grupo Niche came here in 1986, with whom we did dances with Oscar D’ León and La Misma Gente at the Hollywood Palladium. We also worked with Ray Barreto, Pastor López, Santiago Cerón, La Orquesta Inmensidad, Andy Montañéz, Lalo Rodríguez and many other artists. Before there were many orchestras in a single event, but now people get used to one orchestra and several DJs.
A final message to those who go into the arts
Tenacity and perseverance at work, Hard work, hard work, hard work. You should study the field when you want to do something, be sure that your idea is good and avoid failing.
Poster announcing Frankie Ruiz’s concert at the Bonaventure Hotel in 1989
The versatility, trajectory, and professionalism of this musician and composer, born in the capital of Venezuela, make him one of the most important and sought-after salsa bastions in the country.
This time comes to Salsa Escrita “La Columna Salsera de Barquisimeto”, the outstanding trombonist Eliel Rivero Rivas, who was born on April 3, 1961, and already has an artistic life with more than 40 years; for this and many reasons, we bring to our readers a complete review about “El Chamán del Trombón”, as he is jokingly nicknamed by his musical friends.
Eliel, welcome to the salsa column, which is currently dedicated to providing information on the happenings of Afro-Caribbean music and therefore also projects and makes known nationally and globally the musical talent here.
Thank you very much Professor Carlos Colmenárez, for giving me this opportunity to share with you and all the regular readers of your prestigious Salsa Escrita “La Columna Salsera de Barquisimeto”, and to spread my career.
To begin with, we want to know how were your beginnings in music? -My life was surrounded by music since I was a child since my grandfather Pablo Emilio Rivas was the first tuba player of the Symphonic Orchestra of Venezuela, besides that in the family gatherings we listened from symphonic music to the most emblematic Caribbean artists of the moment, and so on, until I lived in Los Frailes de Catia, Macapaya sector, there was “La Dimensión Latina” and I was captivated by a cover where the trombone was shown, I think it was Dimensión Latina 76, and since that time I said, I would like to learn to play that instrument, but I did not do it because it was so expensive to buy one. Until one day Rodrigo Mendoza, who had just joined Dimensión Latina and who lived in front of my house, heard me playing a trombone solo of the song “Yo tenía una mujer” by Roberto Roena in a meeting that we often had and he told me: start studying that instrument.
Eliel Rivero, “The Shaman of the Trombone”
From then on my musical career began, I was able to buy a trombone and thus began this beautiful story that I enjoy to this day, thanks to the support of my family. I began to have contact with many musicians in the area, among them, Johán Muñoz, a brother sent to me by God, Antonio Acevedo “Toñito”, son of maestro Dugarte, trombonist of the Sinfónica Venezuela and Alberto Crespo, who also lived in Los Cuatro Vientos de los Frailes.
We all followed the trajectory of orchestras and musicians that rehearsed in the area such as “La Banda y su Salsa Joven”, “La Renovación”, we followed the steps of Alejandro Pérez Palma, Faustino González, Enrique Blanco “El Bachaco”, César Monjes “Albóndiga”, José Antonio Rojas “Rojitas”, Nené and Taíto Piñango and many more. From that moment I began to take my course as a trombonist with seriousness and professionalism until today.
Eliel, where did you study music and with whom? My friend Carlos, I studied theory and solfeggio at the Musical Association of the Federal District with maestros Daniel Contramaestre and Daniel Milano.
I continued my training at the “Simón Bolívar” Conservatory of Music, directed by maestro José Antonio Abreu, and at the “José Ángel Lamas” music school, under the guidance of professors Ángelo Pagliuca, Tiero Pezutti, Antonio Estévez, Erick Colón, among others.
I continued my professional and work training with the “Simón Bolívar” Symphony Orchestra for 40 years, sharing with different masters of national and international music.
At the same time, I had the opportunity to participate as an active or guest musician in national and international orchestras of the salsa genre.
