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News

The message of the Latino community in the United States to Goya Foods

or weeks, we have witnessed how the Latino community in the United States has withdrawn its support, and has even considered its decision to buy Goya Foods, after the demonstration of support by its CEO to Donald Trump.

Goya Foods, or Goya as this Hispanic-rooted food company is popularly known, faces calls for a boycott in the United States. This comes after its CEO, Robert Unanue, fervently praised the President of the United States, Donald Trump, saying that his leadership is “a blessing.”

La Goya Food Company
La Goya Food Company

Goya Foods is the largest Hispanic-owned food company in the US With these statements, many of its loyal consumers and even some high-profile Democratic supporters are asking that they not buy the company’s products.

Unanue attended an event at the White House where President Trump signed the Hispanic Prosperity Initiative, which was described as an effort to improve access to educational and economic opportunities for members of this community.

Unanue’s exact words were: “We are all truly blessed to have a leader like President Trump, who is a builder.”

For many regular consumers it is puzzling and contradictory that the CEO of the largest empire of food consumed by Latinos in the United States, suddenly decides to support so openly a president who is not exactly the favorite for Hispanics.

Since then, much criticism has rained, not only for the political affinities of the highest representative of Goya Foods, but for what this company represents for the millions of Latinos in the United States.

The White House, has made controversial anti-immigration decisions, sought to end a policy that protects hundreds of thousands of undocumented youth from deportation, and sought to build a border wall in the south. enacted a policy that separated children from parents when they were detained at the border.

Many consumers have since said that they would no longer buy the company’s products, which include basic inputs for the preparation of traditional food in many Latin American countries. Those who promote this boycott have shared brands and alternative recipes on different social networks, with the hashtags #Goyaway and #BoycottGoya.

What message do Latinos want to send to Goya?

Some consumers say they have grown up with a sense of cultural attachment to the brand, but are now disappointed by the CEO’s comments. Many have relied on the company for affordable products that are often hard to find, but are key ingredients in Hispanic cuisine. Now they feel slighted by a CEO who has left the community that supports their company.

Unanue defended himself and pointed out that he has also worked with initiatives of former US first lady Michelle Obama. She stated that, in her view: “This is repressing (freedom) of expression,” she said. “I don’t apologize for speaking – and especially when the president of the United States calls you – you’re going to say, ‘no, sorry, I’m busy, thank you.’

Robert Unanue and his message at the Goya Foods
Robert Unanue and his message at the Goya Foods

But the debate seems to involve more than just Latinos, as Goya has always been concerned about also attracting non-Latino consumers, from Asians to white Americans, using advertising slogans in English such as “Goya, O-Boya.” For many non-Latinos, consuming Goya products is a fairly authentic, albeit superficial, way of practicing Latinidad.

Goya fans are divided on whether or not to follow the boycott, a considerable number planning to end their attachment to the brand. Some have even published recipes for making adobo and stir-fry, among other alternatives to the brand’s products. Others have posted suggestions for lesser-known brands like Sun Vista, Pilón and Badia.

Goya will have to deal with a significant drop in sales and its perception in the market, at least in the short term, during a time when so many economic indicators are in recession. It’s also true that earlier this year, Goya donated some 136,000kg of food, or roughly 270,000 meal portions, to food banks and organizations to help with the coronavirus crisis. In the event that generated all the controversy, Unanue announced that it would donate another million cans of Goya chickpeas and 454,000 kilos of food products to food banks to help families affected by the pandemic.

Elections in key states are often defined by very narrow margins; even a small dropout of Latinos from the Republican side could be decisive for the results.

The White House Hispanic Prosperity Initiative Act created a 20-member commission designed to work with various Cabinet members to implement vague initiatives related to employment, education, and small business development. But most Latinos will find this effort too little, too late, and too much like election-year complacency.

Robert Unanue and his message at the Goya Foods
Robert Unanue and his message at the Goya Foods

The message of the Latino community in the United States is very clear, they are a united front and will not be manipulated by last minute actions, even with the support of important figures in various sectors of the Hispanic community.

Why is Goya an icon of Hispanicity?

Like many of the immigrants in search of the “American dream”, Prudencio Unanue landed with his wife in New York in 1921, from Puerto Rico. The Unanue family had emigrated from Spain to the island in the early years of the 20th century. In New York he settled in the Latin quarter of Harlem and after several years of hardship, one day in 1936 he made the best investment of his life: he bought a bankrupt company (Seville Packing Company) and the Goya brand.

In 1936, Prudencio Unanue found the name Goya perfect: simple and easy to pronounce in Spanish and English. And he decided that his new business venture would bear that name, convinced that this time he would achieve his goal. He bought the brand for $ 1. He never imagined that that day a giant was being born that today has a turnover of more than US $ 1,500 million a year, according to company figures, and sells all kinds of foods of Hispanic American origin, such as beans, rice, canned meat and seafood, condiments, cheese, oil and even frozen dishes.

Goya Foods Products
Goya Foods Products

It started by importing products from Spain – like olives and olive oil – to sell to Spanish expatriates, but quickly expanded the business to import food from Latin America to reach other immigrant communities. In fact, as after the Second World War, a wave of Puerto Ricans entered New York to fill the lack of labor in the factories, Unanue realized that there was a great opportunity.

