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Sitio web de Latin Bayarea

North America / USA

Sitio web de Latin Bayarea

Actualmente, la búsqueda de información sobre música latina y su cultura en California (EE. UU.) se ha integrado a la tecnología, ya que es una herramienta muy práctica. En internet, se puede encontrar un sitio web donde se puede investigar prácticamente todo: música, cultura, entretenimiento, clubes y conciertos. El sitio web es Latin Bay Area.

Entre sus numerosos eventos que se anuncian mensualmente se encuentra:

Concierto De Lanzamiento Del Cd Del Ensamble De Jazz Indolatino De Mariah Parker

Este concierto celebra el próximo lanzamiento del nuevo CD de Mariah Parker, Indo Latin Jazz Live in Concert.

Según la revista Latin Beat, el Ensemble de Jazz IndoLATINO de Mariah Parker “combina las síncopas rítmicas del jazz latino con los fascinantes y asimétricos compases de los ritmos de las Indias Orientales, dando como resultado una música del mundo de primera clase. Melodías fascinantes que se inspiran en los tempos de Brasil, Cuba, India y España crean un viaje musical inspirador, sereno y apasionado a un mundo ideal”. Domingo, 22 de enero de 2017, 19:00 h, Freight and Salvage

2020 Addison Street

Berkeley, California

Entradas: $24 anticipadas, $28 en taquilla

Para más información, llame al (510) 644-2020 o visite www.thefreight.org

Con la participación de Mariah Parker (composición, piano, santur), Paul McCandless (instrumentos de viento), Matthew Montfort (guitarra), Kash Killion (bajo, violonchelo) y los percusionistas Ian Dogole, Brian Rice y Michaelle Goerlitz.

Lanzamiento del CD “Indo Latin Jazz Live in Concert”, 20/01/17

En 2009, Mariah Parker lanzó su Indo Latin Jazz Ensemble con un concierto debut con entradas agotadas en Yoshi’s, Oakland, California. El nuevo lanzamiento de Mariah para AncientFuture.com Records, “Indo Latin Jazz Live in Concert”, captura la magia de esa primera actuación, así como de los conciertos posteriores en el norte de California: Freight & Salvage, Berkeley; el Teatro Throckmorton, Mill Valley; y una sesión de estudio en los estudios TRI de Bob Weir, San Rafael. Estas grabaciones en vivo multipista fueron cuidadosamente mezcladas y masterizadas durante siete años por el veterano productor de Ancient Future, Matthew Montfort.

Indo Latin Jazz Live in Concert es la continuación de Sangria, el CD debut de Mariah, que se difundió en más de 468 programas de radio de jazz, latinos y del Nuevo Mundo, y obtuvo más de 365 reseñas y apariciones en medios, incluyendo dos canciones que ascendieron a la lista de las 100 mejores canciones de 2009 de Smooth Jazz Now.

Biografía de Mariah Parker

(Composición, piano, santur) http://www.mariahparkermusic.com

“Parker, licenciada en música por la Universidad de California en Santa Cruz, escribió las ocho composiciones instrumentales de esta exquisita colección de piezas que fusionan ritmos latinos con influencias de Sudamérica e India, con un toque de jazz estadounidense puro. Es una mezcla embriagadora de Oriente y Occidente, interpretada por músicos de un virtuosismo asombroso. Como todas las mejores bandas de jazz, este grupo es tan disciplinado como innovador, deteniéndose en seco cuando la composición lo requiere y lanzándose al instante siguiente hacia magníficos paisajes de libre asociación, tan placenteros como aventureros.

Este es un material sofisticado, un álbum de fusión global interpretado por un grupo con carácter, carisma y la confianza que se transmite cuando músicos de talla mundial en la cima de su carrera se unen y crean magia en el presente de una actuación en vivo.” -Marin Independent Journal

Mariah Parker ha estado tocando música desde que pudo tocar las teclas del piano de cola en la casa de su familia. Mientras terminaba su licenciatura en música en la Universidad de California en Santa Cruz, trabajó con el etnomusicólogo Fred Lieberman y el baterista Mickey Hart en el proyecto “Planet Drum” y quedó fascinada con las posibilidades de conectar conceptos musicales de diferentes tradiciones.

Ha interpretado sus composiciones originales en festivales de Estados Unidos y Europa. Talentosa compositora y líder de banda, lanzó su primera grabación en solitario, “Sangría”, en febrero de 2009. Este lanzamiento recibió una amplia difusión y fue aclamado por la crítica internacional.

