Interviews

Great conversación with conductor and timbalero Sammy Deleon

How Sammy Deleon’s career began to flourish

There have been uncountable artists who have lifted Latin music around the world, and one of them has been conductor Sammy Deleon. This American of Puerto Rican parents was born in Lorain, Ohio, on August 18, 1961, and grew up in the same county with his 14 brothers. He started his professional career with the Trio Puerto Rico when he was just 13 years old, after which he was already beginning to demonstrate his incredible musical skills.

While it is true that neither of his parents were musicians, Sammy recalls with affection his mother while she used to sing at home and his father used to play the Puerto Rican cuatro during the Christmas season to celebrate the occasion to the sound of parrandas typical of the Island of Enchantment that were created for the occasion.

This musician greatly enjoyed the work of Tito Puente, with whom he later developed a great friendship and an excellent working relationship. That happened on one night when the King of Timbales was playing a concert in Lakeview Beach. Deleon made his way to the stage, greeted the timbalero, wanted to talk to him and asked to play with him. After doing some soundtracks and a unique display of talent, Puente accepted to let him play and together they shone on stage by making one of the biggest dreams of Sammy a reality.

After that, he ended up playing with Puente in his hometown, Orlando, New York and Puerto Rico. After many years, the same would happen with Tito Puente Jr. who would also take into account this musician’s talent for his shows.

Sammy Deleon with his timbales — Sammy Deleon playing the timbales in one of his concerts

Deleon has shown diverse musical abilities throughout his career, but without a doubt, he has been successful in percussion, more than in any other. Likewise, he has dedicated much of his time and effort to exploring Latin and Afro-Cuban rhythms, resulting in a style that is unlike many other artists of his kind.

For the last 10 years, he has managed to conduct his own group Sammy Deleon Y Su Orquesta, with which he has had many of his successes in his career so far, one of them the respect and admiration of a vast multicultural audience that is always seeking innovation in the music which they hear.

During these years, he has managed to capture the attention of many DJs, dancers, and Latin music lovers thanks to his hard work and the enormous energy invested in each of his musical productions. Contigo Y Sin Ti and Baila Que Baila have been a gift to the ear on dance floors crowded with people of all musical tastes and different levels of skills in relation to dance and choreography.

Everything he learned during his career has also been benefitial to other musicians, as Sammy uses his knowledge to mentor would-be percussionists who want to follow in his footsteps and those of the most acclaimed musicians in history. Unquestionably, a noble task for those who, at a certain point, had the same dreams.

Sammy Deleon and his people — Sammy Deleon Y Su Orquesta

Interesting and emotional conversation with Sammy Deleon

A very good morning to all of you. This is Karina Garcia, North American director for International Salsa Magazine. I am very happy today because we have a very special guest. This is none other than Sammy Deleon who is a composer, timbalero, and musician with a long-standing career. How are you, Sammy? How are you feeling today?

I’m very well, thank you. I’m very well, thank goodness. From here in Cleveland, Ohio.

All right, Sammy, could you tell me what pushed you to go into music? What inspired you? What did you decide to take this path and why did you chose percussion?

Well, the one who put the music on was my father. Gumersindo Deleon was the one who started all this. I say he was a frustrated musician because his time was not very good, but slowly, he taught me and my two brothers Puerto Rican jibaro music when I was a little boy. Two years went by and one of my brothers was 15 years old, the other one was 14 and I was 13 when my brother taught us salsa when it was a boom in New York. That is how we started playing percussion on our own, since no one taught us.

We listened to music every day and from there started singing in church choirs with trios, ensembles, jibaro music and, little by little, we kept going up, up, up. That is when my older brother Roberto, who was a timbalero before I do, saw that I were interested in the timpani than him while he was dedicated to the conga and my other brother Micky was dedicated to the bongo. Then the three of us were rehearsing almost every day and my dad said that we were too loud when playing percussion. Years passed and my brother Roberto moved to Florida, my brother Micky moved to Kansas City and I were alone here.