Now that you mention the salsa genre, with which orchestras and vocalists have you participated? Professor, at the national level, apart from the Simón Bolívar Symphony, Municipal Symphony, Venezuelan Symphony and Caracas Philharmonic, I have been on stage with: Bailatino, Oscar D’León, El Pavo Frank, Mariana, Marianella, Andy Durán, Cheo Navarro con Tributo, la Banda Sigilosa, Orlando Poleo, Hildemaro, Alfredo Naranjo y su Guajeo, Silva y Guerra, Saxomanía, Trina Medina, Orlando Watussi, Magia Caribeña, Moisés Daubaterre with Grupo Mango, Bacheo, Servando y Florentino, Naty y su Orquesta, La Negramenta, El Trabuco Venezolano, La Nueva Parranda, Canelita Medina, Javier Plaza, Guarará, among other participations to which I have been invited.
And as for international artists and groups, which ones have you worked with? My friend Carlos, I have had the honor of accompanying: Gilberto Santa Rosa, Celia Cruz, Justo Betancourt, Nino Segarra, Eddie Santiago, Willie González, Roberto Lugo, Ismael Miranda, Maelo Ruiz, Cheo Feliciano, Paquito de Rivera, Andy Montañez and in relation to artists outside the salsa genre: Rafael, Andrea Bocelli and José Luis Rodríguez “El Puma”.
Excellent and admirable career Eliel, now, what can you tell us about who you have recorded with? Indeed Carlos, I have made recordings with the Simon Bolivar Orchestra, Música Latinoamericana, Bailatino, El Pavo Frank, Naty y su Orquesta, Victor Quintana, Rumberos del Callejon, Bacheo, Un Solo Pueblo, Trina Medina, Saxomania, La Dimension Latina with Joseito Rodriguez, La Negramenta, Orlando Poleo, Carlos Julio “El Oso”, Juan Pablo Barrios, Víctor Cardona y su Máquina de la Salsa, Gilberto Santa Rosa con la Sinfónica Venezuela, Cheo Navarro y su Orquesta Tributo, Francisco Requena, Oscar Dudamel, Otilio Galíndez, Luisito Quintero, among others.
Eliel, what can you tell us about your facet as a composer? I started when I was 13 years old and I have written songs for the following artists: Orquesta Los Satélites de Cheché Mendoza with the song “Sufrí por ti” on the LP Di Corazón, I have also written compositions for the Sabadonga orchestra, Oscar Dudamel, Victor Quintana and most for the Bailatino group, of which the hit “Bailatino llegó” was versioned and recorded by the Hispanic Orchestra of Harlem (SHD) of New York under the name “Baila Latino” on the CD “Viva la Tradición”, Grammy award-winning album.
World Artistic Tours? I have performed in Italy, France, Spain, Japan, Germany, Argentina, Colombia, Chile, Switzerland, England, Holland, USA, Mexico, Australia, Cuba, Dominican Republic, and Peru.
Eliel Rivero is one of the most important and sought-after salsa bastions in the country.
At present, what do you do besides being with different orchestras?
Well, Professor Carlos, I am currently involved in pedagogical activities with the trombone, doing master classes and I am a frequent guest in the “Orquesta Nuevo Mundo” of Bogota, directed by Alejandro Orellana, covering symphonic salsa and permanently in the trombone and composer with the group Bailatino.
By the way, how did Cheo Navarro ask you to be part of the staff of musicians of Bailatino y Tributo? In fact, my friend Carlos, that was one night when we were in block 6 of 23 de Enero in Caracas, we greeted each other and he told me that he wanted to make a band to cure us playing the salsa that fed our lives, such as Palmieri, Libre, Mon Rivera, Típica 73, Bobby Rodríguez and others.