“Deslumbrante… Los sonidos sutiles y sensuales de Parker reflejan sabores exóticos de la India, Oriente Medio y Latinoamérica.” -Palo Alto Daily News.

Matthew Montfort (Guitarra de Diapasón Festoneado)

Recientemente reconocido como uno de los 100 Mejores Guitarristas Acústicos del mundo, Montfort es pionero de la guitarra de diapasón festoneado y líder del influyente conjunto de música fusión mundial Ancient Future. Ha ofrecido conciertos en todo el mundo, incluyendo el Festival Internacional de la Guitarra en la costa dorada de España, cerca de Barcelona, y el Festival de Mumbai en la Puerta de la India, Bombay.

Paul McCandless (Virtuoso de la Lengüeta)

Durante una distinguida carrera de tres décadas, el virtuoso de los instrumentos de viento-madera ganador del Grammy, Paul McCandless, ha aportado un lirismo desbordante a su interpretación y composición, que ha sido fundamental para el sonido conjunto de dos bandas seminales de música mundial: el original Paul Winter Consort y el incansablemente innovador cuarteto Oregon.

Un talentoso multiinstrumentista, McCandless se ha especializado en una paleta inusualmente amplia de instrumentos de lengüeta simple y doble que reflejan su formación en las disciplinas clásica y de jazz.

Ian Dogole (Global Percussion)

Ian Dogole es un destacado director de orquesta, compositor y multipercusionista que ha grabado y actuado con artistas como Hamza el Din, Tito La Rosa, Ancient Future y Alex de Grassi con una amplia variedad de instrumentos de percusión, como udu, cajón, hang, tambor parlante africano, kalimbas, platillos y dumbek.

Kash Killion (Bajo, Violonchelo)

Kash Killion toca el violonchelo, el bajo y diversos instrumentos de cuerda africanos y de Oriente Medio, y ha trabajado con Donald Byrd, George Cables, Billy Higgins, Cecil Taylor, John Zorn, Sun Ra, Butch Morris, George Lewis, Reggie Workman y Sun Ra Arkestra.

Brian Rice (Percusión Latina)

Brian Rice es un músico muy aclamado, especializado en percusión latina, afrocubana y brasileña. Colabora con artistas como Mike Marshall con Choro Famoso y el Cuarteto Antonio Calogero, con Paul McCandless y Mike Manring.

Michaelle Goerlitz (Percusión Latina)

Una talentosa percusionista especializada en ritmos brasileños, afrocubanos, venezolanos y peruanos, ha tocado, grabado y realizado giras con Mark Levine, Wayne Wallace, Houston Pearson, Denise Perrier, Joan Jeanrenaud, Pickpocket Ensemble, Samba Rio, Novo Tempo, Bossa 5-0 y muchos otros.

Willie Colón The “Architect of Salsa” Enters Immortality

February 21, 2026, will be etched into the history of Latin music as the day the “street trombone” fell silent to become an eternal echo.

A Sorrowful Farewell: February 2026

After several days of uncertainty and reports regarding his delicate health, the passing of William Anthony Colón Román was confirmed in New York City at the age of 75.

Willie Colón, the Architect of Salsa, Passes into Immortality

Producer, trombonist, visionary. He was the architect of a sound that broke the mold and redefined salsa from New York for the entire world.

With his aggressive trombone, his innovative musical concepts, and his leadership within the historic Fania All-Stars, he marked an era that can never be repeated.

The musician, who had already shown signs of physical frailty following his retirement from the stage in 2023, suffered severe respiratory complications that kept him hospitalized during his final days.

Iconic figures like Rubén Blades and the entire Fania family have expressed their grief, noting that we haven’t just lost a musician, but the “Malo” (The Bad Boy) who revolutionized the visual and sonic identity of Latinos in New York.

A Legacy of Rebellion and Sophistication

Unlike other bandleaders, Willie Colón didn’t just make music; he told cinematic stories. From his early days with Héctor Lavoe to his era of social consciousness with Rubén Blades, Colón transformed salsa into a vehicle for urban narrative.

With his aggressive trombone playing, innovative musical concept, and leadership within the historic Fania All-Stars

Innovation: He was responsible for putting the trombone at center stage, creating that “heavy,” raw sound that defined the Bronx.
Identity: Through his iconic album covers (emulating FBI “Wanted” posters), he constructed the mystique of the Latin anti-hero.

His Eternal Anthems

Willie Colón’s catalog is the backbone of every party and social reflection in Latin America. Among his most remembered tracks, more relevant today than ever, are:

Song	Significance
El Gran Varón	A milestone in social lyrics regarding identity and redemption.
Idilio	The most romantic and melodic facet of his mature era.
Pedro Navaja	The ultimate expression of narrative salsa produced alongside Blades.
Gitana	A classic of sentiment and rhythmic fusion.

