January

The Soul of Latin American culture – Salsa, Merengue y Lambada

Latin American / Venezuela / Caracas

Did you know that Salsa, Merengue and Lambada are rhythms that have been enjoyed in the last decade? Well, this link that unites them is the energy and passion for life, expressing itself in music, showing itself in the romance of couples dancing in harmony and with dance it unites them even more in a sentimental way as in fellowship.

These rhythms were born from a very urban environment, where each dancer can freely show their personality in the movement, however, following certain rules that each genre has, where one can follow each step and technique or do it spontaneously. For example:

✓ Never use the same foot twice, it must be alternated (right, left, right…).

✓ Dance with your partner as a mirror, that is, if you go to the right, your partner goes to the left.

✓ Transfer of weight from one foot to another as steps are performed.

Salsa is a rhythm that originates from the synthesis of Cuban son and other Caribbean music genres, with jazz and other American rhythms. One of the main contributors comes from the African rumbas along with the cumbia, the guaguancó, the guajira, the Cuban son, the mambo, the montuno son, the cha cha cha, among others.

It can be said that salsa is one of the most important rhythms in the music industry where it has many characteristics of its contributors, for example, “salsa” is close to “mambo” due to the steps executed in counts of eight, its movements and patterns are unique, however, it is a side-by-side dance with different turns.

The Merengue has its origin in the Dominican Republic and has a huge degree of popularity in the Caribbean area, it is a slow rhythm that increases its speed at the end of the dance, it is similar to the bolero but it is danced more than anything in groups than with a partner.

The secret of the dance is based on the transfer of weight from one foot to another, where each Latin genre has a characteristic that differentiates them, the best example is the similarity that everyone believes that “salsa” has with “merengue”, where Salsa has 4 beats, where the first beat touches the floor lightly with the tip of the foot quickly, which is known as “TAP” and this is repeated in four “4” and eight “8”, instead The merengue does not exist, this “TAP” is only 2 beats, it is a constant rhythm, very simple, whose speed of steps is marked by the musical rhythm.

But both genres have to have in the dance a movement of the hip, shoulders and position of the hands that characterizes them, marking the sensuality of Latin rhythms.

The “Lambada, a Brazilian genre that originated from the small cafes and bars that came from the garrafa dance, is believed to have been the product of rhythms such as the “Carimbo” and the “Merengue” with influences brought from the “Forro” and the “Samba” so it has a lot of Caribbean music influences, but the melody is the combination of Caribbean drums, brass and electric guitars with an added touch of Spanish elements and the flavor of the local indigenous people. It first spread to Bahia, Europe, Japan, the USA and the Middle East. It is currently danced in nightclubs and dance clubs, since its creation its jiv, merengue, rumba, even sevillanas and acrobatic maneuvers have evolved.

It is a 3-beat dance (fast – slow – fast) where the first step is taken with the first beat of the music, the second is the movement of one of the 2 senses and the third is the transfer of the weight back to the center moving the leg more slowly.

This dance is danced with the whole body, women dance pointe, flex the knees and the trunk moves in the opposite direction to the lower part of the body, if the hip rotates in one direction the rib cage rotates in the opposite direction. It can be danced alone or as a couple (they dance very close together giving the impression that it is one person), where the man molds his partner in the dance and the woman can embellish the dance with head movements or a controlled intentional fall producing a wave from the knee to the hips and shoulders.

If you want to know and learn some basic steps of the mentioned rhythms, look for the book in movement Latin Dance Dessi and Orod Ohanian and get passionate with these three “3” hot dances. Or follow us and watch the following videos to learn how to dance merengue, salsa and lambada.

Paquito D’Rivera supports the salsa museum

There have been many legends of whom we have spoken in this section of International Salsa Magazine and today it is the turn of the bandleader, composer, clarinetist, and saxophonist born in Havana, Cuba, Paquito D’Rivera.

Today, we want to dedicate the following lines to one of the main references in Cuban music and everything he has contributed to the Latin music scene, which is growing every day in the United States.

Paquito smiling — Paquito D’Rivera smiling for the camera

Paquito’s beginnings in music

Francisco de Jesús Rivera Figueras, who is artistically known as Paquito D’Rivera, was born in the city of Havana, Cuba and is the son of orchestra director and saxophonist Tito D’Rivera, from whom he inherited his great artistic vein and love for music.