And I told him to count on me and since at that time I was playing with Johán Muñoz with Ajoporro of Grupo Mango in private parties, Cheo told me: “Tell Johán if he wants to participate in this project” and the affirmation was not long in coming. As for “Tributo”, the same thing happened, Cheo wanted to record emblematic songs that nurtured his career, and of course, we gave him our support since those of us who recorded in that project are from “Bailatino”.
Eliel Rivero performing pedagogical activities with the trombone.
Finally, what are your social networks? My social networks are Eliel Bailatino on Facebook and eliel_bailatino on Instagram. Concluding, we want to know why that nickname “El Chamán”. Ha, ha, ha, ha, my friend Carlos, that epithet was given to me by my great friends of the “Negramenta” Orchestra. Let me tell you Eliel that for me and for “Salsa Escrita” it was a privilege to have you as a special guest in this issue and from “International Salsa Magazine”, we wish you the best of the best and of course, keep on giving it up with pure tastiness…!
Thank you very much Professor Carlos Colmenárez for this opportunity that you give me and I take this opportunity to send my greetings to the great number of salseros in the city of Barquisimeto and congratulate you for this praiseworthy work of supporting and projecting the musical talent of Venezuela and the world.
Remember not to leave your house…! Until next time and let’s keep on salsing!
International Salsa Magazine / www.SalsaGoogle.com and its correspondent, Professor Carlos Colmenarez from Barquisimeto, Venezuela have the privilege to present one of the most important bastions of our Latin music in the Caribbean.
In this opportunity we honor in our salsa column, the Venezuelan percussionist Heyzer Cabrera, born in the city of Caracas, on May 3, who already has more than 30 years of musical career, because at the age of 7 years old he was part of the Venezuelan Children’s Choir, directed by Professor Raul Cabrera, his uncle.
At the age of 15 he began his interest in percussion, with the help of his great friend and also percussionist Juan Pablo Barrios and at 17 he began his career as a professional musician with the “Orquesta Canela” in 1994 and since then he has been part of many groups of the salsa genre, such as: “El Combo de Venezuela”, “La Negramenta” and accompanying international artists such as Andy Montañez, Van Lester and Pedro Arroyo.
Heyzer Cabrera, brilliant and virtuoso Venezuelan percussionist
In 2013, he began his project to make a recording studio, which is called “A Tempo Récords” and in parallel he studied sound engineering at the academy (Audio Place), under the guidance of Jesus Sanchez and Jean Sanchez. In his career as a sound technician he has participated as a producer of several orchestras and in 2019, he gets his first recognition by being nominated in the production “Con Todo” by Coco y su “Sabor Matancero”, for Record of the Year, Salsa Genre, at the Pepsi Music Awards in Caracas.
Heyzer, at the international level you have had presentations? Indeed Professor Carlos, in 2018 I had the pleasure of being in Cali, Colombia, with the orchestra “La Negramenta”, in La Topa Tolondra and the reaction of the public was of great emotion, chanting all the songs of the orchestra; later in 2019, I returned to Cali, but with the orchestra “Noche Caliente” and soon we will return to the neogranadino country.
And with Juan Pablo Barrios, you were part of his wonderful jazz-salsa band? Hey, yes, I was part of that wonderful orchestra for 8 years.
With Juan Pablo Barrios, I was part of his wonderful jazz-salsa band.
Heyzer, with which of the percussion instruments do you feel better for its execution? My friend Carlos, with all the irons equally, that is: timbales, congas and bongos.
Also, Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”, the group formed by the musicians: Cheo Navarro, Alfredo Naranjo, Jhoán Muñoz, José Soto, Miguel Urbina, Rodrigo Mendoza on vocals and of course, Heyzer on percussion and also the first personal single entitled “Mi social”, was recorded in Cabrera’s studios.
For those who wish to contact and hire the excellent percussionist Heyzer Cabrera, you can do so at 0412-9782696, through Instagram: heyzer_drums, atemporecords. Facebook: Heyzer Cabrera and A Tempo Récords.
Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”.