Beyond the Trombone: Activism and Service

In his later years, Willie Colón’s life was also defined by his work offstage. He served as an activist, a community leader in New York, and held positions in organizations advocating for Hispanic rights. His life was a testament to the fact that art and social commitment can walk hand-in-hand.

Producer, trombonist, visionary. Architect of a sound that broke molds and redefined salsa from New York to the world.

The Centennial on the Horizon

Though the Maestro has physically departed in 2026, his office and family have made it clear that his music will live on. Releases of unedited material and tribute concerts are expected as we pave the road toward the centennial of his birth in 2050.

“Time passes, and I am left unable to speak to you” Willie Colón.

His music will continue to speak for him on every corner where a trombone sounds and in every heart that feels the pulse of urban salsa.

His talent was more than rhythm: it was identity, the barrio, resistance, and living history. Today, we don’t just say goodbye to a musician; we say goodbye to a pillar, a North Star, and an entire chapter of our Latin culture.

Anecdote:

Willie Colón had a notorious incident in Medellín in 1985 when he refused to perform at the Iván de Bedout Coliseum because the promoters of “Rumba Producciones” failed to pay the agreed amount. Police arrested him along with 13 of his musicians, and they were detained for two days at the Belén neighborhood police station.

The audience, who had waited for hours, grew unruly, leading to riots that resulted in six injuries and significant property damage. This episode inspired the song “Especial No. 5,” which narrates Colón’s experience inside cell number five of that station.

Willie Colón had an incident in Medellín in 1985

Special Contribution by Julio Cesar Galindo Alarcón (Lima, Peru)

A posthumous tribute to the great Willie Colón (1950-2026): The greatest disciple of Mon Rivera by his own admission and today a legend of our passionate salsa.

Willie Colón: From “Classic Urban Salsa” to “Symphonic Salsa”

His musical production clarifies and proves that “salsa” does not only originate from Cuban and Puerto Rican rhythms, but also from American, Brazilian, and other Latin influences.

When Willie produced and recorded his 1977 instrumental-only album, El Baquiné de Angelitos Negros, he expanded the orchestral lineup to include violins, saxophone, flute, cello, and trumpet. While the work had little commercial success and went largely unnoticed during his triumphant career, it served as more than just a platform for his “salsa” fusions with Jazz, Funk, Soul, and R&B. It was the starting point for producing grander orchestral arrangements with a larger number of musicians, thus becoming the precursor to what is now known as “Symphonic Salsa.”

Four years after this beginning, in 1981, this “Symphonic Salsa” reached its peak when Willie released his second solo album, Fantasmas dedicated to and motivated by the loss of his younger sister, Cindy. The album included a track he composed, with musical arrangements by Luis Cruz, titled “Toma Mis Manos” (Take My Hands).

This piece, dealing with the somber theme of death, is considered by this author (due to the quality of the composition and the fabulous “Symphonic” orchestration) to be an authentic and grand masterpiece of “Classic Salsa.” It blends Funk, Soul, R&B, and Bossa Nova with Willie’s excellent vocals, serving as a spectacular prelude to that other legendary, yet often overlooked, symphonic track recorded in 1991 by the “Canary of Carolina,” the great Lalo Rodríguez: “El niño, el hombre, el soñador y el loco.”

To conclude, with the immense pain that his departure brings, I accompany this tribute with the aforementioned song: “Toma Mis Manos,” an unforgettable composition by the recent legend of our “salsa” the great Willie Colón, famously known as “The Bad Boy of the Bronx.”

The legendary musician and his wife Julia Colón were married for decades and share three children ( — The legendary musician and his wife Julia Colón were married for decades and share three children

Also Read: The legacy of Leopoldo Pineda, the ambassador of the trombone in La Maquinaria Fania All Stars

Porfi Jiménez The Master of Rhythm Who United Two Nations

The life, work, and legacy of tropical music’s most “Venezuelan” Dominican.

Porfirio Antonio Jiménez Núñez, known universally as Porfi Jiménez, was more than just a musician; he was a cultural bridge.

A Dominican virtuoso by birth and Venezuelan by choice, he became one of the most iconic figures of Caribbean dance music.

His legacy endures as an exceptional trumpeter, arranger, and bandleader who possessed a unique gift for reading the pulse of the streets and elevating it to the level of fine art.

