Latin America

Eva Gordillo, psychologist by profession and director Salseros Academy

Eva Gordillo: The so-called Cuban style is the original way of dancing “casino” or “rueda de casino”.

The first steps of this dance were developed in the sports casino in Havana and other dance halls in the Cuban capital at the end of the 1950s, hence its name in Cuba: “–“, as it was originally called “El baile del casino”.

In Barquisimeto, the musical capital of Venezuela, the dancers of Afro-Caribbean rhythms have a place to develop, improve and learn skills with the help of professionals, who achieve the integration of its participants, creating an atmosphere of great joy for all ages.

In this sense, our special guest in Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsamundi.com, is Eva Gordillo, psychologist by profession and director of the dance academy “Salseros Academy”.

Dancers of Salseros Academy Dance Academy

Eva has been a passionate dancer since the age of 13 and today, with only 22 years old, she has toured most of the dance schools in the twilight city and some outside the state of Lara, projecting and developing herself as an instructor of proven hierarchy and reliability.

Welcome Eva to the only salsa magazine in the world, International Salsa Magazine and Salsa Escrita. Thank you, Professor Carlos, for giving me the opportunity to be present in your prestigious salsa column, which is already recognized in my country, the Caribbean, the United States and Europe, thus supporting the entire existing salsa movement in Venezuela.

Eva Gordillo and Members of the Salseros Academy dance academy

Eva, how and when did the idea of having your own dance academy come up? Friend Carlos, on November 26, 2018, I started and materialized my great dream, my own academy and together with my colleagues and friends, Eleazar Hernandez and Manuel Gamez, we started this adventure, from which today, we are harvesting many fruits and we feel extremely happy with this project and grateful, mainly with God, because everything is thanks to Him.

Excellent, very good friend, by the way, what kind of dances do you develop and teach in “Salseros Academy”? In our academy we give group and personalized classes, for all ages, conditions and levels. Our strength is Latin rhythms, especially Salsa, as our name indicates.

We focus on their different dance ramifications, such as New York style mambo, Salsa en Linea or Los Angeles style, Cuban Timba en Linea and En Rueda or “Salsa Casino”. Amiga Eva, in addition to salsa, do you teach other dance rhythms? Indeed Carlos, in addition we teach some Cuban music derivatives such as the chachachá, pachanga and boogaloo.

We are also projecting ourselves strongly with the bachata and its variants, as well as other Latin genres, such as merengue, among others.

During a visit to the headquarters of “Salseros Academy” in the city of Barquisimeto, by the Latin American correspondent team of International Salsa Magazine, we were able to see the excellent, comfortable and spacious facilities, located on Carrera 16 between Calle 61 and Avenida Rotaria, where Eva is accompanied by four experienced instructors specialized in different dance styles. The attendance and registration of participants is massive, given the proven quality and recognized throughout the city of Barquisimeto.

Friend Eva Gordillo, do you also have other projects at a musical and danceable level? That’s right teacher, at present we are heading to be producers of salsa events, thus promoting the Latin dance movement in our state Lara.

By the way, last year we had the pleasure of carrying out an event called “La Gran Gala de la Salsa” (The Great Salsa Gala), on the occasion of the celebration of the 1st anniversary of our academy, in which the dancers were able to enjoy the “Kadencia Latina” and “Jossy y su Banda” orchestras. Digital platforms and contacts for those interested in dancing at Salseros Academy? Friend Carlos, they are: Instagram: @salserosacademy, @evacarolgz, Whatsapp: 0424-5697908, Facebook: Grupo Salseros.

On behalf of the academy, my team and students, we would like to thank you for your support and projection of our work through your column “Salsa Escrita” in International Salsa Magazine. We wish you success and blessings to continue driving the Venezuelan salsa movement.

By Carlos Colmenares, ISM Journalist Correspondents, Barquisimeto, Venezuela

Manny Cruz and Miriam Cruz join in “Yo Quisiera Ser”

Latin America / Dominican Republican

“Yo Quisiera Ser” is the new song that unites La Diva del Merengue, Miriam Cruz with one of the artists of the moment Manny Cruz, which promises to be a total success and they plan to release it in August.

This merengue is authored by Frank Ceara and Manny Cruz, arranged by Edwin García and recorded at Stereophonic Studios in Santo Domingo.

“Collaborating with one of the most beautiful voices in the Dominican Republic is a huge pleasure”. Miriam is an artist that I admire very much and I know that this song will be a God through hit” mentioned the young artist.

The launch will be accompanied by a video clip that will be filming in the coming days and the project will have a distribution by La Oreja Media Group and coordination by Focus Entertainment and Lanhut Récord.

