Latin Music

Dominican trumpeter Wilson Portuondo talks about La Sonora Nuyorkina

As shown in the most traditional media and digital platforms, Dominican artists belonging to diverse musical genres have been working hard for many years to finally be recognized in the world. That is the case of talented bandleader and trumpeter Wilson Portuondo, with whom we managed to contact to know much more about his life and career.

How Wilson became interested in music

Wilson, our protagonist in this story, became interested in the musical world shortly after his 15th birthday in his native Dominican Republic, which was already well known for various types of merengue at the time. The young man frequently attended concerts performed in parks on weekends, which were free of charge, allowing him to enjoy the bands from his town without representing excessive expenditure for his family.

This was awakening in the boy a great desire to imitate the musicians he saw on stage and be as great as them someday, so he wanted to start studying music and see what he could achieve with that knowledge.

Professional beginnings

Wilson’s first experience as a professional musician came from the hand of the town’s municipal band in the city of Santiago. He also got to play in the municipal band of the firemen and the municipal band of the Dominican National Police, which had a headquarters in the aforementioned city.

Thanks to these groups and others, he specialized in playing classical music and merengue, but things changed greatly when he decided to move to New York as a young adult who was about to celebrate his 20th birthday.

Wilson playing — Wilson Portuondo playing the trumpet live

Wilson as a trumpeter

The instrument for which Wilson is best is the trumpet, which he confesses he began playing almost by accident. His fascination with the trumpet started when he was studying at the Culture and Art Institute while still in Santiago, as it was the first instrument he came in contact with that caught his attention at the institution.

At that time, he would never have imagined that he would play it, but he ended up feeling an enormous love for it and now considers it his favorite instrument among all others. However, he does not limit himself to this, as he can play the piano and is learning to play percussion, which includes the conga, bongo, Dominican tambora, güira and many more.

Once he arrived in New York, he continued committed to learn as much as he could about music and studied at various institutes such as the Harlen School of the Art and later at the State University of New York (SUNY), where he studied classical trumpet for four years until he graduated.

He has learned to play the rest of the instruments through practice and lessons with other musician friends.

Arrival in the United States

When he arrived in New York, Wilson had to take an extra year in high school and, thanks to his studies, he was able to make friends with music students who invited him to enroll in the Harlem School of Art, a place where he had contact with many other people linked to the environment who began to call him to play with them as a freelancer.

Wilson at an event — Wilson Portuondo at the social dance event ”Salsita Social Pa’l Pueblo”

In parallel to this, he was taking dance classes in New York style, which allowed him to attend many social dances and such live music events. Something that the artist noticed at that time was that the groups he saw always played the same songs like ”El Cuarto de Tula”, ”Soy Pilongo”, ”No le pegue a la Negra”, ”Rebelión”, among others. In addition to notice that they did not meet to rehearse, but played together the same as always.

To some extent, he feels that these mistakes on the part of so many orchestras inspired him to create his own project which he would baptize as La Sonora Neoyorkina, since he wanted to offer the public a fresh and new repertoire that did not include the same old thing. However, he always makes sure that he and his musicians rehearse as much as possible so as not to make the same mistakes as other groups.

Among the musicians who are currently in the group, we can mention Anthony Almonte, Osay Calvo, Nestor Villar, Carlos Mena, Carly Maldonado, among others. Venezuelan percussionist Robert Quintero, Luisito Quintero’s cousin, has also played in the band.

However, although they usually do covers of various classic songs, they have also strived to create their own original music, so they already have original songs such as ”Sonora Llegó” and ”Summertime”. Also, the group is making preparations to complete their first studio album next year.

Great Christmas salsa songs and their stories

Christmas is a time of joy where one of the most important elements is music, so we believe this is the best opportunity to feature some of the best Christmas salsa songs that we can remember. Here are the most cheerful songs in Latin music to listen to during the most beautiful time of the year.

Aires de Navidad by Héctor Lavoe and Willie Colón

”Aires de Navidad” is a great song which is part of the Christmas album ”Asalto Navideño Vol. I” from 1971. In the same year, Lavoe and Colón were already making preparations to record an album entirely dedicated to the festivities, indeed, they already had some songs recorded, but they knew that there were still details to finish.

Then, Héctor asked musician Roberto García to join the project that was underway, as they needed a guitarist to accompany them. Garcia accepted the proposal almost immediately and got excited about the project that he even proposed Yomo Toro to join them, to which Hector and Willie agreed with no problems.