Porfi Jiménez El Maestro del Ritmo que Unió a dos Naciones

The Prodigy of Hato Mayor: Academic Training

Born on February 16, 1928, in Hato Mayor del Rey, Dominican Republic, Porfi’s destiny was sealed by music from an early age. A recognized child prodigy, he began his formal studies at age seven.

Following the death of his father, his mother gifted him his first trumpet when he was eight a tool that would eventually become his eternal voice.

Unlike many bandleaders of his era, Porfi sought technical excellence at the prestigious Berklee College of Music in Boston. This education granted him a superior technical command of jazz orchestration and tropical rhythms, allowing him to inject a unique harmonic sophistication into popular music.

Vida, obra y legado del dominicano más venezolano de la música tropical.

Putting Down Roots in Venezuela: A 50-Year “Layover”

On February 6, 1954, Porfi landed in Caracas at the invitation of his compatriot Rafael “Tata” Minaya for a brief Carnival tour.

What was planned as a temporary trip turned into a stay that lasted over half a century. Before founding his own sonic empire, he honed his craft within the country’s most elite musical institutions:

The Pedro J. Belisario Orchestra.
Billo’s Caracas Boys, under the baton of Maestro Billo Frómeta.
Staff orchestras for Venevisión and RCTV, where he shone as the lead arranger during the golden age of Venezuelan television.

The Birth of a Signature Sound

On December 31, 1963, as the world celebrated New Year’s Eve, a legend was born: Porfi debuted his own orchestra at the Tamanaco Hotel’s Naiguatá Hall.

31 de diciembre de 1963, en el Salón Naiguatá del Hotel Tamanaco Foto By El Universal

His style broke the mold by fusing Dominican merengue with salsa and jazz, achieving a modern, high-energy orchestration.

That same year, he released his first LP, A bailar con Porfi (Velvet Records). Featuring the vocals of Kiko Mendive and Chico Salas, the orchestra produced hits that are now staples of the Latin party songbook:

“La Negra Celina”
“La Resbalosa”
“La Banda está Borracha”

The “King of Carnival” and the Golden Years

Throughout the 80s and 90s, his name was synonymous with sold-out venues. Dubbed the “King of Carnival,” no festival in Venezuela was complete without his music. His ability to create “people’s anthems” is undeniable, leaving behind timeless tracks such as:

Iconic Songs	Cultural Impact
La hierba se movía	A massive sales and dance phenomenon across the region.
Culucucú	An undisputed hit during the December holiday season.
Se hunde el barco	A quintessential classic in the repertoire of great orchestras.
Dolores / Chivo Florete	A masterclass in high-energy, danceable merengue.

Culucucú Éxito indiscutible en las festividades decembrinas.

An Immortal Legacy

Maestro Porfi Jiménez passed away in Caracas on June 8, 2010, at the age of 82.

Though Dominican by birth, he always declared himself “Venezuelan at heart,” leaving behind a devoted family and a generation of musicians trained under his disciplined leadership.

As we approach the centenary of his birth in 2028, his influence remains more vibrant than ever.

The tributes held between 2024 and 2026 in both the Dominican Republic and Venezuela only confirm that Porfi Jiménez was, is, and will always be the man who defined the rhythm of the Caribbean identity.

Also Read: Federico Betancourt “Pioneer of Salsa in Venezuela”

Adriana Mosquea: Between Strings, Winds, and Spirituality

Vocal Excellence, Instrumental Versatility, and Artistic Training

Adriana Carolina Mosquea Santana, born on August 25, 1993, in Santiago de los Caballeros, Dominican Republic, is a multi-faceted artist who has built a solid career as a solo singer, bassist, stage actress, and vocal coach.

Adriana Mosquea Between Strings, Winds and Spirituality

Early Training and First Steps

She began her musical journey at the age of five in school and church choirs. At nine, she entered the Centro de la Cultura de Santiago, where she studied singing, electric bass, and classical guitar. By age 17, she became the only female voice and bassist for the fusion group Oveja Negra.

After an accident that hindered the mobility of her hands for eight months, she defied medical diagnoses and achieved a full recovery through self-directed therapy, resuming her career with groups such as Sol Latino and La Piña Tá Dulce.

The Leap into Lyrical Music and Theater

In 2014, she received a scholarship from the La 37 por las Tablas school, joining the elite vocal group Les Cantatis. Under the tutelage of Roberto Guzmán and María Ligia Grullón, she performed pieces by Vivaldi, Pergolesi, and Tchaikovsky, and participated in the opera Carmen. In 2019, she was part of the choir for the opera La Traviata at the National Theater, conducted by José Antonio Molina.

