Latin America

La Candela Salsa Orchestra has a new album titled “On Time”

Europe / Peru

After the worldwide success of their previous work on the best dance floors, the Candela Salsa Orchestra makes a new foray into the sound of legendary sextets like Joe Cuba’s, seasoned with the characteristic sound of the vibraphone. The DJs at conferences and salsa parties, who support Candela’s work worldwide, have had a lot to do with this success, such as:

Members of the new musical theme On Time - Candela Salsa Orchestra — Members of the new musical theme On Time – Candela Salsa Orchestra

DJ Pablo Bat (Spain), DJ Hugo Leite (Portugal), DJ Chino (Colombia), DJ Momo (Japan), DJ Lasse (Norway), DJ Antonio La Conga (NYC), DJ Mauri (Holland), DJ David Muñoz ( Germany), DJ Toni (Switzerland) or DJ Andrea Martini (Italy) among many others.

With this new work, La Candela promises not to leave lovers of a pure and authentic sound focused on the dancer, where there is no shortage of montuno, mambo, guaguancó, pachanga, boogaloo and danceable Latin jazz.

On Time - Candela Salsa Orchestra Members — On Time – Candela Salsa Orchestra Members

The album, which is produced by Batlei Productions and with the collaboration of Canarian musicians, such as Manuel Ángel Lorenzo “Mangüi” and the “Original Big Band”, makes a nod and at the same time a tribute to the great dance bands of the 50s, the golden age of the prestigious Palladium in New York.

After the success achieved in the last edition of the Benidorm Salsa Congress, the most important congress held in Spain, this year they repeated the visit once again last Thursday, July 13, where they officially presented this new album, which has been recorded at Arena Digital under the direction of sound engineer Juan Carlos Hernández.

Presentation "On Time" Benidorm (Photo by Alfil Photography) — Presentation “On Time” Benidorm (Photo by Alfil Photography)

In a very short time and leaving from the Canary Islands, La Candela has been able to carve out a niche for itself within the salsa scene worldwide. Their music can be heard from Australia to California, passing through such exotic places as Taiwan, Malaysia, India, etc. With the new album, they intend to establish themselves in this market and make different presentations that are already closing both in Spain and in the rest of Europe and America.

La Candela is made up of: Rafael “Richie” Rodríguez, voice; Fonsi Rodríguez, piano: Alejandro Fuentes, bass: Jordi Arocha, vibraphone; Fran Martín, congas; Alberto Martín, timpani; José Brito, bongo and bell. A band that mixes experience with youth, which provides a fresh and different sound for the dancer. Without a doubt La Candela is here to stay “On Time”.

The album is now available on the digital music platform CDBaby.com and soon on iTunes, Google Play, Spotify, etc. It will also be available very soon in CD and vinyl format at www.cucumpa.com

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Papo Lucca. The Giant of the South

Latin America / Puerto Rico

Papo Lucca born in Ponce, Puerto Rico on April 2, 1946, Enrique ‘Papo’ Lucca began playing the piano at age 11 with his father’s orchestra. Initially, La Ponceña played versions of tropical hits of the moment by bands like Cortijo y su Combo and La Sonora Matancera.

In the late 1960s, Papo became the orchestra’s musical director, beginning a profound transformation that would eventually establish la Ponceña as one of the most progressive groups in the history of Afro-Caribbean music. Papo’s orchestrations were bold, experimenting with elements of jazz, rock, and Brazilian music. Representing the authentic spirit of Puerto Rican salsa, his piano solos were velvety, displaying elegance, restraint, and infinite swing.

During the mid-’70s, La Ponceña began to enjoy unprecedented success with critics and the public. The band recorded for the Inca label, which eventually became part of the Fania empire. Papo was invited to arrange and play on sessions for the company’s biggest artists, including Johnny Pacheco, Celia Cruz and Cheo Feliciano. He also recorded and toured with the Fania All Stars.

This compilation pays tribute to the art of Papo Lucca through 14 classic songs recorded between 1967 and 1981. Although Lucca has recorded as a solo artist and also collaborated with a multitude of salsa stars, it is his work with La Ponceña that best expresses the clarity of his vision.

The music we make has to make people happy, as well as make them dance. That’s what it’s all about, says Lucca from her home in Puerto Rico. When the public can dance, no matter how complicated the music is. The first theme that this genre had was to divulge the things that happened in the different communities, as if it were a newspaper.