From Salsa Escrita, International Salsa Magazine / www.SalsaGoogle.com and all its staff, we wish the greatest success to this bastion of Venezuelan percussion.
Everything prior to the 20th century is in the History of Salsa, since what happened in the Caribbean is common to mankind.
As in the rest of the world, salsa in Venezuela entered in the 60s from the new sounds created in New York, and driven by musicians like Federico Betancourt (Federico y su combo latino), or radio programs like La hora de la salsa, although rumba and Cuban son were already rooted since the 40s and 50s.
On this occasion we have the opportunity to interview the Peruvian Sonera called Fanny Almanera also known as La Sonera del Callao, her nickname comes from her native country El Callao, Peru.
She was born on January 23 and is the 9th daughter of her parents (Don Héctor Almenara and Carmen Barreto), from a very young age she knew and learned many things about the music of both parents; in the lyrical genre thanks to his mother and his best teacher Dona Ana María Parodi and with respect to his father who is / was a collector of the best exponents of Salsa (especially Cuban and Puerto Rican music), both listened almost all the time to Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, among others.
When she turned 16, she realized that she was passionately and in love with the dynamic salsa genre and made the decision to leave the choir and classical music, since her love and her taste is for the salsa musical, thanking her father greatly for showing her , show him and listen to the best collection of salsa music to date … “Music is like medicine … it fills the soul and innovates over time” and over time, while gaining his experience, his own audience would give him their nickname La Sonera del Callao and with the favor of God take his parents, especially his father, to Cuba.
Memory of the brave Sonero Cano
She also had the honor of participating for the first time in the choir to Junior Gonzales and alternate Grandes with Peruvian Orchestra such as Peru Salsa by Beto Villena, Las Estrellas de la Maquina by Boris Gomez, La Nueva Generación by Franco Covetto, during that time chosen as the best nobel voice of the salsa genre for the 80s; and at the same time he made several recordings for different groups, likewise he recorded an unpublished song of his own entitled “Yo Te Espero”.
Unlike other musicians, Fanny Almanera during this season met and currently has friends of renowned musicians, who interacted with her and her family, even before becoming a singer.
Ray Barreto and singing Adalberto Santiago de Fannia
Between the 70s and 80s, Las Leyendas Latinas arrived in Peru with Ray Barreto and Adalberto Santiago, who gave him the great opportunity to sing with them “Quitate La Máscara”, then with Linda Caballero (La India), the song “Mi Primera Rumba ”, Then with the salsa pharaoh Oscar de León with the song“ Toro Mata ”and also with the great Lebrón Brothers with the song“ Sin Negro no hay Guaguancó ”. With the Owner of the Soneo Carlos “El Cano” ESTREMERA the song “Amame en Camara Lenta”, with Frankie Vazquez “El Cuarto de Tula”, with Yolanda Rivera the song “Rumba en el Patio”, Vity Ruiz brother of Frankie Ruiz the song “La Cura”, with Aldalbeto Santiago on the song “Nadie se Salva de la Rumba”.
In all these golden opportunities, he managed to ask her many questions to perfect her singing, including knowing more about how to rhyme the phrases and after a while with her imposing voice, Fanny captured the attention of the greats of salsa, representing Callao and for which the Chalaco people named it “La Sonera Del Callao”.
Singing with Linda Caballero, the best known India and Fanny La Sonera del Callao
She tells us that she is very happy with this great experience acquired, especially that she met many internationally recognized artists, many met them in person and others thanks to social networks, expressed by many who have a very beautiful voice, which is why she sang many songs musical expressing that at the time of singing he likes it because it is his passion with all his steps (vocalization, expression, movement).
During the Covid-19 pandemic it affected her like the rest of the world, in her case the recordings of her musical themes could not be made as before since the recording studio did not work as before, she had to sing with a smaller group of people, they couldn’t get together to practice; Although he was on a halt due to the pandemic, he was able to record a challenger “El Virus Se Mata Con Musica”, invited by a Cuban musician which was also recorded by Cuban artists, which was successful as it was heard in different parts of the world.