Solo Career and National Projection

As a soloist, she has released tracks such as Humo y Humo and Zombie, performing at festivals like Arte Vivo and the Alliance Française. Her multidisciplinary project, Circo Imaginario, led her to open for the iconic Dominican rock band Toque Profundo.

Her appearance on Dominicana’s Got Talent in 2019 earned her massive recognition and excellent reviews from the judges. That same year, she joined Belkys Concepción y las Damas as a bassist and backing vocalist, sharing the stage with legendary figures like Johnny Ventura and Fefita la Grande.

Adriana Carolina Mosquea Santana, born on August 25, 1993 in Santiago de los Caballeros, Dominican Republic

Professional Background and Academic Formation

Adriana’s dedication goes beyond performance; she is an art scholar. She holds a degree in Art History and is currently pursuing a degree in Special Needs Education, focusing on music pedagogy.

Key milestones in her professional journey include:

Oveja Negra: Her first professional group at 17, where she served as the bassist.
Son Santiaguero & Sol Latino: Projects where she explored Cuban Son and alternative rock.
Belkys Concepción: She performed as the bassist for the band led by “The Mother of Merengue,” highlighting Belkys’ overwhelming energy on stage.

Innovation During the Pandemic and Recent Collaborations

Between 2020 and 2021, she produced her album Arte, Magia y Libertad (Art, Magic, and Freedom) in collaboration with Venezuelan producer Daniela Yánez. Her singles have received nominations at the Indie Dominican Awards and Expo Cibao.

Additionally, she participated in the In Memoriam segment of the 2020 Soberano Awards and composed part of the soundtrack for the film La Soga 3. In 2025, she stood out in a tribute to Maridalia Hernández, performing the duet Te Ofrezco.

Pedagogical Work and Vocal Coaching

Currently, Adriana is a prominent vocal coach. She has been a key figure in the technical evolution of the artist Tokischa, working on projects nominated for the 2025 Latin Grammys and 2026 Premios Lo Nuestro. She is a graduate in Art History and is currently completing a Degree in Pedagogy at CESUMA University in Spain.

Excelencia Vocal, Versatilidad Instrumental y Formación Artística

“Singing is a means of expression and healing. My focus is on a balanced life and technical discipline to set the voice free.”

The Multi-instrumentalist and the Winds of Communication

Although her primary instrument is the bass (and double bass in her early years), Adriana is proficient in guitar, piano, drums, and ukulele. her foray into woodwind instruments, such as the clarinet and saxophone, was born from a spiritual search:

“Wind instruments work with air, which is communication. As an artist, I needed to work on my ability to communicate what I was keeping silent.”

Identity, Flavor, and Spirituality

Proud of her roots, Adriana describes Santiago de los Caballeros as a peaceful “city-countryside.” Her palate travels between the Dominican Sancocho de siete carnes and the Venezuelan Mondongo, a dish she confesses has captivated her.

For her, music and spirituality are tools for self-knowledge. She defines spirituality as the acceptance of human duality—seeking balance between light and shadow, far from the pretensions of the ego.

Also Read: Dominican bandleader and singer Papo Ross is triumphing in Montreal

Venezuela. Gran Sabana Canaima National Park

Latin America / Venezuela / Bolivar

“Venezuela is one of the countries located in South America, facing the Caribbean Sea and the Atlantic Ocean, bordered to the South by Brazil, to the West by Colombia, and to the East by Guyana:

It is known for being one of the countries with a wide variety of climates, but primarily tropical. It boasts a rich diversity of flora and fauna, and therefore offers a wide range of tourist attractions. Among these, we can mention the Guayana Region, home to the ‘Gran Sabana,’ one of the most exotic and incredible places with a very pleasant tropical climate.

Venezuela. Gran Sabana Canaima National Park

It’s also the oldest, dating back to the Precambrian era, where we can appreciate the Tepuis – large mountains or plateaus that were eroded by rainfall. There’s also a great variety of waterfalls, rivers, and lagoons. One of the most popular tourist spots in the region is ‘Canaima National Park,’ where we can admire its incredible lagoon with various falls or waterfalls, and a more or less close view of several Tepuis.”

“Canaima National Park is one of the most visited and extensive places in the Gran Sabana. It’s a vast natural reserve featuring unique and special abrupt landforms found nowhere else in the world. The Tepuis that can be observed have vertical walls and almost flat summits. One of the most well-known is ‘Mount Roraima,’ famous for being the highest and easiest to climb in the entire park, and ‘Auyan-Tepui,’ which is the most visited as it is home to the world’s highest waterfall, known as ‘Angel Falls.'”