The day they agreed to record the material, Toro came in first and began playing a Puerto Rican cuatro when he was scheduled to play the electric guitar. However, Johnny Pacheco, upon hearing the sounds, liked the arrangement and approved it without question.

That is how the four artists set out and recorded what would soon become one of the greatest Christmas hymns in recent times, and it will surely be in thousands of homes around the world this month.

One of the photos taken during the recording of ”Aires de Navidad”

La Fiesta de Pilito by El Gran Combo de Puerto Rico

”La Fiesta de Pilito” is included in the album ”Nuestra Música” by El Gran Combo de Puerto Rico, which was recorded in 1985 as a tribute to the most beautiful and endearing of the Island of Enchantment during the Christmas holidays. Back then, any musical work created by El Gran Combo always became a resounding success once it was released and its members were sure that this would be no exception.

It is then when the composer of one of the main songs of ”Nuestra Música” came on the scene, and we are talking about Luis ”Pilito” Cruz, who would become part of the internationally acclaimed salsa group that same year.

What is known in the first instance about the song is that it did not have a specific name, so it was baptized as ”La Fiesta de Pilito” honoring the composer of its first two verses. Subsequently, the piece was completed with pregones and soneos created by the rest of the orchestra members.

Additionally, they received the support and collaboration from ‘‘El Caballero de La Salsa” Gilberto Santa Rosa, who served as a guest artist for the legendary recording.

Nuestra música at Christmas — Cover of the Christmas album ”Nuestra Música”

Bembé en Casa de Pinki by Richie Ray and Bobby Cruz

”Bembé En Casa de Pinki” is a Christmas song written by the famous duo Richie Ray and Bobby Cruz, which was released in 1971 and is the first single from the Christmas album ”Felices Pascuas”.

The song’s title comes from someone who would be very important in the career of the two aforementioned artists and that was the Panamanian-born diplomat named José Rogelio ”Pinki” Arias. The gentleman was a close friend of Richie and Bobby and, at the same time, director of the Panamanian Institute of Tourism. He used his friendship with the vocalists to invite them to various events in his country, knowing that they would be a complete success with the presence of the duo.

Such was the affection both exponents had for ”Pinki” that they dedicated to him two songs from their extensive repertoire, which were ”Bembé en Casa de Pinki” and one belonging to the album ”El Diferente”.

Among other songs, ”Felices Pascuas” also includes tracks such as ”Bomba en Navidad”, ”Mi Niñez”, ”San José”, and ”Aguinaldo Navideño”.

Felices fiestas at Christmas — Cover of the Christmas album ”Felices Fiestas”

Estelita by La Sonora Ponceña

Another group that never misses a chance to offer their talent to please their fans and make them enter the Christmas atmosphere during the holiday season, leaving great classics that can not be missing every year in our homes and one of them is ”Estelita”.

Something that can never be missed in a Christmas album is that colorful character who always brings playfulness and good humor to the atmosphere. In this case, it is Estelita, who is a party neighbor who always sneaks into the Christmas parrandas in her neighborhood, something that many people will surely feel identified with in various parts of Latin America.

The song was written by the late maestro Joe Torres and was part of the album ”Otra Navidad Criolla!” along with ”Opera Gandinga”, ”Vamonos Pa’l Campo”, ”La Vengo Siguiendo”.

The Granada LA

North America / USA / Los Angeles

The Granada LA is the home to a Ballroom, Latin, Salsa & Bachata dance studio with Los Angeles hottest dance instruction with classes a week and private lessons available by appointment. Offering several nights with live entertainment and dancing to show off all you have learned.

Salsa & Bachata Taco Tuesday - The Granada — Salsa & Bachata Taco Tuesday – The Granada

Tuesday is Salsa & bachata Nights, Thursday is Bachata Tropical Nights with 3rd floor Hip Hop/Reggaeton, Friday and Saturday Nights the main dance floor becomes Los Angeles Best Live Salsa Club! Enjoy an extra room on Saturday for bachata and Hip Hop/Top on patio.

Also the first and third Sunday of the month, live music for the Ballroom Dinner Dance with Two’s Company with all your favorites. Also, offering other special nights once a month on different nights.

Con Mayor Live Salsa Bachata - The Granada LA — Con Mayor Live Salsa Bachata – The Granada LA

Group Classes & Private Dance Lessons go on throughout the building, but it is important to remember that the Granada LA has other activities and groups sharing the space day and night.