At just five years old, Paquito began studying music formally and, two years later, he was already performing on stage in front of large audiences, which prepared him for what he would do as an adult. That same year, Selmer (a musical instrument company) hired him, which was a very important step in the boy’s path to becoming an artist.

A few years later, he performed at the National Theater of La Habana, which was a very important moment for the young man, who shortly after began studying at the Havana Conservatory, where he specialized in areas of music such as clarinet, composition and harmony.

His first media appearance was during his debut in the National Symphony Orchestra of Cuba, an event that was nationally televised so that the whole country could appreciate the talent of the young choir boys.

A year later, when he was only 18 years old, Paquito and Chucho Valdés founded the Orquesta Cubana de Música Moderna, while working for the Orquesta Nacional and the Banda del Ejército Cubano.

Paquito playing — Paquito D’Rivera playing the saxophone

Some time later, he founded the Orquesta de Música Moderna with some of his colleagues at the time, and then created the group Irakere, which integrated jazz, traditional Cuban music, classical music and rock in ways never seen before. Together with Irakere, he toured Europe and the United States and earned several Grammy Award nominations.

Leaving Cuba

Like so many Cubans, Paquito became tired of the situation experienced by the island and knew he had to make a final decision on the subject. He took advantage of a stop in Spain and sought asylum at the American embassy in the European country. Once in the United States, his process of adaptation to his new country of residence was not easy, but there were artists who gave him a lot of support such as Mario Bauza, Dizzy Gallespie, David Amram, among others.

It did not take him too long before he earned the love and respect of many members of the jazz music community. His place in the Latin music scene was consolidated thanks to his first two solo albums called ”Paquito Blowin” and ”Mariel”. His popularity was also benefited from a Time magazine article that talked about his great work and his appearance on the famous ”Sunday Morning” show.

He also collaborated with artists such as Artur Sandoval, Michel Camilo, Bebo Valdés, Claudio Roditi, among others. He also participated in the founding of the United Nations Orchestra, Paquito D’Rivera Big Band, Paquito D’Rivera Quinquet and many other groups.

More recently, in 2027, he was in Europe with the Orquesta de Valencia at the Palau de La Música promoting ”The Elephant and The Clown” of his own.

Paquito and Johnny — President of the Spaha Harlem Salsa Museum Johnny Cruz and Paquito D’Rivera

Paquito and the Spaha Harlem Salsa Museum

In December 2023, Paquito visited the Spaha Harlem Salsa Museum to see the huge collection of personal items belonging to world-renowned Latin artists and, once there, he expressed his surprise at the large number of items that both stars and their families have donated to the famous museum.

In a post by Johnny Cruz, the museum’s president, on his Facebook account, Paquito said he was very impressed by all the items housed in the institution while supporting the work done by the museum’s staff and expressing his admiration for the effort devoted to the collection.

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

I placed the order online on October 25, 2023. By return email, I received confirmation of payment and a promise to receive my copy the following week.

However, after several days I received a delay notification from the supplier. It was understandable that an artist of Sergio George’s stature would trigger interest in acquiring the work that promised to tell his story, perspective and opinion on the music industry. Exactly on November 25, 2023, the order arrived.

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

As a reader, I was deeply disappointed with the content of the “book”. Attack Sergio! Unbreakable falls short of being an autobiography. I would classify it as a self-help book with little depth, no substance.

Writing a book requires literary knowledge, basing the content on rigorous research and stating the data with mathematical precision.

The cover of the text is appropriate for the trajectory of the artist who is the subject of the text. However, the data on the cover that assures that he is the winner of 19 Grammy awards contradicts the text. Specifically, on the third page of the introduction it says that he is the winner of 18 or 19. Evidently, the recently launched book should not be taken as a reference for a subject of such seriousness.

From the legal page it is clear that Sergio George is the author and that Janice Rodriguez was in charge of editing. Sadly, the work lacked editorial care, which detracts from the literary value of what is presented. There are many expressions that seem to be literal translations from English and that do not necessarily maintain the idiomatic integrity of what the author wants to express. Now, if that were the case, you should stop counting the missing and extra accents.

Having said that, I am going to manage my criticism, since space is limited and the idea is not to write another book about the “book”. Certainly, in the world of the versed salsero, of which I am one, the most awarded producer in Latin music has a great story to tell. But his literary delivery fell short. I understand the intention to approach his complaint as a self-help book. But that grand intention also failed.

I read in each of the 128 pages discontent, loathing, complaint, frustration, resentment and wounded self-esteem. Objectively, you have to read carefully to see that what he claims to do is the opposite of what has brought him so much controversy.