Thank God, despite all the complications that arose regarding her musical career, she achieved many things during this pandemic and also remained active thanks to social networks and is currently activating social activities in clubs, where They work in small groups live or online.
Fanny Almenara, continues with her impeccable musical career, loving music and recording a song entitled “Amor de mis Amores”, a salsa version with the Orquesta NG del Callao Director Franco Crovetto.
For her vast artistic career, she was awarded by different musical associations and by the company Pinsen Callao, Asocosalsa Peru (Ceremony Tite Curet, Busto Hector Lavoe, Charlie Palmieri and 25 Anniversary of Artistic Life (Okonkolo Association) and a few days ago she received the award The Miami Radio Salsa Superior Award Director Richard Roman (“La Dama De La Salsa” Award)
Fanny La Sonera del Callao the Los Award award from Radio Salsa Superior of Miami Director Richard Roman
After his voice reached Cuban pages like the page “Benny More”, “Un Millón De Adalsoneros” and “Al Son Del Pinar Del Rio” She was invited to the day of Son 8 de mayo led by the gentleman of son Adalberto Álvarez, later I also record a song authored by the Reyna del merengue Milly Quezada “Gracias A Ti” dedicated to those who are always in the front line such as doctors and nurses in Covid 19 and the latest that the production of the song La Sitiera Tributo has recorded to the Cuban diva Omara Portuondo in which Nelson Gonzales participated in the tres, Eddie Montalvo on the congas, Nohelia Zambrano from Colombia on the violin and Luis Perico Ortiz on the Trumpet
“Every time I go out to play, to sing, I show my training and above all I put the name of Venezuela up high and without talking too much”.
She reaffirms that; We have done a good job, making our music and Latin culture known.
It is indisputable the mark that many Venezuelan artists who have decided to settle abroad leave on their way around the world, because they are distinguished by their achievements and place the name of Venezuela in great, making their fellow citizens feel proud of their successes, such is the case of Yma America Martinez, born in Caracas and based in Germany for almost 30 years.
With a musical vein that she inherited from her parents who, she points out, were the fundamental pillar in her formation and career, and why not, for having grown up in one of the most musical parishes of Caracas, the San Agustin del Sur neighborhood, Marin sector, from where great characters have emerged including her uncle, the choreographer and dancer Carlos Enrique Orta (+), who toured with his dance company Coreoarte great stages around the world.
His musical beginnings were with a group created by his father “Los Azulitos Juveniles” where he sang aguinaldos with his sisters and neighbors, to later join the San Agustin Choir at the Don Pedro School “Fe y Alegria”. She received her academic preparation at the “José Ángel Lamas” Music School and at the “Simón Bolívar” National and Youth Orchestra, to continue her cello studies in Paris at the “Ecole Normale de Musique de Paris” and singing and composition at the CODARTS of the World Conservatory of Music in Rotterdam.
Yma America “Every time I go out to play, to sing, I show my training and above all I put the name of Venezuela up high and without talking too much.”
Yma America is a singer, musician, composer, arranger, plays the cello and the cuatro. Her clear and powerful voice makes her very sought after throughout Europe. She has worked with different groups; Kimbiza, Latin Sampling, Francisco Zumaqué, Conexión Latina, Mirta & The Goalgetters, Dúo Ymaya, Cubop City Big Band, among others. He has participated in major jazz and classical music festivals such as the Ruhr Guitar Festival, the North Sea Jazz Festival, the RuhrTriennale, the MusikTriennale Köln, and the Elblandfestspiele. In 2004 her perseverance made her the winner of the international competition “Voice and Guitar” in Saarbrücken-Germany, where she won the first prize together with the Colombian guitarist Andrés Mendoza Villamil.