Conjunto Oye Live Salsa Saturday - The Granada LA — Conjunto Oye Live Salsa Saturday – The Granada LA

The restaurant is open Thursday thru Sunday for dinner, in addition to being the caterer for rentals. Just as most clubs in Hollywood, enjoy different theme nights, so will the Granada LA.

Friday and Saturday night Salsa dance club, Ballroom Dinner Dance, Thursday night Bachata dance club, Cuban Timba party 2nd sunday of the month, Chicago stepping platinum club 4th sunday of the month, Special Dance performances, Concert nights & special events throughout the week and on weekends.

Bachata Concert Dani J - The Granada LA — Bachata Concert Dani J – The Granada LA

Teaching and choreographing for shows, events, parties, celebrations and your first dance. The Ballroom Dance Studio is located in Los angeles and specializes in Ballroom, Latin, Swing, Salsa & Tango dance classes and instruction both privately and in groups.

Cuban Dance Party - The Granada LA — Cuban Dance Party – The Granada LA

Offering an elegant beautiful Banquet Facility in Los Angeles for your upcoming Wedding Reception, Quinceanera, Birthday Party, Anniversary or a Special Occasion in Alhambra.

Goodbye to José Antonio Abreu, the most beloved Master – Part 2

Latin America / Venezuela / Caracas

José Antonio Abreu. The Venezuelan musical miracle

BY ANA ROSA MASSIEU

The pedagogical plan of El Sistema contemplated, since 1980, approximately, the foundation of exemplary pedagogical structures and models as scenarios for the training and improvement of musicians. As the demand for children entering El Sistema and its nuclei has grown, projects for the construction of new educational centers are on the rise.

José Antonio Abreu - On the European stage — José Antonio Abreu – On the European stage

Among them, the Simón Bolívar Conservatory, the Montalbán Children’s Academic Center, the Center for Social Action for Music, the Academic Center for Luteria and the twelve Latin American Academies for the instruments of Violin, Viola, Cello, Flute, Horn, Contrabass, Clarinet , Classical Harp, Trumpet, Oboe, Bassoon and Trombone.

http://www.musicabancaribe.com/Publicaciones /Libro_digital/VenezuelaEnElCielo/info/capitulo6 /i/index.php#prev

The Simon Bolivar Conservatory

The Simón Bolívar Conservatory offers training of the highest pedagogical and artistic rank to the ever-increasing number of students, with a very complete curriculum of studies in which orchestral practice accounts for approximately 70%. The title of Performing Musician is awarded, an important endorsement that allows graduates to continue higher studies at universities.

“…the Simón Bolívar Conservatory has emerged as the head and model of a network of conservatories already established in Yaracuy, Carabobo, Aragua, Guárico and Ciudad Bolívar. However, I am excited and pleased with the new challenge we are facing: broadening the musical and artistic horizon of that large contingent of students that El Sistema has and of those who will join in the future.

These are the new contents: the Venezuelan Popular Music Teaching Program, in all its aspects, including that of Afro-Venezuelan roots; the Urban Music Program; the Jazz Program, which is already in progress with our Simón Bolívar Big Band Jazz Symphony and the Latin and Caribbean Music Program, which especially includes the salsa genre.

Cambiando Vidas - flyers — Cambiando Vidas – flyers

This is already underway with the creation of more than 15 pilot nuclei and the formation of a body of teachers specialized in these genres. The idea is that these programs capture and channel the talent of many musicians and students who have greater virtues for these musical currents, always pursuing and achieving the same level of excellence as those who perform symphonic music in our orchestras”.

Valdemar Rodriguez. Taken from the interview with Valdemar Rodríguez, clarinetist, Director of the CSB, creator of the Latin American Clarinet Academy, among other titles and positions, by Chefi Borzhacchini in the digital book Venezuela en el Cielo de Los Escenarios. Caribbean Bank, 2010

http://www.musicabancaribe.com/Publicacio nes/Libro_digital/VenezuelaEnElCielo/info/c apitulo6/ii/

Diversification of teaching, orchestras and festivals

In the same way that teaching has been diversified, including different musical genres –popular, urban, jazz, Latin Caribbean, salsa– other orchestras have emerged dedicated to developing each of these genres, as well as festivals to promote them at the regional level.

These events, organized by El Sistema, revolve around an artist, musician, composer, instrument, or arise for the meeting between musical talents from various regions, local or international.