In his usual combative style Sergio George launches harsh criticisms of salsa artists. Resentment has won out over objectivity. Each blow takes away the value of his exposition, until it becomes the outlet that we all need to have at given moments.

Of course, emotional maturity is what prevents one from publishing matters that should remain in the privacy of conversations between the affected parties.

With a high sense of arrogance, characteristic of narcissistic personalities, the author accuses the “great salseros” of having murdered salsa because of their ego, pointing them out as the culprits of the death of the “musical genre”.

This becomes another of the great contradictions of the text. At times he claims that salsa is not a genre, but on multiple occasions he refers to salsa as a musical genre. On the other hand, he says that salsa is in danger of extinction shortly before assuring that it is dead. His point of view in that sense is not clear either, although he does state near the end that there is a legacy that does not die.

This is the contradictory nature of the reading, whose common thread is the attack. That may be the origin of the idea of the title, although at first glance one might think that “Attack Sergio!” is the repetition of the battle cry that invites him to attack the piano, while he prolifically produces music.

I believe in the evolution of the species and I see that the adaptations through which salsa has gone through are similar to the genetic modifications necessary so that, within each species, the fittest survive.

The text has several anecdotes. However, due to the lack of details, these do not add value to the construction of the history of salsa. In some of them, the names of certain characters are not mentioned. I guess the author did not want to enter into a request for relays or preferred not to risk dealing with legal controversies.

With so much that Sergio George has contributed to the history of Latin music, it is a mistake that the book has not been given more structure and objectivity.

Sergio George has been a cornerstone in the history of Afro-Latin rhythms and is the owner of a brilliant musical career that has made many shine. But to that exposure, the text does not do justice either.

Also Read: Metamorphosis: from music to photojournalism, a reinvention without limits

Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

In the early 1970s, the American social landscape was dominated by the Vietnam War and the birth of several protest movements advocating for equality, justice and the defense of human and civil rights, and from sing sing a historic concert.

In the midst of all that collective turbulence, Eddie Palmieri and his orchestra were giving free rein to their social rebellion with a sweeping musical proposal.

But Palmieri’s rebelliousness was not only reflected in his music, but also in his decision to take his group’s sound to atypical and controversial scenarios that would attract the attention of the authorities.

By the beginning of 1972, Eddie Palmieri had already performed in some correctional institutions, including the Louisville Correctional Facility and the Attica and Rikers Island prisons in New York, but the pianist wanted something more.

Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

In those days, a good friend of Eddie Palmieri was incarcerated in the sinister and historic Sing Sing Correctional Facility, also known as Sing Sing Prison, infamous for the reputation of its inmates and for its executions with electric chairs.

It was at that moment that the idea of an unprecedented performance at the facility was born.

Palmieri’s group was not only the orchestra of choice for Hispanics, it was also favored by the majority of African-Americans in the Latin dance world, and at that time the prison population at Sing Sing was composed mostly of Hispanics and African-Americans, so the stage was perfect.

However, it was not easy to perform a concert in a maximum security prison like the dreaded Sing Sing Prison.

However, at the request of Eddie Palmieri himself and with the coordination of Roulette Records and the prison administration, the performance took place on Wednesday, April 12, 1972.

By the beginning of 1972, Eddie Palmieri had already performed in some penitentiary institutions.

Sing Sing Correctional Facility is a New York State Department of Correctional Services prison in Ossining, New York State, United States. The name comes from the original name of the town of Ossining.

It was the third prison in New York State, built in 1825. The state legislature allocated $20,100 to purchase the Silver Mine farm. The prison was to be self-supporting and not require a state budget.

Elan Lynds, a jailer at Auburn Prison (New York’s second prison), brought 100 convicts from Auburn to the new prison and employed them for its construction.

Harris A. Smiler was the first person executed by electrocution at Sing Sing on July 7, 1891. From 1914 until 1971, only the electric chair at Sing Sing was used for executions.

On January 8, 1983, more than 600 inmates in B Block started a riot, taking 17 officers hostage; it ended 53 hours later.

Sing Sing in popular culture

Near the end of Herman Melville’s short story Bartleby, the Scribe, it is mentioned that Monroe Edwards died of tuberculosis in Sing Sing Prison.

There is a song called La cárcel de Sing Sing, written by Bienvenido Brens, which tells the story of a prisoner in this jail who was sentenced to death for killing his wife and her lover. The song was made famous by José Feliciano. It is also performed by Colombian singer-songwriter Alci Acosta.