Another relevant fact in the life of this artist can be seen in the song “Juégalo”, a song she composed and sang for the Bacardi company commercial, which became a hit in the summer of 1998 and 2000. He participated in the musical “King of The Lions”, with WDR Big Band in the main role of the Lilipuz children’s concert “Die schlaue Mama Sambona”; and has performed more than 30 times with the production “Adventure Weltumrundung” of the Fly & Help Foundation.
She has on her shoulders the responsibility of a great project that she is carrying in Germany and wishes to realize in her native country, making music with percussion for deaf people called “FEEL SOUNDS”, because of this proposal in 2010 she was awarded with the Disability Policy of the Innovation Prize of Cologne (KIB).
She assures us that; “The language of music is the same all over the planet”, with this phrase we enter to discover the virtues, dreams, and desires of the interviewee.
How does Yma America define herself?
“It is not easy to answer this, but I think I am a very patient and calm person, too much I would say. I don’t give myself a bad life, fortunately, I have done what I have wanted and desired, thanks to the support of my parents and family in general.” “I am a character to whom, thank the god’s things and opportunities have been offered to me, some I have taken advantage of, others not, there are some which I have not realized in time that they have been there waiting for me and I have lost them. But I can say that I have lived my life, with the ups and downs, good and bad, without involving anyone and that is how I have been leading it and learning”.
His musical beginnings were with a group created by his father “Los Azulitos Juveniles”.
Part of his training was obtained through the “José Ángel Lamas” Conservatory of Music and the “Simón Bolívar” National and Youth Orchestra. What do you thank them for and how do you give back your training with them?
“I thank them for part of my training as a musician than I am, because the other part I owe to my family and my people where I come from.” “-Give back-“, I think that every time I go out to play, to sing, I show my training and above all I put the name of Venezuela up high and without talking too much”.
What do you think of the phrase “No one is a prophet in his own land”?
“-I honestly don’t know what it means-“. “I don’t think I would have started singing professionally if I had stayed in Venezuela. I played cello in the National and Youth Orchestra of Venezuela, I played and substituted for the cellists in the Philharmonic Orchestra of Venezuela and in the Municipal Orchestra of Caracas, I sang solo at every party and family celebration, and in reality, I was very quiet at home”.
“I don’t think I am a “prophet” where I am, I always do the best I can and people value it and many times also criticize it, of course”.
Why did you choose Germany and not another Latin American country? How many years have you been living in Cologne?
“I left Caracas in 1986 for Paris-France, thanks to the fact that my grandmother worked for a wealthy family and they offered to help a relative to study abroad, specifically in France because they had relatives there. First, my uncle Carlos Enrique Orta, a choreographer-dancer with a long international career, went many years before, and then I wanted to “take him up on it” after a while”.
“Actually I wanted to study cello for 1 year in Paris and return to Venezuela, but when I finished my 1st year of study at the “Ècole Normale de Musique de Paris”, they offered me to stay and I didn’t refuse. The last year of studies in Paris I didn’t have much money to live and in Köln-Germany lived the musicians of COREOARTE (a Dance Company created by my uncle Carlos Enrique Orta with dancers and musicians from San Agustin), at that time I went every weekend, on Fridays after classes, from Paris to Köln and I returned on Mondays at 6 am and arrived directly to classes in the afternoon, I did that because we played; Renis Mendoza, Felipe “Mandingo” Rengifo, Charles Peñalver, Orlando “El Diablo” Blanco and me in the street to collect a little money and cheer up the streets and faces of the Germans, and with that I could buy food for the whole week in Paris until the following Friday when I returned to Köln. … and so on for many months until when I finished my studies, I decided to move to Köln and the first months I lived with Renis Mendoza who shared his apartment with another boy from Corporate and then I got my room sharing an apartment with a German girl”.
Part of his training was obtained through the “José Ángel Lamas” Conservatory of Music and the “Simón Bolívar” National and Youth Orchestra.