Among them are the FIP-Llanos International Percussion Festivals, the Spain Venezuela Festival, the Festival of New Venezuelan Clarinetists, the Chamber Music Festival (in Mérida and Caracas), the International Flute Festival, the International Bassoon Festival, and the International Clarinet Festival. , International Oboe Festival, Young Virtuosos Festival, Youth Festival, Young Directors Festival and Latin American Music Festival, among others.

Simón Bolívar Symphony Orchestra of Venezuela

The Simón Bolívar Symphony Orchestra of Venezuela (OSSBV) was founded by maestro José Antonio Abreu and is currently the apex ensemble of the National System of Youth and Children’s Orchestras and Choirs of Venezuela.

Concert directed by Dudamel 40th anniversary Feb 2015

Under the musical direction of maestro Gustavo Dudamel, its 180 young musicians, whose ages range between 18 and 28 years old, named Ambassadors of Peace by UNESCO, have been trained in the Orchestral Academic Program of the Simón Bolívar Musical Foundation, through the which have received master classes with outstanding world-class teachers and soloists, including teachers from the Berlin Philharmonic, the Sibelius Academy in Finland, the Bach Academy in Stuttgart and the New England Conservatory in Boston.

His performances with internationally renowned directors include Simon Rattle, Claudio Abbado, Daniel Baremboim, Krzysztof Penderecki, Essa Pekka-Salonen, and Lorin Maazel, among many others.

Other Orchestras

Simón Bolívar Afro-Venezuelan Orchestra
Simón Bolívar Youth Baroque Orchestra
Youth Orchestra of Caracas
Youth and Children’s Orchestra Alma Llanera of Guárico State
Simón Bolívar Latin Caribbean Orchestra
National Flute Orchestra of Venezuela
National Children’s Orchestra of Venezuela
Simón Bolívar Symphonic Rock Orchestra
Francisco de Miranda Youth Symphony Orchestra
Carabobo Youth Symphony Orchestra
Prison Symphony Orchestras
Teresa Carreño Youth Symphony of Venezuela

Bands

Youth Symphonic Band
Simon Bolivar Simon Bolivar Big-Band Jazz

Assemblies

Assembly 7/4
Carabobo Metal Assembly
Metal Ensemble of Venezuela

Chamber Groups

Simón Bolívar String Quartet
Liberators Quartet
Teresa Carreño Quartet
Yaracuy Quartet

Choirs

Choir of White Hands Simón Bolívar National Youth Choir of Venezuela Network of Prison Orchestras and Choirs

More information at: http://fundamusical.org.ve/agrupaciones/

The system in the world

The philosophy and methodology of El Sistema has had an almost magical ability to inspire artists, educators, and social activists across the globe, as Tricia Tunstall puts it in her book Changing Lives…

“its guiding principles—the orchestra as school of civility and the passage from a vision centered on music to a humanistic vision of social change through music” have been taken as a model to follow and El Sistema has been implemented or adapted in more than 66 countries in which five continents Programs inspired by El Sistema have emerged in:

AMERICA: Argentina, Barbados, Bolivia, Brazil, Canada, Chile, Colombia, Costa Rica, Ecuador, El Salvador, United States, Guadeloupe, Guatemala, Haiti, Honduras, Jamaica, Mexico, Panama, Paraguay, Peru, Puerto Rico, Republic Dominican Republic, Saint Lucia, Trinidad and Tobago, Uruguay.
AFRICA: Angola, Kenya, South Africa, Uganda.
EUROPE: Germany, Armenia, Austria, Bosnia, Croatia, Denmark, Scotland, Slovakia, Spain, Finland, France, Wales, Greenland, England, Ireland, Iceland, Italy, Luzembourg, Norway, Netherlands, Portugal, Czech Republic, Romania , Serbia, Sweden, Switzerland, Turkey.
ASIA: Afghanistan, Japan, South Korea, Philippines, India, Taiwan, Vietnam, Singapore.
OCEANIA: Australia, New Zealand. More than 66 countries on five continents.

Venezuela Sembrada de orquestas Coros Cortesía FundaMusical

More information can be found at:

http://www.elsistemausa.org/el-sistemaaround-the-world.htm http://sistemaglobal.org/ http://www.sistemaeurope.org/ http://fundamusical.org.ve/category/elsistema/el-sistema-en-el-mundo

‘‘La Chiqui Some’’ and ‘’El Some’’ in International Salsa Magazine

Much prominence is given to singers, musicians and the visible part of the entertainment in general, but there is not enough talk of those who make it possible for the aforementioned to record what they have created for their audience. That is why we wanted to talk to Jennifer Freedman, better known as ”La Chiqui Some” and Agustin Someillan, who is known as ”El Some”.