Our journey begins with two fiery songs from the beginnings of La Ponceña: “Hachero Pa’Un Palo” and “Fuego En El 23” are versions of songs by Cuban Arsenio Rodríguez. La Ponceña always had a soft spot for Puerto Rican folklore, but she also found inspiration in the golden age of Cuban music.

The precise moment in which La Ponceña becomes a mature orchestra in total control of its aesthetics can be found in the six songs from the Musical Conquest/Conquista Musical and El Gigante Del Sur albums. Launched on the market in 1976 and 1977 respectively, they represent the pinnacle of the salsa movement.

These songs combine a musical skill that approaches virtuosity with deep lyrics and a generous sense of humor. “Ñáñara Caí” is a hilarious narrative of pure magical realism, describing a world where everything is turned upside down (my favorite phrase: I saw a cow/Hit with Pacheco). Also included in Musical Conquest, “El Pío Pío” achieves the perfect cross between Afro-Cuban rhythm and contagious pop. This hit is a mandatory part of all La Ponceña concerts.

The opening theme of the El Gigante Del Sur album, “Boranda” seems to offer a salsa version of progressive rock. Its lyrics contain an important sociopolitical message, and the sophistication of its arrangement is a slap in the face for all those who believe that this music is only for dancing. “Soy Tan Feliz” combines bolero climates with an electric piano solo that recalls the psychedelic sound of jazz-rock from the ’70s. “Noche Como Boca ‘E Lobo” creates a tasty collision between salsa fever and Brazilian rhythms.

Lucca was not alone in his mission to reinvent the rules of Puerto Rican dance music. It was also benefited by the prowess of some of the best instrumentalists on the island. Furthermore, his instinct for choosing singers was always irreproachable.

Some of the vocalists of la Ponceña that appear here are Tito Gómez, who would later find fame with the Grupo Niche de Colombia; the inimitable Luigi Texidor, who gave a sense of placidity to all the songs he performed; and Yolanda Rivera, who added variety to the band’s sound with her unique timbre.

One of Rivera’s happiest moments is included here: Coming from 1980’s Unchained Force, Johnny Ortiz’s “Borinquen” is a soulful anthem to Puerto Rico, blessed with a sinuous melody and subtle instrumental arrangement–one of Rivera’s happiest moments. transcendental within the Ponceña canon.

The golden days of salsa are a distant memory in the new millennium, but Papo Lucca hasn’t stopped shining. Perhaps precisely because he continues to record new music, he refuses to idealize the past when I ask him what his favorite album with “La Ponceña.”

The last one, the most recent, he explained in his characteristically introverted tone. All the albums are very important in the career of the orchestra. They all fulfilled their mission at the time, which was to reaffirm the previous one. That’s the way to maintain a pool after 50 years.

The teacher was a little more direct when I asked him about his favorite concert of all time.

It was my first concert with the Fania All Stars at Madison Square Garden, back in 1974, he said. All the stars of the Fania were still alive. A few years later we played in front of 47,000 people in Cali. My knees always shake before I go on stage, but this time they shook a little more.

Anacaona Orchestra

Latin America / Cuba / Havana

Anacaona Orchestra. Women of Cuba Since 1932

Genesis Founded in 1932

Anacaona Orchestra founded on February 19, 1932 by Concepción Castro Zaldarriaga and her sisters, being then the first female sextet of Son Cubano and in 1934 expanded to the Jazz Band and Charanga Típica format, projecting itself to the world from the famous ¨Aires Libres of the Saratoga Hotel. ¨ in the Havana Prado.

Between the 1940s and 1960s, these talented women toured throughout North to South America, the Caribbean and France.

In Mexico, one of the countries most visited by the orchestra at this stage, its images and sounds were recorded in some film of Mexican Cinema, such as: ¨the night is ours¨, ¨I do not deny my past¨ and ¨Women of theater¨ in which they alternated with film and music artists from that country. Also at that same time they recorded with the RCA Víctor label.

The Aguirres

The sisters Giorgia and Dora Aguirre, with a solid musical background, specializing in Double Bass and Saxophone, recently graduated from the ¨Amadeo Roldan¨ Music Conservatory, joined the Anacaona Orchestra with its original founders in 1983, under the direction Alicia Castro, with whom they learned the most genuine genres of Cuban popular music, the rigor and discipline in this profession.