“I lived first in Paris from 1986 until 1990, 4 years and from 1990 until today in Köln, next year I will be 30 years based in Germany, I say “I have my bed in Köln”, because in reality I am almost never at home, thanks to music and life that has given me so much.”
“I never thought, nor have I ever imagined living in another Latin American country, I think that from here, I’m going home… To Venezuela!”.
How has the German public been receptive to Latin rhythms, has there been no resistance?
“At this moment there is a stagnation in the development of activities with Latin music, but in the same way there is more and more receptivity, I know we have done a good job, making known our music and Latin culture, there are several Salsa bands with German musicians, there are more and more dancers, more dance classes, many have understood the message and others interpret it to their wave but there is much atmosphere and places with Latin music, with Dj of Salsa-Merengue and the crap they call Reggaeton music”.
“I must say that some years ago there were more Salsa orchestras with German musicians and there were more Salsa Festivals that unfortunately has been reduced by the phenomenon “Salsa Dj” I think and I’m almost sure, because it is cheaper and people dance the same. That has done a lot of damage to live music”.
What memories do you have of being under the baton of these great maestros Abreu, Aldermaro Romero, Carlos Riazuelo and Yehudi Menuhin?
“I don’t really remember at the moment any particular experience or directly with them. Although I had more contact with maestro José Antonio Abreu, the experience was the same as with many of the members of the ONJV. But of all of them I was always struck by the confidence with which they could dominate and control the number of musicians that an orchestra has and above all that in classical style and pieces the feeling that is transmitted is that of the conductor and not that of the musician or the performer. Of course, they were wonderful experiences”.
How many compositions have you made?
“Honestly, not many, approximately 12 but that have been arranged, played and recorded, only 4.”
Your parents have been promoters of your career, what do you thank them for?
-Chacha!
“My parents are the reason for my profession, it is from them that this Yma America that you are interviewing for my work has come out. Thanks to their way of being, to their offspring, to their education, I thank them for what I am and what I have done… My life”.
Are you still constantly growing, what anecdotes do you have from your time at the “Ecole Normale de Musique de Paris” and the “Conservatoire de Musique du Monde”?
“In Paris, I think, having to change the mentality of learning everything little by little and without haste in Venezuela, to the need to put my batteries because here they do not wait, you have to give it hard and meet daily, plus that prompted me to learn French faster”. “And in Holland to go from being a student to being the singer of the Cubop City Big Band of the conservatory Prof. Martin Verdonk (percussion), Leslie Lopez (bassist) and directed by Prof. Lucas van Merkwijk drums that was strong, especially at the beginning that was to understand how they interpreted Latin music that is something other than Latin Jazz, then we started with Mambo de una, and as Leslie Lopez was the bassist of Puerto Rico there was a balance and there we were learning and getting experiences all equally”.
She works alongside Dutch percussionist and producer Lucas Van Merwijk and is the lead singer of the successful “Cubop City Bing Band”.
How does it feel to work alongside Dutch percussionist and producer Lucas Van Merwijk and to be the lead singer of the successful “Cubop City Bing Band”?
-It’s great!
“Working with Lucas and those wonderful musicians, people with an extraordinary musical level, is very relaxed, zero stress, we have all learned there, the failures and successes have gone hand in hand with everyone. Next year (2020), with CUBOP CITY Big Band we will celebrate 25 years together and for sure something good will be done, something wonderful is being cooked, with the maestro Edy Martinez -pianist, composer and Colombian arranger-, of course, also thanks to Lucas’ wife, Roosje who does a great job, she is the organizer/manager of that crowd and of all the tours”.
Have you surrounded yourself and trained with musicians that due to their quality and trajectory are considered the best, what do you think you have yet to do?
“I have done and learned many things in life, both personally and musically, I think and I know that I still have a lot to do and to learn”.
Hasn’t the language been an obstacle?
“No, musically speaking, no, the language of music is the same all over the planet.” “The French language I had to learn quickly because I came from Venezuela directly to the Conservatory of music, in Holland the classes are in English and I did not have to learn Dutch and the German language has been strong in other daily situations or life in general.”