Singer Jennifer Freedman and trumpeter Agustin Someillan in the studio

Jennifer and Agustin ‘’El Some’’’s first contact with music

Jennifer started in music with percussion in 2005, but moved away from it for a few years to pursue other activities until other artists and groups called her to play with them. She was then invited to attend some rehearsals at Mam-Ax Studios, where by a twist of fate, there was a man named Someillan who already had a studio at that time. They still did not know each other at that time, but soon, one would be very important for the other’s professional life.

In 2018, she had to go again to the same building, which is when she finally met Agustin, who tells her that she was in the wrong place and had to go to another office. Her visit to Mam-Ax was intended to participate in the recording of a single for singer Freddy Nieves, but that chance encounter would help her to learn that both she and Agustín had a partner in common, who recommended her to work together.

After that, both accepted and began to know each other better, which led ”El Some” to advise Jennifer on her singing and other details of the business. At the same time, the girl was beginning to see music as something much more serious, since it was only a hobby for her by then. She had certain doubts because she had not jumped right into music professionally, but Agustín convinced her to try to start a career as such, to which she ended up giving in.

The owner of the studio did not have the support of anyone at that time, so he had the great idea of partnering with Jennifer and bringing together their qualities in the same project.

In the case of ”El Some”, he comes from a musical family and studied music in Cuba. He became a trumpet player just like his father. Back in his country of origin, he was fortunate to accompany many orchestras such as the Sexteto Nacional de Ignacio Piñeiro, with which he was nominated for Latin Grammy in 2014.

Having decided his country did not provide him with all the opportunities he needed as an artist at that time, he tried his luck in New Jersey, where he currently resides as does Jennifer, with whom he currently shares the Sonority Record Studios project.

At this moment, they are creating the album ”Los Some Son” as an idea of Jennifer herself to get people know ”El Some”’s career. Among the guests of the project, we can mention former Los Van Van singer Pedrito Calvo, former Los Van Van singer Melly Cartero, Jennifer herself, singer Frankie Vazquez, pianist Arturo Ortiz, among many others.

Chocolate and Agustín El Some — Cuban jazz trumpeter Alfredo ”Chocolate” Armenteros and Agustín Someillan

How Jennifer and ”El Some” created Sonority Music Studios

Agustin has been in the studio for almost 12 years, while Jennifer has only been there for five, but that has not stopped them from getting together perfectly, of course. He has always liked to play the trumpet, but his neighbors started to complain about the constant noise coming from his house, so he decided to look for a place to make music without disturbing anyone.

However, before that, he was already working on music at home, to the point that he produced an album for José Mangual from his own home, which he describes as ”a huge odyssey”, since he did not have the conditions to complete a job of that magnitude. That is when he decides to look for a space more conditioned to record and produce, so he acquires half of the space he currently uses and elongated it after partnering with Jennifer.

There were implements they did not possess the knowledge to use, but little by little, they were learning on their to create the brand they have today and the prestige that they acquired in the Latin music community with so much sacrifice.

”Although this is not a big studio, great things have happened here. There is a great vibe and we make very good music” said ”El Some” about what has been achieved with this space, which has become their musical home.

The studio has a vacuum-sealing cabin and everything necessary for mixing, mastering, editing, recording and much more.

Jennifer during a performance — Jennifer Freedman during a live performance with Los Some Son

Relationship between Los Some Son and Sonority Music Studios

At the moment of expanding the studio, Agustin had already named the place ”Some Son”, but once he and Jennifer became partners, they started to think about how to market it more effectively in the United States. Since everything they did there had to do with sonority, they opted for something with that word, so the studio ended up being called Sonority Music Studios.

Both are listed as company managers and ”El Some” focuses on the music, creation, engineering and production side. On the other hand, Jennifer is much more focused on the administrative part, contracts, bookings, among other details of this type.

Seeing what they were achieving with the studio, they felt they could expand a little more to other facets, so both artists also engaged in founding their own band that they called ”Los Some Son” in homage to the ”El Some”’s family of trumpeters and Cuban salsa music in general.

In conclusion, both the studio and the band are formed by the same team, so both projects go hand in hand.