As expressed days ago, La Diva del Merengue is confident with this collaboration with Manny, the new blood of merengue and is sure that “Yo Quisiera Ser“ will connect with popular taste in a very special way.

Manny_Cruz_and_Miriam_Cruz — Manny Cruz and Miriam Cruz

Despite the situation that is being experienced worldwide with COVID19, neither of the two artists have stopped their work; with his most recent single “No Creo en el” which sounds insistently and Manny Cruz with his most recent collaboration with Elvis Crespo “Imaginarme Sin Ti” which has already reached more than 5 million views.

For more information contact them through:

Porfirio Pina
646-420-6005
[email protected]

Alexis Brugal
829-944-0415
[email protected]

Johnny Pacheco, presents “Orquesta Primera Clase” from Maracay-Venezuela

The title of this album speaks for itself; the hand of the transcendental Dominican musician is introduced in this album.

El Zorro de Plata Pacheco appears as executive producer of the album, although we do not discard that he also participated in part of the musical production, due to the way the orchestra was structured and the style in which the arrangements were given; it is something that we can hardly notice when listening to the album, it is evident the great similarity to “Pacheco y su Tumbao”; four excellent trumpets with sonorous arrangements.

Johnny Pacheco, presents "Orquesta Primera Clase" of Maracay-Venezuela — Johnny Pacheco, presents “Orquesta Primera Clase” of Maracay-Venezuela

The predominance of Teo Hernandez (R.I.P)’s vocal style and register in the nasal coros, fits perfectly with the “Tumbao Añejo” that we have always been accustomed to from maestro Johnny Pacheco (R.I.P).

Although the album was backed by the Fania label and is loaded with a cheerful and swinging flavor, we think that it went somewhat unnoticed by the music-loving public.

The reasons could be several, we must remember that in those times in the 80’s the merengue rhythm was beginning to penetrate with a lot of strength.

Johnny Pacheco, presenta la Orquesta Primera Clase

Although we could also add the little interest that the public of the capital (Caracas) had for the groups of the regions or interior of the country, and although it seems ironic to say it.
Another possible reason could be linked to the inclusion of only unpublished songs (it is well known that in those times, they supported copies more than creativity); these are only conjectures of this server, however, they do not escape the reality of that time.

As for the musical themes, we have already pointed out that all of them are original and very well compensated with their arrangement; In particular there are two songs that I like very much, one of them is “Negro Nací”, written and sung by Orlando Sanoja, is a very happy song dedicated to our black race of the danceable in his music, “Si negro nací nací nací, blanco no puedo ser”, The other song of my predilection is “El Sabio”, composition and lyrics by Jorge Compres and vocalized by Teo Hernández, with great diction, good phrasing and those tasty choruses that accompany him.

It is worth mentioning that the excellent La Orquesta Primera Clase is still in force with a musical staff of the new generation maintaining its original sound with its lead vocalist Orlando Sanoja.

It is another good Venezuelan album that you should have in your personal CD library.
Johnny Pacheco presents “La Orquesta Primera Clase” (1982) Fania LPS-66506

SIDE A

1.- NEGRO NACÍ (Orlado Sanoja) Sings: Orlando Sanoja/ Arrangements: Nicomedes López
2.- ME SIENTO MUY FELIZ (Al mMaro Ríos) Sings: Orlando Sanoja/Arrangements: Bolívar Javier
EL ANIMAL (Jorge Compres) Sings: Teo Hernández/Arrangements: Jorge Compres
4.- TODO TIENE SU FINAL (Bolívar Javier) Sings: Teo Hernández/Arrangements: Bolívar Javier
5.- LLEVAME CONTIGO (Almaro Ríos) Sings: Teo Hernández/Arrangements: Bolívar Javier

SIDE B

1.- EL SABIO (Jorge Compres) Sings: Teo Hernández/Arrangements: Jorge Compres
2.- A MARACAY (Orlando Sanoja) Sings: Orlando Sanoja/Arrangements: Jorge Compres
3.- EXTRANJERA (Phorto Jacquez) Sings: Teo Hernández/Arrangements: Jorge Compres
4.- VIVA MI GUAGUANCO (Jorge Compres) Sings: Teo Hernández/Arrangements: Gilberto Riera
AY QUE HUMANIDAD (Orlando Sanoja) Sings: Orlando Sanoja/Arrangements: Jorge Compres

Personnel:

Pastor Rodríguez (1st Trumpet)
Henry Kamba (2nd Trumpet)
Gustavo Nieves (3rd Trumpet)
William Fermín (4th Trumpet)
Armin Kail (Piano)
Carlos Fagúndez (Bass)
Harold Josef (Congas)
Edgar Aponte (Timbal)
Félix Benítez (Bongo)
Teo Hernández/Orlando Sanoja (Singers)
Bolívar Javier/ Nicomedes López/ Jorge Compres/ Gilberto Riera (Arrangements)
Teo Hernández/Orlando Sanoja/Edgar Aponte (Chorus)
Johnny Pacheco (Executive Producer)
Carlos Guerrero (Recording Technician)
Luis Arismendi (General Recording Supervision)
Recorded at Fidelis Studios
Alejandro Pérez (Art and Design)

National Zalsa Day in its XXXIX edition a total success

Sunday, March 19, 2023, the 39th edition of National Zalsa Day returned to the date established in 2000 with the approval of Law No. 100, which decrees the third Sunday of March of each year as National Salsa Day.

This edition of the activity of worldwide importance, which has almost reached four decades since its first edition at the José Pepito Bonano Park in Guaynabo, demonstrated Z-93’s support for the proposals of the new generation. That promise, made in its 38th edition, has been fulfilled.

The day began at about eleven in the morning. The Orquesta del Rey de Puerto Rico, winners of the contest held in Panama to select the talent to be presented yesterday on the DNZ stage, was in charge of the ignition.

Orquesta del Rey de Puerto Rico after the performance that kicked off the National Zalsa Day

As soon as this first intervention culminated; the orchestra of Robert Burgos shone in a change of rhythm something more cubaneao. When the sun was at its hottest moment, Maelo Ruiz arrived on stage for the first time as a soloist, accompanied by the musical direction of his nephew, the outstanding percussionist of the so-called nueva cepa: Jean Carlos Camuñas. Pirulo arrived on stage with his usual urban charisma, stealing the hearts of the new salsa

The fifth intervention marked the arrival of the Orquesta del Día Nacional, led by the multifaceted Isidro Infante. The orchestra backed Nino Segarra, who enchanted the audience with Entre la espada y la pared and Porque te amo; Yolanda Rivera, who performed Se formó and Hasta que se rompa el cuero as well as a descarga in front of the timbal; Luigui Texidor, who sang Boranda and Moreno soy.

Next, “El Niño Bonito de la Salsa”, Ismael Miranda arrived accompanied by his family and Pastor Alex D’ Castro to receive from Néstor Galán -better known as “el búho loco”- the well-deserved Estrella Award, instituted as part of the annual salsa day.

Ismael Miranda receives Estrella Award from Néstor Galán

Once the Estrella Award was presented to Miranda, Pichie Pérez sang El sonero del bailador and a medley of the songs that consolidated him as a singer when he was part of the giants of the south, the Sonora Ponceña. These were: Hacheros pa’ un palo, Fuego en el 23, El pío pío and Yambeque.

After Pichie finished his performance, Alex D’ Castro took the stage and gave the evening its climax with Te fuiste, Como si nada and Si no fuera por ti. Alex was followed by the new promise of salsa, already recorded, published and released by Sony Music Latin: Luis Figueroa.

As part of the tribute to the 50th anniversary of the establishment of Típica 73, there was a reunion on stage of singers Tito Allen, Adalberto Santiago and José Alberto “El Canario”; backed by the manager of Típica 73, Johnny Dandy Rodríguez. Tito Allen performed Guancona and Guaguancó de los violentos. Adalberto Santiago showed off his voice with Mañoño and La candela. For his part, “El Canario” arrived with his usual scenic mastery with A la hora que me llamen voy, Esta noche pinta bien, Xiomara -a theme in which he was accompanied by Tito Allen and Adalberto Santiago- and Baila que baila.

José Alberto "El Canario", Adalberto Santiago and Tito Allen joined Johnny "Dandy" Rodríguez in tribute to Típica 73 — José Alberto “El Canario”, Adalberto Santiago and Tito Allen joined Johnny “Dandy” Rodríguez in tribute to Típica 73

After the segment in which the three singers came together again, bongos player Johnny Dandy received the tribute on behalf of Típica. The first intervention of the DNZ Orchestra closed with Domingo Quiñones in an energetic interpretation of Salsumba, a song with which he participated in the production El número 100 of the “King of the Timbal”, Tito Puente.

Domingo Quiñones performed Salsumba, a song he recorded with El Rey del Timbal for his production 'El número 100' — Domingo Quiñones performed Salsumba, a song he recorded with El Rey del Timbal for his production ‘El número 100’

When the afternoon wanted to give way to the night, Charlie Aponte’s orchestra was in charge of keeping the audience in the necessary mood to continue with salsa. The songs that Charlie kept the audience captive were Arroz con habichuelas, Se nos rompió el amor, Teléfono, Esos ojitos negros, Goyito Sabater and Gracias salsero.