3rd Generation

After the retirement of the Castro sisters in December 1987, she assumed the direction of the Georgia Aguirre Orchestra, who, together with her sister and other young women who had also graduated from music schools, continued the work begun by the founders, consolidating a style that combines tradition with modernity, to preserve and enhance the history of Anacaona.

Tours

Internationally, they have traveled to more than 30 countries in Europe, Asia, Africa, America and the Caribbean, performing at important festivals and multiple stages, among which the most outstanding are:

The tour of 34 countries in the People’s Republic of China; his participation in the play ¨El Burgués Tropical¨ under the direction of Gerome Sabarì, inspired by Moliere’s classic, El Bourgeois Gentleman”; the tour made through some cities in the United States in which they also had a very emotional meeting with Graciela Pérez, singer and founder of Anacaona and the show “Sabor de la Habana” that opened the season of Cuban shows at the Cabaret Del Gran Casino Monte Carlo of the Principality of Monaco,

In addition to other important jazz and summer festivals in Spain, Germany, Belgium, Sweden, Holland, Canada, Jamaica, Aruba, Curacao, French Guiana, Guadeloupe, Martinique, Saint Lucia, Peru, Honduras, Venezuela and Mexico, among others.

Virgilio Martí participated as aVirgilio Martí participated as a vocalist in the Grupo Folklórico Experimental Newyorkino in which he composed the song “Cuba Linda”

Virgilio Martí, born in the year 1919 Havana, Cuba, Rino Rumbero, Singer, Composer, Arranger, Percussionist, Actor and Orchestra Director, well known since the late 40’s, especially as a guaguancó singer.

He began touring the world in 1949 and met his later wife in 1960 in Peru.

Virgilio Martí participated as a vocalist in the Grupo Folklórico Experimental Newyorkino in which he composed the song "Cuba Linda". — Virgilio Martí participated as a vocalist in the Grupo Folklórico Experimental Newyorkino in which he composed the song “Cuba Linda”.

That same year, he settled in New York, participating in the local scene.

He participated in the LP “Patato y Totico” in 1967, he also participated with his brother Eloy Martí, in a Quintet accompanied by Gene Golden, for the year 1979.

Israel López (Cachao), Arsenio Rodríguez, Héctor Cadavieco, Francisco Valdés, Papaíto, Tony Mayari and Mario Cadavieco also worked on that album.

He participated in the “Grupo Folklórico Experimental Newyorkino”, where he was their vocalist and percussionist, in 1975. During his stay with them, he composed the song “Cuba Linda”.

"Grupo Folklórico Experimental Newyorkino, donde fue vocalista y percusionista del mismo, en 1975 — “Grupo Folklórico Experimental Newyorkino, donde fue vocalista y percusionista del mismo, en 1975

Another work of Martí of great remembrance is the album entitled: “Saludando A Los Rumberos”, published by the Caimán label in the early 80’s and in which the Cuban acts as vocalist and main star. In it, Martí is involved with talents such as: Tony Cofresí, Andy and Jerry González, Yomo Toro, Paquito Pastor, Ray Romero, Claudio Roditti and Ignacio Berroa, among others.

“Iya Modapue”, constitutes in itself, a guaguancó with open rumba being at the same time the favorite number of the “Grupo Folklórico”, and even the first groove that was recorded.

The levels of experimentation and the freedom to unload several rhythms in a single musical performance are the factors producing the attraction of the musicians for “Iya Modupue” (which means Thank You Mother).

The vocal part is in the hands of Virgilio Martí. The trumpet of “Chocolate” Armenteros, the trombones of José Rodríguez and Reinaldo Jorge, the flute of Gonzalo Fernández and the percussion of Frankie Rodríguez stand out.

“Se Me Olvidó” – a bolero by Lolita de la Colina – but adapted in guaguancó to the style of the Grupo Folklórico, which, by the way, turned out to be the piece with the greatest radio airplay in the tropical environment and, therefore, the one that would open the doors to the group. The song was performed by Virgilio Martí, who also plays the congas. In “Se Me Olvidó”, the violin of Cuban Alfredo de la Fe, the quinto of Julito Collazo, the street redoblante of Jerry González and a Mexican marimba played by Andy González in counterpoint to the notes of the double bass, also played by Andy, stand out.