I have been playing since I was 13, starting with the Trio Puerto Rico and, later, I started playing with a group called Conjunto Nabori with music by Cheo Feliciano and we were doing it with vibraphones, congas, timbales and so on. From there, we joined an orchestra called Charambo (meaning charanga and mambo) where I stayed for 10 years. Next thing after that, the orchestra was going to break up, another merengue group called Orquesta Marquis was being created when merengue was in full swing in the 90s. After being part of that orchestra for five years, we had a problem with the director, so we fired him and changed the name to Orquesta Impacto Nuevo where I stayed for 10 years. After burning the CD, we went to Florida to promote it and, after that, a few things did happen and I decided to go back to Ohio.

We created a group under my own name, so it was called Sammy Deleon Y Su Orquesta with which we have worked for almost 25 years now. We have joined many different singers. When we were in the Charambo Orchestra, we performed with Tito Puente, Adalberto Santiago, Chivirico Dávila, Vitín Aviléz, Conde Rodríguez, Luisito Carrión, Tito Rojas, Tony Vegas and many more. We played with Ismael Mirando for over a year and I won several awards in the city as Legend of the year and it was a big thing. I use an orchestra composed of 18 musicians and played mambo created by Tito Puente and Los Mambo Kings.

Remember that I come from a big family in which we were 14 siblings, 8 sisters and 5 brothers. The oldest was a DJ for many years and the one who brought salsa here in the 70s and 80s. I also had the joy of playing with the Gran Combo de Puerto Rico two years ago because their timbalero got sick, which is why I had the opportunity to play with them a couple of times while he was getting better. We have played in Buffalo, Cincinnati, New York, Los Angeles and many other places.

Sammy Deleon at the Jazz Fest Cleveland — Sammy Deleon performing at the Jazz Fest Cleveland

All right, Sammy. Everybody knows very well your admiration for Tito Puente before you even became a famous musician. In fact, I remember seeing an interview with you in which you recount an anecdote of how you met and played with him.

Thank you. You brought up a very cool issue. One time, Tito Puente came here to Cleveland, Ohio, in 1979. There was a big concert in Lorain, where I was born and raised. He played during the day, and at night, we went to watch him at a well-known jazz club. There, a friend of mine offered to give me 20 pesos if I was going to play with him, to which I replied yes. So I went to the stage, made a hand gesture, said give me a break and I do not think he heard me. However, he looked at me and told me to get close to him. When I was up on the stage, he said look at me, listen and don’t touch anything yet. That is when he did something, I did the same and we are continuing to do so. That was the last song on his set. He took me into his dressing room, asked me where I was from. I told him I was from Loraine, Ohio.

He asked me who taught me to play and I told him I was just self-taught. He said no way!, and can you read music?, to which I answered no, but that I was learning to do it. Then, he told me that I had a great future in front of me and to keep playing the timbales because that is an instrument that requires a lot of strength to be played because it is not like a 4-drum battery. So basically, he told me to move on because I was going to have a good future in front of me. He died several years later, but I played with him a couple of times here in Cleveland, New York, Orlando, and Detroit, Michigan.

After his death, I met his son, Tito Puente Jr. who came to Cleveland. I conducted an orchestra composed by 17 musicians, he played all of his father’s songs and we had a good time. When he comes in October, I have to provide him with the group again. Playing with Tito Puente was one of the best moments I have ever had.

You commented in that interview and now that it was memorable for you to play with Tito Puente. Apart from that, what other memorable experience could you mention?

There is an experience I had in 2016 when I won the jazz salsa and legend award. I was labeled a legend – imagine that, me a legend! Since when am I a legend? That took me by surprise when I got the prize. I am still shocked (crying). I didn’t expect that award because other musicians have had more years of trajectory than me.

When the lady called me and said me what’s going on, I asked her if she was sure of what she was saying and she answered yes. After hanging up the phone, I sat down and cried because I did not expect this. I had to call my family and explain to them what was going on. The day I got the prize, my whole family was there with me. To this date, it still shocks me because it was a very special day for me. I pray to Him not to cry again because these things enter my heart.

How does it feel to be on a par with your idols? How does it feel to play with them and to see the road you have taken?

It has been amazing to accompany artists such as Tito Puente or Tony Vega, who are on another level and I am trying to get there. I’m already old man and coming up on 60 years old, but I still have a way to go and try to pull ahead step by step. I’m going to make it, but it was an honor to play with all those legends. We have opened up for many groups such as La Sonora Ponceña, La Mulencia, Luis Henrique and so on. I will never forget those days and times.