Preceding the tribute to the “King of the Timbal”, on the 100th anniversary of his birth; India showed off her interpretative quality, evidencing her well-earned title. Yes, India is “la más que canta”. Her interpretation of Vivir lo nuestro, Dicen que soy -a song for which she was accompanied by Sergio George on piano shortly after he brought her a birthday cake on stage-, Ese hombre and Mi primera rumba showed her vocal virtuosity.

Sergio George celebrated India's birthday within the framework of DNZ 2023 — Sergio George celebrated India’s birthday within the framework of DNZ 2023

The concert was closed by Tito Puente, Jr. surrounded by timbaleros Nicky Marrero, Endel Dueño and Orestes Vilató, under the musical direction of timbalero José Madera. Tito’s guest singers for the closing were Frankie Figueroa, Frankie Morales and Melina Almodóvar.

Melina Almodóvar fue una de las invitadas de Tito Puente, Jr.

Bella Martinez
Writer, Afro-Caribbean Music Researcher

Fanny Almenara better known in the salsa environment as “La Sonera del Callao”

Sonera of Callao, who maintains an impeccable musical career, loving music and recording numerous songs as a soloist and with various singers of first order of the Afro Latin Caribbean genre.

The salsa singer named Fanny Almenara, better known in the music scene as the Peruvian Sonera, was born in Callao, daughter of Don Hector Almenara and Carmen Barreto, the second of 9 siblings.

Fanny studied singing thanks to her mother, she met the best teacher, Mrs. Ana Maria Parodi and entered music at a very early age in the lyrical genre.

Juan Canevello: Percusionista, Antonio Cartagena: Cantante, Fanny Almenara: Cantante y Oscar Huaranga Bajista y Productor Musical

Her salsa collector father made her listen to the best of the best exponents such as Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, etc.
At the age of 16 she fell in love with the genre called salsa and had the honor of singing with Junior Gonzales for the first time and alternated Grandes with Peruvian Orchestras such as Peru Salsa de Beto Villena, Las Estrellas de la Máquina de Boris Gómez, HIt Parade Latino del Callao, La Nueva Generación de Franco Crovetto.
She was chosen as the best new voice of the salsa genre in the 80s.

La cantante de salsa llamada Fanny Almenara mejor conocida en el ambiente como la Sonera Peruana

She made recordings for different groups, and also recorded an unpublished song of her own entitled “Yo te Espero”.

Between the 70s and 80s came to Peru Las Leyendas Latinas with Ray Barreto and Adalberto Santiago, gave him the great opportunity to sing with them Quítate la Máscara.

Then with Linda Caballero (lLa India), the song Mi Primera Rumba, then with the pharaoh of salsa Oscar D’ León the song Toro Mata, also with the great Hermanos Lebrón the song sin negro no hay guaguancó.
With the owner of Soneo Carlos “El Cano” Estremera the theme Ámame en Cámara lenta, with Frankie Vázquez the theme Cuarto de Tula, with Yolanda Rivera the theme Rumba en el Patio, Vity Ruiz brother of Frankie Ruiz the theme La Cura, with Aldalberto Santiago the theme Nadie se salva de la rumba.

Primera sonera del Callao, que mantiene una carrera musical impecable

And so with her imposing voice Fanny captivated the attention of the greats of salsa, representing Callao and for which the people of Chalaco named her “La Sonera del Callao” (The Sonera of Callao).
For her vast artistic career she was awarded by different musical associations and by the company Pilsen Callao.
(H3) Asocosalsa Peru (Tite Curet Ceremony, Hector Lavoe Bust, Charlie Palmieri and 25th anniversary of artistic life (Okonkolo Association).
Fanny Almenara, continues her impeccable musical career, loving music and recording a song entitled Amor de Mis Amores, salsa version with the Orquesta Ng del Callao director Franco Crovetto.
Although she was in a halt due to the pandemic, she recorded a Challenger “El Virus Se Mata Con Musica” invited by a Cuban musician, which was also recorded by Cuban artists in different parts of the world.

After her voice reached Cuban websites such as “Benny More” “Un Millón De Adalsoneros” “Al Son Del Pinar Del Rio” she was invited to the “Son 8 de mayo” days led by the gentleman of the son Adalberto Alvarez.
Then she also recorded a song written by the King of merengue Milly Quezada “Gracias A Ti” dedicated to those who are always on the front line as doctors and nurses in the Covid 19 and the last thing she has recorded the production of the song La Sitiera Tribute to the diva of Cuba Omara Portuondo in which in that production participated Nelson Gonzales in the tres: Eddie Montalvo on congas, Nohelia Zambrano on violin and Luis Perico Ortiz on trumpet.

Website: Fanny Almenara Oficial