Here it is worth mentioning that Alfredo de la Fe is a virtuoso violinist and among his many performances, I remember his work with Eddie Palmieri, Larry Harlow (the wonderful Jew), the Fania All-Stars and the avant-garde Típica 73.

In the early 80’s he formed a band with brothers Andy and Jerry González, and percussionist Ignacio Berroa.

It is worth mentioning Virgilio Martí’s 1985 performance in the film by Cuban filmmaker León Ichaso entitled: “Crossover Dreams” (Sueños truncados). In it, the Havana native plays the role of “Cheo Babalú” and sings the song “Llora Timbero”.

In this film production made in New York City, the actor Rubén Blades, who plays the role of “Rudy Veloz”, also participates. There they sing the song “Todos Vuelven”.

In 1990, he contributed to the “Soundtrack” of the movie Azúcar Amarga.

He maintained a great skill in converting songs from other genres into rumba arrangements. We can mention the adaptation of the song by Brazilian composer Jorge Ben, “Más Que Nada”, which appears on the LP with Patato y Totico. Martí died on October 17, 1995. (Tom Data “Facebook”)

Virgilio Marti – Guaguanco (1979)

Tracks:

Amanecer (Armando Manzanero)
Todos vuelven (Rafael Otero)
A tus pies (D.R.) (Agustin Lara)
My childhood (Laureano Martinez)
Saluting the rumberos (Manolo Albo)
I’m going to divide it (R. Livi)
Acanapon (D.R.)
The little handkerchief (D.R.)
Que susto (Virgilio Marti)
Odiame (Rafael Otero)

Information realized (June 1, 2024)

Sources:

DiscoGS

Spotify Virgilio Marti

Virgilio Marti Youtube

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Rubby Haddock is one of the greatest exponents of our most danceable Latin Music in the Island of Enchantment

Our orchestra was born at the end of 1969, year in which we also began to record the 1st production “Presenting” which was released at the end of 1970.

Many talented musicians have passed through our orchestra such as Juancito Torres, Mario Ortiz, Rey Santos, Frank Morell, Hugo Dumont and many more that we will mention later.

Rubby Haddock is one of the greatest exponents of our most danceable Latin Music in the Island of Enchantment

Singers such as Sergio Cariño, Juan Acosta, Raul Carbonell Jr., Tony Rivas, Cucho Caro, Andres Reyes, Pedro Arroyo, Ricky Ramos, Tito Gomez, Yolanda Rivera, Eddie Rosario and Johnny Maldonado.

Rubby Haddock is one of the greatest exponents of good Latin music. His orchestra is known as one of the most danceable “Big Bands” on the Island.

He is called “El Maestro” by his followers and fellow artists. Because of his long artistic career, exposed to the world of show business, Rubby has become one of the best connoisseurs in the history of Latin music.

Born in Manhattan, New York on February 6th to Puerto Rican parents. His mother lived in Miami most of her life and in the late 60’s his father, Ruben Haddock who was a musician in New York, founded the most famous Dance Club in Puerto Rico, MIRAMAR CENTER when he owned El Club Coameño in Rio Piedras and El Club Caborrojeño in Bayamon.

A glorious time where his Producer Father brought to the Island of Puerto Rico the biggest stars of Latin music such as: TITO RODRIGUEZ, TITO PUENTE, LA LUPE, EDDIE PALMIERI, RICKY RAY, JOEY PASTRANA, JOE CUBA, WILLY COLON, HECTOR LAVOE, LARRY HARLOW, ISMAEL MIRANDA, CHIVIRICO DAVILA, TNT BAND among others, besides being manager and producer of ROBERTO Y SU NUEVO MONTUNO.

Rubby Haddock grew up with his father as a teenager in Puerto Rico within the entire business operation of Don Ruben, knowing these top stars of our music and hence the vein of musician and producer during his artistic career and experience in show business.

Celebrating the Rubi of Salsa Rubby Haddock. One of the greatest exponents of good Latin music

Rubby Haddock studied piano but showed that his passion was playing trombone.