Sammy Deleon and Bobby Valentin — Sammy Deleon next to Bobby Valentin

I understand that you have been responsible for training young people who wish to become percussionists, is that right?

Yes, we are working with guys from Ohio to teach them about salsa, percussion, instruments and many other things. There are many who leave, but there are always two or three who stay on. Right now, we’re teaching kids all about salsa, which I love to do because I will not last long around here.

In what way has teaching contributed to your career? What is the most valuable thing you have learned from your students?

I learn that you have to be humble in life. When those boys go home and tell their parents that I’m teaching them, many of the family members want to come see what their kids are doing here. So I am working hard to see that they are learning only positive things and using their time well. What if they will be able to make good money and even become professionals about this in the future?

How do you think these young people perceive your music?

Many young people opt for Reggaeton, which is what is fashionable, but I give thanks that I have achieved that two or three young people stay with me to learn. They want to learn to play the bongo, the conga, the timbales, and other things. I always look for more of them to get them interested in salsa.

Sammy Deleon playing the timbales and posing before the camera — Sammy Deleon posing before the Camera while playing the timbales

What do you do outside the recording studios and off the stage?

I love sports. When there is a basketball or football game (my favorite) that I want to see, there is no one to stop me from watching it.

Do you practice any of them?

Basketball, but I am too old for that. I used to play a lot, but I don’t do it anymore.

What advice do you have for young people who want to devote themselves to music in the context of this pandemic?

The only advice that I can give to someone who wants to learn to play music is to study, learn to read music, and choose an instrument before learning to play others. Many young people want to play many instruments at the same time, but they don’t master one. You have to master an instrument before trying to learn to play others.

Email: [email protected]

Facebook: Sammy Deleon

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Johnny “Dandy” Rodríguez Jr. Growing Up in Latin Dance Music and Jazz

Johnny “Dandy” Rodriguez Jr. is a salsa legend and world-renown, pioneering bongocero.

His “Dream Team” is currently regarded as the hottest salsa “conjunto” performing In New York City.

It is rare, and ever increasingly so, that a musician would spend a lifetime in a band. But percussionist Johnny “Dandy” Rodríguez Jr. who was a teenager when he was allowed to sit in with the Tito Puente Orchestra and be an apprentice for a few months before earning a place in its rhythm section, was also there at the end, playing alongside Puente until his death, after a concert on May 31^st, 2000.

“I went from being a kid, coming into the band as a 16-year-old to being the man running the band at the end,” said Rodríguez, 70, in a conversation from his home in Las Vegas.

Johnny "Dandy" Rodriguez Jr. Growing up in Latin dance and jazz music — Johnny “Dandy” Rodríguez Jr.

Between that beginning and end, Rodríguez also contributed, in prolonged stints, to the sound of the Tito Rodríguez Orchestra, Ray Barretto, his own band, Típica ‘73, and more.

The son of Johnny “La Vaca” Rodríguez Sr., a respected percussionist who also played with the Puente and Rodríguez orchestras, “Dandy” Rodríguez is one of those essential musicians who have created and shaped the sound of contemporary Latin Jazz yet are little known by the public at large.

"When they called me to talk about the concert I thought it was a great idea," Rodriguez says. — Johnny “Dandy” Rodríguez Jr. y Pedro Bermúdez en New York

While some of the great players in Duke Ellington or Count Basie bands have long been recognized for their contributions, their counterparts in the Latin orchestras, for the most part, have not. Rodriguez will be honored by Arturo O’Farrill & the Afro Latin Jazz Orchestra in their concert “Tribute to the Great Sidemen of Latin Jazz” alongside Sonny Bravo, Ray Santos, Papo Vázquez, Reynaldo Jorge, José Madera, Joe González, and Bobby Porcelli at Symphony Space, in New York City, January 29^th and 30^th.

“When they called me about the concert I thought it was such a great idea,” says Rodriguez.

Johnny Rodríguez — Johnny “Dandy” Rodriguez Jr. is a salsa legend and a world-renowned pioneer bongocero.

“Usually people just know the name of the bandleader and it’s fine,” he says. “But they must remember that there is a good team behind that leader which makes him look so much better.

There’s a way of playing that music that makes it sound the way they wrote it and the way they wanted it and these guys knew it and they knew how to do it.”