In addition, it was performed live by the band Corizonas (union of Arizona Baby and Los Coronas) in their live album “Dos bandas y un destino”.

There is a song by the salsa group Conjunto Clásico on the album El panadero released in 1986, called A los muchachos de Sing Sing, which has a message of encouragement to convicts.

There is a song by the French-Tunisian singer-songwriter (Michel) Laurent entitled Sing Sing Barbara, from 1971, which tells the story of an inmate who sends desperate messages of love to his wife from this prison.

There is a song by the Madrid group Los Nikis entitled Diez años en Sing Sing, which also gives title to the tribute album to that group.

There is a song by the Basque group Sorotan Bele titled Sing Singatiko Folk & Rolla.

In 1932 the film Twenty Thousand Years in Sing Sing was shot, directed by Michael Curtiz and starring Spencer Tracy and Bette Davis. The film is based on the book of the same name by Lewis E. Lawes.

In the film Constantine, and in the official Constantine comic book, John Constantine is seen to use the Sing Sing prison chair to connect to hell.

In the film Citizen Kane, protagonist Charles Kane threatens his political rival, Jim Gettys, to send him to Sing Sing, when Gettys informs Kane that he will publish his affair with Susan Alexander in the newspapers if he does not withdraw from the election.

In the film The Pilgrim, Charles Chaplin plays the role of a convict recently escaped from prison, who, when he is at the train station, moves his finger without looking over the board of destinations to choose one at random and falls on Sing Sing, so he repeats the process again when he realizes his unfortunate choice.

In the movie Breakfast at Tiffany’s, Holly Golightly periodically visits inmate Sally Tomato at this prison.

In the movie and musical The Producers, the main characters stop at the same prison and create a musical called Prisoners of Love.

In the video game Driver Parallel Lines, the protagonist spends 28 years in Sing Sing.

In the ABC television series Castle, Sing Sing is cited during an episode of the fourth, fifth and eighth seasons.

In the film noir movie Odds Against Tomorrow, Johnny, the character played by Harry Blafonte, says, “I know they changed his color when they rehabilitated him in Sing Sing.”

In the AMC television series Mad Men, Sing Sing is quoted during an episode of the third season.

In the series Breakout Kings, prisoners are transferred to Sing Sing for their help.

In the song Báilalo como tú quieras, by artist Tego Calderón, the phrase “If rapping was a crime, I’d be in Sing Sing!” appears.

In the horror movie saga Maniac Cop, cop Max Cortell is killed in Sing Sing prison by inmates and is resurrected in the form of a “maniac cop”.

In the Netflix series The Punisher, Arthur mentions to Billy Russo having been imprisoned 10 years in Sing Sing, in episode 4 of the second season.

In the novel “The Ppsychoanalyst” by John Katzenback published in 2002, the Sing Sing prison where a man served six months is named.

In Georges Simenon’s novel The Hound Dog starring Commissar Maigret, one of the characters spends several years in Sing Sing prison.

In the comics “Mortadelo y Filemón”, by cartoonist Francisco Ibáñez, when a character has done something barbaric, he is sentenced to Sing Sing prison and appears with the typical black and white striped prisoner’s suit, chopping stone with an iron ball chained to his leg.

In the series Law and Order the Sing Sing prison is constantly mentioned.

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Winner Identidad Orchestra on several occasions of the Cali fair disc with songs such as MUJERES in 1987, QUIÉREME in 1991 and COMO YO TE AME, the most played song at a historical level in the different Latin FM stereo stations in 2003.

Among other works of recognition such as: LAS COSAS SON COMO SON, TU DESDÉN, GOLPE DE GRACIA, SI ELLA VOLVIERA, DESENGAÑOS, among others.

This group was founded by the Colombian composer and musician Carlos Enrique Navia in 1981 in the capital of salsa in the city of Cali – Colombia, which came to fame in 1987.

Following the release of his first album entitled LA IDENTIDAD, under the Codiscos label, musical production that includes the works, LAS COSAS SON COMO SON, Y ME QUIERES, PARA QUERERTE, CADA CUAL, POR SU LADO, LA FUMA, GENTE CORRIENTE, BRABAJE and MUJERES.

Work that was awarded as the official album of the Cali Fair and gave him the opportunity to make his first international tour of the United States, visiting the states of Florida, New York, California, Texas, Illinois, among others.