For the years 1972 under the label UNIART, Rubby Haddock launches his first record production, “PRESENTING ORCH HADDOCK” becoming a powerful hit on the Island with the musical cut MONACILLO Y CORREA COTTO as some of the hits of this production.

In this first stage of Rubby’s musical career are among the different recordings: “PRESENTING”, “ASI ME LLAMAN”, “LA LEYENDA”, “DE REGRESO”, “UNLIMITED”, “2ND CONCIERTO FAMILIA TH”, “THE ENTERTAINER”, “THE ENTERTINER 2”, “OTRA VEZ”, “SALSA TROPICAL”, “EL RUBI DE LA SALSA”, “PASAPORTE MUSICAL”, “EL RUBI DE LA SALSA” and “PASAPORTE MUSICAL”.

In the second stage of his career, in 1978, when Rubby was the most popular in Puerto Rico with the song “Son Los Nervios”, one of the songs that propelled merengue on the island, Rubby surprised everyone by joining the U.S. Armed Forces in San Antonio Texas and Washington State, where in addition to completing medical courses, he also completed his Bachelor of Music Education at the Universities of Puget Sound and Pacific Lutheran.

In the 9th Infantry Div. Rubby became a member of the 9th Infantry Division Band where in addition to the Division Military Orchestra, Rubby most enjoyed the experience of being a member of the JAZZ ENSEMBLE BAND and the Big Band Jazz.

It didn’t take long for some of these great musicians to come and join Rubby’s Orchestra… At the request of a great Puerto Rican friend, and high ranking Army officer Eddie Velez, Rubby agreed to form his Orchestra back in Tacoma Washington State.

Remembering beautiful moments lived outside of his homeland until 1980, when he returned to Puerto Rico for a recording contract with the firm TH RECORDS, In this “come-back” in his return to Puerto Rico for the 80’s Rubby produces one of his most successful works: “De Regreso” with songs like: A Mi Jibarita, El Amor, Maria Teresa, Sra. Temptation with singers Raul Carbonell and Tony Rivas.

At the end of the 80’s Rubby Haddock ventured into Puerto Rican television, Wapa TV and Telemundo Channel 2, as producer of shows such as “Un puertorriqueño para la Historia (José Feliciano)”, New Year’s Eve Specials, etc.

Rubby Haddock y Sus Amigos, where the most prestigious artists such as: José José, José Feliciano, Mongo Santamaría, Barry Rogers, Eddie Palmieri, Julio Angel, and many more paraded in this section produced within the Midday Show. …. This show remained on the air for five and a half years.

By 1992 Rubby Haddock y su Orquesta represented Puerto Rico in the Puerto Rican Pavilion at Expo 1992 in Seville, Spain.

In the mid 90’s, although Rubby still continued as the Director of his Orchestra, he also ventured as an Entrepreneur with his own commercial Advertising Agency, where in addition to directing the entire operation of the agency Haddock & Haddock Adv, he was also the Creative, being in charge of all the production of Radio, Press and Television commercials for all the clients of the Agency.

By that time Rubby had already founded his own Recording Studio (Pentagrama Round), where he produced his three most recent productions of this decade in addition to sharing recordings for artist friends such as: Omar Alfano with Son By 4, it was from this studio that hits such as “A puro Dolor” were released.

His recording engineer was the outstanding engineer Sonny Hernandez. With him he shared works with artists such as: Danny Rivera, Andrés Jiménez, Ismael Miranda, Elvis Crespo, Melina León, Edwin Colon Sayas, Trió Borinquén, and others.

In 2000 Rubby moved to the United States where he currently lives. His fans constantly ask him to re-form his Orchestra because they miss his music and they also ask him for a compilation of his hits and a “Historia DVD” exposing the History of his Salsa, which seems to be Rubby Haddock’s next endeavor as an Artist.

Rubby has 3 sons, the first 2 Reuben Haddock and Rubby Haddock Jr, dedicated their careers to the business world and his youngest son Randy Haddock, who currently lives in New York, is a musician, singer and composer, already demonstrating great talent and the vein that comes from Don Ruben (grandfather) and Rubby (his father).

A very special thanks to Edgar Berrio and all the staff of Las Leyendas Vivas De La Salsa #8 for this great recognition, on behalf of Rubby Haddock and his family

Sources:

https://www.rubbyhaddock.com/news

pequi34 via Musica.com

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