Rodríguez grew up in Spanish Harlem, Manhattan, in a house with “a great music collection, a good, what was then called, hi-fi system and always full of musicians,” he recalls.

“It was great but I was interested in baseball, in stickball. I didn’t get involved with music until later, but the music was always in the background, in my house.” By the time he was in junior high, Rodríguez played bongos, congas, timbales, and set drums and, as he puts it, “started to get into it.”

“Remember, I lived in El Barrio and back in those days, in that area, there was a lot of music in the air.

There would be speakers outside the furniture store or the bodega or the record shop, and music would be playing. This shop would be playing this radio station, the butcher would have another, so walking one block you’d be hearing three different pieces of music. It was an environment full of music.”

During the first two decades of the new century, the musical work of maestro Johnny Rodriguez continued; thus, his musical imprint has remained in other publications with The Latin-Jazz Coalition, Frankie Morales, Eddie Palmieri, Gilberto Santa Rosa, George Delgado, Victor Manuelle, Rick Arroyo, Orestes Vilató, Mitch Frohman, Cita Rodriguez, Doug Beaver, Adalberto Santiago and Jeremy Bosch.

In addition, special mention must be made of the participation of maestro Johnny Rodríguez with a group called The Latin Giants Of Jazz, in the best style of the classic Big Bands, made up of great teachers, among them, some of the former members of the band of maestro Tito Puente; with this group they have released four albums; this project gave rise to another band called The Mambo Legends, who recorded the album titled: Watch Out! ¡Ten Cuidao!

John Rodriguez is, without any doubt, one of the most prolific percussionists in the world of Latin music called Salsa; the nickname “Dandy” goes back to his childhood, when the car in which he was taken was bought in a warehouse or a store called “Dandy”, and people said: look how cute the “Dandy”, and from there he kept that nickname. In music he is better known as Johnny instead of John.

In the (year 2022) the experienced Johnny Rodriguez had three or four groups with which he is playing, among them Dandy Rodriguez and his Dream Team, and at the same time he teaches percussion classes over the Internet. He is part of the true legends of Latin music, not to mention that his talent has also been reflected in recordings for other musical genres such as: Electronic, Folk Rock, Folk, World & Country, Funk / Soul, Heavy Metal, Jazz, Stage & Screen, Jazz-Funk, Merengue and Pop.

In his very extensive artistic career, the master Johnny Rodriguez took part in historical and iconic recordings of our musical culture, some of these albums have been worthy of awards such as the Grammy Award, among which are:

Homenaje a Beny Moré – Year 1978.
On Broadway – 1983
El Rey: Tito Puente & His Latin Ensemble – Year 1984
Mambo Diablo – 1985
Goza Mi Timbal – Year 1990
Mambo Birdland – Year 1999
Masterpiece / Masterpiece Tito Puente & Eddie Palmieri – Year 2000.

“In 2008, Johhny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodriguez Jr. bongoes in the Legends series. John is proud that these drums, which bear his name, feature such outstanding sound and visual characteristics.”

He died on August 17, 2024 in New York City of a stroke.

Facebook: John Rodriguez(Dandy)

Article of Interest: José Madera Timbal de Machito and his Afro-Cubans, Tito Puente, Mambo Legends Orchestra and Fania Record Co.

Johnny "Dandy" Rodríguez Jr. y Frankie "El Sonero del Barrio" Vázquez — Johnny “Dandy” Rodríguez Jr. y Frankie “El Sonero del Barrio” Vázquez

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Alfredo Villamizar Alfredo Villamizar one of the most spectacular and sensational Venezuelan percussionists

On this occasion it is appropriate to honor in our salsa column one of the most spectacular and sensational Venezuelan percussionists, Alfredo Villamizar, born in Caracas on August 2nd.

Welcome maestro Alfredo to “Salsa Escrita” and International Salsa Magazine, www.SalsaGoogle.com, it is a pleasure to have you as our special guest.

Thank you Professor Carlos, for inviting me to your renowned salsa tribune for all Venezuelans who are in my country and also for those of us who are currently abroad.

Well, let me tell you that for me it is already a commitment to support musicians who make Afro-Caribbean music and you in particular Alfredito, you could not miss this appointment with regular readers; now, tell us how did you get started in Latin music? I started with the orchestra “Renovación” of Nico Monterola, whom I consider my teacher, I continued acquiring knowledge in the timbal with Alfredo Padilla and I learned with Alfredo Franchesky (Cutuflá).