This group had a very important boom in Colombia and the whole world for being elected revelation orchestra of the year and gave him the participation in the most important events and fairs throughout the Colombian territory.

Thanks to the success and recognition, the orchestra recorded its second album called LA MÚSICA in 1989, album that expanded its audience in other countries such as: Mexico, Venezuela and Ecuador with the works TU DESDÉN, AMOR ETERNO, TE QUIERO TANTO, LA MÚSICA, SON SABORIONDO, SENTIMIENTOS POR TI and BOMBA NAVIDEÑA, work that occupied the first places in the FM radio stations, preselected as Cali’s fair disc and elected the second most important song of the fair.

Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Identidad Orchestra in 1990 the orchestra recorded its third album entitled UN TOQUE DE MISTERIO, album produced by the renowned Venezuelan musician Cesar Monges “Albondiga” who has participated in countless productions of artists and orchestras of international recognition in the salsa genre.

After a long tour in the United States, the orchestra arrives in Colombia to record their fourth album entitled SALSA CON ENERGÍA, a product produced in the studios of Grupo Niche.

This production included songs such as: LA RETIRADA, ESE SOY YO, BOROJO, AGITACIÓN, SI ELLA VOLVIERA, LLEGASTE A MI VIDA, DESENGAÑOS and COMO YO TE AMÉ, one of the hits of preference of our listeners, occupying the first places and beating the record of the most played song in all salsa genre stations in Colombia, United States, Mexico, Venezuela, Ecuador, Peru, Spain, Italy and many more countries.

ORQUESTA LA IDENTIDAD is an orchestra that has been characterized by its perseverance.

Identidad Orchestra in 1992 they recorded their fifth album titled PROFESIÓN SALSA and ended their relationship with the record label Codiscos to start their independence as a brand under the direction of composer, singer and founder Carlos Enrique Navia to produce their works as an independent record label.

Orquesta la Identidad is one of the most nationally

This album included songs such as: GOLPE DE GRACIA, PECADORA, COCTEL DE AMOR, SI YO PUDIERA, SEÑORA CALI, MUJER AMADA, TE PILLÉ, NO IMPORTA, among others. This product was widely distributed in countries such as Ecuador, Venezuela, Mexico, Peru, United States, among others.

As a record label Identidad Producciones, ORQUESTA LA IDENTIDAD has recorded albums such as A TIEMPO, a production that has captivated the salsa public with songs like: CUANDO EL AMOR SE ACABA, MI NIÑA, LA ESQUINA DEL MOVIMIENTO, LE CANTO AL PACÍFICO, TE QUIERO Y TE AMO, TU DESDÉN, LA FUMA and singles such as: POR SIEMPRE ELLA, FRACASO, DICIEMBRE EN CALI, SON PA EL BAILADOR, COLOMBIA REAL, A MI PADRE, BENDICIÓN DE MADRE, MI GUAGUANCÓ, HOMENAJE A LA SONORA MATANCERA, GUAYAQUIL among others.

Works that are played on Latin radio stations and massively on digital platforms. Orquesta LA IDENTIDAD is a group that has participated in important Latin music events such as: SEBASTIÁN DE BELALCÁZAR awards on two occasions and nominated for best salsa genre orchestra, event organized by FALCON MANAGEMENT BOOKING & ENTERTAINMENT, INDEPENDENCE FESTIVAL OF GUAYAQUIL – ECUADOR, INDEPENDENCE FESTIVALS OF COLOMBIA IN THE UNITED STATES, WORLD SALSA FESTIVAL, BILLBOARD LATIN MUSIC, FESTIVAL OF ORCHESTRAS IN COLOMBIA AND FAIRS THROUGHOUT THE COLOMBIAN TERRITORY.

ORQUESTA LA IDENTIDAD is currently preparing the celebration of 40 years of artistic career, an album that will include the greatest hits such as MUJERES, QUIÉREME, GOLPE DE GRACIA, MUJER AMADA, LAS COSAS SON COMO COMO SON, TU DESDÉN, UN TOQUE DE MISTERIO, COMO YO TE AMÉ and DESENGAÑOS, which will have collaborations with national and international artists of recognition in the salsa genre and is preparing to make its next international tour of the United States year 2024.

CONTACT Carlos Enrique Navia General Manager Contact: 310 822 8068 – 317 642 1031 Email: [email protected]

ORQUESTA LA IDENTIDAD

Also Read: Colombia’s legendary Grupo Niche and its founder Jairo Varela