In which festivals have you participated both in Europe and Venezuela?
-I can’t tell you exactly how many, but in these 30 years living in Germany and making music professionally there have been many, in almost all of Europe”.
You have a project with deaf people in Germany, which we hope can also be realized in Venezuela. Tell us about this musical project and why did you decide to make this the theme?
“TO FEEL – SOUNDS, but as a proper name I named it “FEEL SOUNDS” in view of the fact that the sense of touch is much more developed in deaf people and my work is based on making music with percussion, so the vibration of the sound is what they feel.”
Gestern abend war sehr schön !!! Yma America and Marco Antonio Sanchez Ramirez
“It is a project that I have had in mind for many, many years, exactly 1980, when I was studying “Hotel and Tourism Administration” at the University College of Caracas and doing field work in San Jose de Rio Chico, at the end of my activity and visiting people, they made me a party, drums and fulias until dawn, they were 5 drummers, the father and 4 children and at the end the father tells me that one of them was deaf. And the young man played very well, I never imagined that he could be deaf, he played perfectly and we even danced salsa. And from there I had the idea of working and teaching percussion to the deaf.”
“After all that time, in one of those twists and turns of life, I had courage and started to study “German Sign Language” and planned my workshops, I went to the deaf schools in Köln, many percussionist friends helped me, Renis lent me his drums and plays with us every presentation at the end of the workshops, other friends lent me their rehearsal room to give the classes, my Sign Language teacher supported me looking for money to keep going. … and so, this year I celebrate 10 years of having developed it here in Germany and the experience has been wonderful, every day I learn more and more of this world that I can not imagine, but to see the face of everyone when they feel the vibration of the sound when playing a drum, even hearing people, people without hearing problems, that feeling is unique, fascinating!
Working with children and adults with special conditions is a great challenge, how does it feel to see this experience become a reality?
“I have already been invited to several cities in Germany, Holland and Poland and I want to continue doing it, take it to my country and fulfill my desire to develop it there, carry it out, execute it and make it known in my Venezuela. Although several years ago I attended a conference held by FEVENSOR Federation of the Deaf of Venezuela, with the assistance of several Latin American countries, Spain and Australia, I made an exhibition and presentation of several young deaf people who attended, with the participation and collaboration of Naifer Hernandez and Juan Carlos “El Indio” Betancourt percussionists of San Agustin / Marin, but everything stayed there. Of course I must always be present to be able to move forward, that’s how it is. I lack the economic support because the program, the project, the subjects, the desire, the yearning and the yearnings are already there, but I keep moving and insisting, searching and “curucuteando” until I find the proper support”.
What new projects are on the way?
“We recently started a new Latin American Music Trio project, let’s say from Mexico to Argentina, with Prof. Thomas Böttcher, German pianist, Renis Mendoza, Venezuelan percussionist, also from San Agustín/Marín and me singing and playing Violoncello, we are in the preparations, making videos, propaganda, looking for a program and composing, also in conversations and looking for an agency to sell it and take it forward. The 25th anniversary of Cubop City Big band next year, finish looking for the musical program for those celebration concerts.”
“Continue with my musical project “FEEL SOUNDS”, giving my classes and music workshops to groups of deaf children, youth and adults and from January I start to give talks about this new proposal to students of “Special Education and Pedagogy” to continue moving forward with this and take it forward until I get to Venezuela and the whole world.”
What does St. Augustine Parish mean to you?
“It is the neighborhood where I was born, there is all my childhood and adolescence, I love and respect its inhabitants very much, besides my family whom I love with all my being, there have always been many valuable people there and that multiplies more and more, thanks to the work that artists have been doing and all that educated and fighting generation that lives and has always maintained that contact of training and information with the new generations. San Agustín is the good people who live there, the rest is everywhere on the planet”.