Alfredo Villamizar I started with Nico Monterola's orchestra "Renovación". — Alfredo Villamizar, born in Caracas on August 2

Alfredo, you are considered one of the timbaleros with a high level technique in the rhythmic execution of this instrument and you are catalogued as one of the best worldwide; let’s see, tell us with which orchestras have you participated? My friend Carlos, I can mention among many others the Oscar D’León Orchestra, Evio Dimarzo’s Adrenalina Caribe, Hildemaro’s Orchestra, Nico Monterola’s Renovación Orchestra, Andy Durán’s Orchestra, Erick Franchesky’s Orchestra and Urbanda de los Hidalgo, among others.

Excellent Alfredo, and at the international level, who have you accompanied? I have accompanied Celia Cruz in Spain, as well as Papo Rivera and Alex de Castro in Venezuela.

By the way, Alfredo, I understand that you have composed some songs. Indeed, my friend Colmenárez, the songs I have composed are: Malditos celos, El brujo Pincumpán, Canto a la vida, Luna llena; which are included in a production recorded in 2005 and also of my authorship stands out the theme “Allá va el lobo” of the collection “Venezuela Demo 2”, vocalizing Aníbal Vegas.

Let me tell you professor Carlos, that I have dictated workshops and clinics of timbal, in the 23 de Enero de Caracas and in the Mamera Keyboard Museum, next to the teachers Edgardo Morales and Alberto Borregales. Currently, since 2017, I am based in Chile, performing various activities and hoping very soon to return to Venezuela, God willing.

his compositions are: Malditos celos, El brujo Pincumpán, Canto a la vida, Luna llena, El brujo Pincumpán. — Alfredo is considered one of the timbaleros with a high level of technique.

Alfredo, for me it is a great satisfaction to have you in Salsa Escrita, because I have always followed your career and your way of playing the rhythm with the drumsticks in the pailas. Finally, we would like to give us your digital platforms and a farewell message.

Very well professor Carlos Colmenárez, thank you for your good concepts towards me, you can contact me by email: [email protected] and on Facebook: Alfredo Villamizar. Thank you very much professor for allowing me to interact through the Barquisimeto salsa column, as it is “Salsa Escrita”, which I think should be called with your permission “La Columna Salsera de Venezuela”, for the support you give us all the salseros of my beloved country. Blessings and keep it up, Professor Carlos.

By: Carlos Colmenárez Correspondent in Venezuela

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Freddy Sánchez one of the musicians with the greatest trajectory and hierarchy in Venezuela

In 1994, he participated for the first time in a group called “Sentir Caribeño”, from Mariara, Carabobo State.

Greetings my salsa people, here again with you, wishing you the best. First of all, lots of health, prosperity and optimism from your friend professor MSc. Carlos Colmenárez, who, through International Salsa Magazine and www.SalsaGoogle.com, presents you in this opportunity to: Freddy Sanchez bastion of this genre that we are so passionate about, for your delight Enjoy them.

“You must always remember that to be a good musician you have to maintain three fundamental elements, such as: discipline, responsibility and respect … Many do not understand that.”

These recommendations come from perhaps one of the musicians with the greatest trajectory and hierarchy in Venezuela, such as: Freddy Alí Sánchez Carvallo, born on November 9, with his musical beginnings at 15 years of age.

In 1994, he participated for the first time in a group called “Sentir Caribeño”, from Mariara, Carabobo state, playing bass; He continued his musical career with the “Mangüe” orchestra of Maracay, Aragua state and from there he went to the “Alteración” orchestra, then to the Sonostars de Mañito Junior, having the privilege of accompanying Yolandita Rivera and Luigi Texidor.

Freddy Sanchez bastion of this genre that we are so passionate about. — Freddy Sanchez one of the musicians with the greatest trajectory and hierarchy in Venezuela.

In 1999, he was called by the “Latin Dimension”, remaining in it for about 6 years.

At the same time, at the beginning of 2000, he participated in the orchestras of: Hildemaro, Erick Franchesky, Magia Caribeña, Puerto Rico es Salsa, Pasión Juvenil, Porfi Jiménez and Francisco Pacheco y la Pueblo de el.

Freddy, have you accompanied international artists?

Of course, Professor Carlos, thank God I have had the honor of playing for: Andy Montañez, Henry Fiol, Junior González, Domingo Quiñónez, José Alberto “El Canario”, Ismael Miranda, Adalberto Santiago, Wichy Camacho, Tony Vega, Willie González , Tito Gómez, Cano Estremera, Pedro Arroyo, Gabino Pampini, among others.

And I understand that you directed the career of Venezuelan musicians?

That’s right, my friend, I was the manager of Jimmy “El León” until 2005, when I joined the Oscar D’León orchestra “El Sonero del Mundo”, until 2013, visiting more than 32 countries.

And “Son Colón”?

Professor Carlos, in 2010, I founded “La Orquesta Son Colón”, with which I have accompanied figures such as: Joseph Amado, Rodrigo Mendoza, Hildemaro, Erick Franchesky, Paquito Barón, Néstor Rivero, Oscar Arriaga, Wílmer Lozano, Frederick El Coco, Wílmer Cano, Éukaris, Wiwi Buznego and Mariana “La Sonera de Venezuela”.

told us that the second production of the "Orquesta Son Colón" is well underway and that the promotional "El Monstruo de la Calle — “The Son Colón Orchestra”. Founded in 2010

It should be noted that Freddy Sánchez is currently the musical director of the “Orquesta de Porfi Jiménez” and also tells us that in 2019, he participated with the orchestras “Los Melódicos” and “Billos Caracas Boys Internacional” of Amable Frómeta.

–Master Freddy, honestly, let me congratulate you for this trajectory that you have.

Apart from being a bass player, do you stand out with other instruments?

In addition to being a performing bassist, both for the baby and the chest, I am also a trombonist, arranger, director and music producer.

In Colombia I directed “La Sonora Matancera Internacional Siglo XXI” and I had the great experience, being very young, of accompanying, when I was only 21 years old, the legend of the Venezuelan salsa, Orlando José Castillo “Watussi”.

Likewise, I formed the staff of “Albóndiga y la Pandilla de él, being the arranger of some of his songs together with David González and where Gustavo Gerardo and Rodrigo Mendoza vocalized.

-Freddy, from what you have told us, your career is quite broad, what can you add to us? Ok teacher, I’m remembering that I was also in the ranks of “Osuna Banda Show” and “La Bigband de San Agustín”.

Now, Freddy, where did you acquire your musical knowledge and of course your studies?

My friend, I practically studied alone. My uncle Elías Sánchez taught me the figures and I went that way, my story is very particular, my father showed me the bass notes and how it was played, since he is a guitarist, also my relatives, most of them are musicians and being next to of the braves of the time, I was learning and trying to get a sound out of the bass, but I never had a teacher, or anything ”.

Freddy told us that at 17 years of age he had already made his first musical arrangement and by asking Mañito Junior, he learned what harmony was; with the musician Pastor Rodríguez (Q.E.P.D.), regarding the reading of sheet music and with the teacher Gilberto Riera, also deceased, he explained to her how he should maintain the swing when there were percussion solos.

Oh and another musician, known as “Lopecito”, recommended that it is necessary to listen to music, because everything is not reading, but you had to read. Regarding the future projects of today’s guest in “Salsa Escrita”, through International Salsa Magazine, he told us that the second production of the “Orquesta Son Colón” is well advanced and the promotional “El Monstruo de la Calle ”, ”, Is already playing on radio stations and additionally on this album, national artists will be recording as special guests.

Likewise, “La Orquesta Son Colón” will be accompanying vocalist Joseph Amado again in 2020, in his second symphonic concert at the Teresa Carreño Theater in Caracas, in the middle of the year.

"I would like to say to musicians who are starting out in these times, never forget where you came from and what you were, and keep humility first and foremost. — Willie Colon “El Malo del Bronx y Freddy Sánchez

Finally, we asked Freddy Sánchez for some recommendations, as well as those made at the beginning of this review, for the new generations and he literally told us: “I would like to tell the musicians who are starting in these times, never forget where they came from and what that they were, and keep humility above all else, always thanking the opportunities given and do not forget that music is not a competition, because there is always someone who can be beyond you today and here tomorrow ”.

Finally, we would also like to add the following: “music must be learned daily, as it is an infinite world much adored and which is part of our lives.”

Humility and perseverance will make us great in every way. Congratulations Freddy Sánchez and we hope you continue to achieve success, inside and outside our country with your master’s degree.

Facebook: Freddy Sánchez

By: Carlos Colmenárez Correspondent in Venezuela

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OMAR LEDEZMA JR.

From The Venezuelan Melody To The Caribbean Rhythm

Portentous percussionist and surprising Venezuelan singer. Musician trained at the prestigious Berklee University in Boston (US). Winner of a Grammy Award. His lifestyle is characterized by national and international performances, collaborations, compositions, and tours. Familiar, fearless, personable, and cheerful. This is how Omar Ledezma Jr. presents us his life.

He was born in the mountainous valley of Caracas (Venezuela) west of the city in the La Candelaria parish in the summer of 1972 at the height of the Salsa. From seven years old he briefly began his musical studies on the Piano at the prominent Yamaha school.

At the age of thirteen, he returned to music again, but this time playing percussion instruments in a “war band” at Claret school, one of the most recognized educational institutions in the Venezuelan capital.

At 16 years old he already formed his first Merengue and Salsa group together with his first musical friends.

At this dizzying pace, Omar began to take an interest in the Gaitas (traditional holiday music from this Latin American country) and began his foray into this genre. In 1991 he obtained his first prize, third place in the Pupitres y Gaitas contest on behalf of the Claret school. “When I started to grow up I was interested in drums. I awoke an interest in the Gaitas festivals… In fact, the Venezuelan rhythm has marked my life as a musician”. Omar commented.

At the age of 17, this percussion player began his university studies in Law at the Faculty of Law of the Santa María University in the middle of a troubled city and in search of knowledge about how society worked. Omar Jr. adds: “Already in the first year of Law I knew that in Venezuela we had a great root in Roman Rights and modern laws, but those laws were not applied. And that worried me“.

At the same time, Omar continued his music studies but this time with his related instrument, the percussion. To achieve mastery, he obtained classes with the Venezuelan teachers Rubén García with whom he is currently collaborating on some projects in Uruguay. He also got instruction from the musical director from the popular area of San Agustín in Sarria (Caracas), Jorge Orta “CroCro” who currently resides in the United States and the founder of the Orquesta CroCro y su Tumbaka.

Years later, and with experience acquired in presentations, and groups, Omar Jr. met his first mentor, Aquiles Baez, a famous Venezuelan artist, guitar virtuoso. Together with Aquiles, he made his first international tour of the United States. “With Aquiles, I had the pleasure of playing Venezuelan music. We play with many artists in the United States… Thanks to him I developed percussion (Non-autochthonous element) in Venezuelan music”. Ledezma Jr. commented.

In 1995 and with a law degree, he decided to dedicate himself to music professionally. He works hand in hand with consolidated national artists such as Daniel Somaroo, Carlos Puchi, Gerardo Rosales, just as his popularity begins and therefore his foray into studio album recordings.

Five years later, one of the most important phone calls arrived and the one that would turn his life upside down. Omar receives the call from Andy Vargas, the singer of the famous Mexican guitarist Carlos Santana. Vargas invited him to participate in his first residency at the Bellagio hotel in Las Vegas (Nevada), doing a show every half hour starting at six in the afternoon in the renowned bar of those facilities. This residency gave him many satisfactions and multiple experiences during his four years there.

Between these touches in Las Vegas, his second chance arises on the phone again, this time by the hand of the Venezuelan artist Jackeline Rago. Both worked for a season in a school program with the San Francisco Symphony.

All these experiences led him to be part of one of the most prominent local orchestras on the international rise of the San Francisco City (USA), the Pacific Mambo Orchestra for a decade.

In addition, Omar offers weekly personalized percussion training classes and works with various local organizations such as the San Francisco Ballet and the Community Music Center.

This cheerful and outstanding percussionist will soon surprise us with unpublished material in the dance genre. It will be two singles making his debut in the art world as a singer-songwriter, and you can enjoy it on his YouTube channel that he reactivated in December 2020.

OMAR LEDEZMA JR. & PACIFIC MAMBO ORCHESTRA

Omar Ledezma Jr. dancing with Sheila E. — Omar dancing with Sheila E. at the live concert at Stern Grove (San Francisco) in 2017

In 2011, the Grammy Award winner, Omar Ledezma Jr., is part of the most ambitious project of his life, the Pacific Mambo Orchestra (PMO), after moving to the fourth most populous city in the state of California (USA) and most receptive with Latino musicians, San Francisco.

It has been ten uninterrupted years in which Omar has gone from playing the conga to being the singer of the orchestra and is currently developing as the official timpanist of PMO, once that Karl Perazzo (Carlos Santana´s timpanist) left the big band. “Eventually he told me that is yours… I appreciate that opportunity because the Grammy has already come; many satisfactions and a lot of work have come as well”. Omar explained to us.

As time passed, they achieved a characteristic sound. And with it begin the recording of their self-titled album. Ledezma details us: “The band began to become popular on Monday nights, and we began to charge the entrance fee of 5, 10, 20, 30 dollars. Then we started on Saturdays with a lot of receptivity”.

In 2013 they won their first Grammy for Best Tropical Latin Album and embarked on their first national tour for 30 days accompanying Latin artists Marlon Rosado and Tito Puente Jr. They toured the stages of Indiana, Arizona, and Oregon ending in California. The first international tour was held in Mexico and the second at the Montreux Festival in Switzerland.

After the Grammy and his tour, the second Pacific Mambo Orchestra album was on its way but this time recorded live at Stern Grove (San Francisco) in 2017. Here, Omar had outstanding participation with the queen of percussion, Sheila E. During the song Ran kan kan Omar Jr. & Sheila E. made a kettledrum war. He adds: “It was nice playing with her, watching her perform, and playing her music”.

This international orchestra made up of 20 musicians began rehearsals for the rhythm section on May 1 after a year and a half of not seeing each other. Before the end of 2021, they will make streaming where they will play original music such as PMO Intro, Muévete con Prisa, and Mr. B’s Mambo, among many others.

THE MUSIC RUNS THROUGH YOUR VEINS

Omar Ledezma Jr. Sitting — Omar and Cro Cro worked together in the band of José Alberto “El Canario” in performances in the United States before the pandemic.

His lineage confirms his musical streak. The Big Bands were always his great curiosity, and Glenn Miller’s orchestra his greatest ambition.

His father and his grandfather are musicians. His grandfather Rafael Isidro Ledezma “El Negro” was a renowned Orchestra conductor of the El Tigre city in Venezuela.

As an only child, he followed in the footsteps of his grandfather. He developed himself professionally in music.

In 1995 he belonged for a few months to the Venezuelan super band Guaco in the Salsa project directed by Gustavo Aguado at La Cantina located in Las Mercedes in the Venezuelan capital. “I learned as much as I learned at Berklee”. Omar commented.

Among so many things learned, the main and undoubtedly important were: being a music lover, having discipline, developing creativity, and cultivating friendship.

The last tour in Venezuela that Ledezma carried out with the Gonzalo Grau quintet (with whom he obtained his first Grammy nomination) was 20 years ago at the Teresa Carreño Theater as the opening act for Pablo Milanés.

If I had children I would like them to follow their steps along with mine.” Omar Ledezma Jr.

YOUR WAY TO BERKLEE

Omar Ledezma Jr. playing percussion — Omar first led a music trio and then established a Salsa band in a venue very close to the school.

During a trip to Boston, Ledezma visited Berklee University for the first time in the summer of 1998. Through brochures, he learned that he had the necessary conditions to apply for a scholarship at this important school, and immediately did so without distraction. “Many said you couldn’t and I’m the one who thinks you don’t lose anything by trying”. Omar said.

He got going and sent in a demo to schedule an audition. That presentation was a success and he was accepted right away as one of the graduates of this prestigious institution. It took him a year to move to Boston and began his studies in the fall of 1999. The first years were emotionally hard due to the death of his second mother.

But he knew how to recover and move on. He worked very hard for six years to finish paying for school in 2002.

He obtained a Diploma in Performance. During the five years of study, he learned the four harmonies, arrangements, and composition. Also, in percussion, he developed skills in drums, Latin percussion, and vibraphone.

I still feel like my career is just beginning.” Omar Ledezma Jr.

SalsaGoogle.com is International Salsa Magazine

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