Then, in the 1960s, the first Cuban wave arrived and thus, little by little, Latino immigrants were opening up space in the different states of the country, and in the same way the business began to expand. Goya gave an answer to the “nostalgia” of those who leave their country.

Prudencio was succeeded by his son Joe, who inherited the challenge of expanding Goya internationally and today the firm is under the executive direction of his grandson: Robert Unanue. It only remains to wait to see how high the price Goya Foods will have to pay for having disheartened so many, to maintain a political stance rejected by the majority of its consumer base.

Goya Foods Empire
Goya Foods Empire

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
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.

Teo Hernández (R.I.P)
Teo Hernández (R.I.P)

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.

Orlando Sanoja
Orlando Sanoja

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)

In front of adversity we grow with Johnny Cruz .

North America/ All USA

Johnny Cruz : This month I wanted to dedicate myself to good news, highlighting the work of those who, despite adversity, continue to strive to bring the best to the public. We keep working!

Gilberto Santa Rosa surprises us with his new album Colegas. His most recent phonogram. In this, Santa Rosa invested the last six years and presents 16 collaborations with Cuban artists -Isaac Delgado and Juan Jose Hernandez-Puerto Ricans -Tito Nieves, Tito Rojas, Luisito Carrion, Pirulo, Nino Segarra, Choco Orta among others-, as well as with a Dominican – Jose Alberto “El Canario” -.

Gilberto Santa Rosa - Colegas
Gilberto Santa Rosa – Colegas

The album is preceded by “40… y contando en vivo desde Puerto Rico”, an album recorded in 2018 live at the Coliseo de Puerto Rico in San Juan, to celebrate its 40 years of musical career. The majestic arrangements were the work of Dino Nugent (Apaga La Luz), Marty Sheller (Caminalo, Ban Ban Quere), Ramón Sánchez (Que Se Sepa), Javier Fernández (Tremendo Coco, Masacote), Louis García (Por La Calle Del Medio, Ocana Sordi, El Guateque De Chombo), Ricky González (Vamos a Bailar El Son, Eque Tumba), Manolito Rodríguez (Medley Boleros), José Madera (Bailadores), Rene González (Estoy como Nunca), Isidro Infante (Mario Ague, El Mejor Sonero, Sonerito), James Hernández (La Fonda De Bienvenido).

In good time Santa Rosa presents this production. He positions him on the GRAMMY platform and refreshes him in his role as sonero and incidentally, he extends a helping hand to some who had not recorded Salsa Brava again.

Tracks: La Familia; Caminalo; Que Se Sepa; Mazacote; Apaga La Luz; Sonerito; Por La Calle Del Medio; Nos Vamos A Bailar El Son; Medley Boleros; Ocana Sordi; Bailadores; El Mejor Sonero; Tremendo Coco; Estoy Como Nunca; Mario Ague; Eque Tumbao; La Fonda De Bienvenido; Ban Ban Quere; Guateque De Chombo.

Members: Angie Machado, Jan Duclerc, Jesús Alonso, turbidity Vilchez – trumpet; Charlie Sierra – maracas; Dino Nugent – violín; Johnny Torres, Pedro Perez – bass; Manolito Rodriguez – timbal; Rafy Torres, Toñito Vásquez, Víctor Vázquez, Reynaldo Jorge – trombones – trombone; Richie Bastar – bongo; Sammy García, Jimmie Morales – congas; Sammy Vélez, Josué Urbina; Pedro Méndez, Frankie Pérez, Janice Maysonet – saxophone; Luis Marín, Isidro Infante, Javi Fernández, Ricky González – piano; Orestes Vilató – timpani; Pablo “El Indio” Rosario – percussion; Meñique, Paquito Guzmán, Víctor Manuelle, Luisito Carrion, Justo Betancourt – backing vocals. Guests: Víctor Manuelle, Choco Orta, Juan José Hernández, Isaac Delgado, Yan Collazo, Luisito Carrion, Pirulo, Tito Nieves, Tito Rojas “El Gallo”, Ismael Rivera Jr., José Alberto “El Canario”, Carlitos Ramírez, Michelle Brava, Herman Olivera, Maelo Ruiz.

I take this opportunity to greet my good friend Johnny Rodríguez Jr., better known as Johnny “Dandy” Rodríguez, is an American bongo player. He was Tito Puente’s longtime bongo player, and also played with Tito Rodríguez, Ray Barretto, and Alfredo de la Fe. He belonged to various popular bands of the salsa era such as Tico All-Stars, Fania All-Stars, and Typica 73. He is a proud son of El Barrio (Spanish Harlem), New York, and stickball (street baseball) was more interested than music.

Marco Bermúdez - En mi voz
Marco Bermúdez – En mi voz

However, influenced by his father, Johnny, 17, earned the position of playing bongos in the Tito Puente Orchestra. Johnny spent more than 30 years with the orchestra, also working with Tito Rodríguez from 1965 to 1968 and with Ray Barretto from 1970 until the end of 1972. Johnny went on to form Tipica 73, of which he remained a member until 1979. He then returned to the band. Tito’s band, playing alongside him until the time of Tito’s death in May 2000.

Johnny “Dandy” Rodríguez Jr. continues to be a Latin jazz and salsa percussionist. Today he works as a percussionist in different Latin music ensembles, He is unstoppable and is very active with the Latin Jazz Giants (alongside his colleagues and Exclusive LP Artists Jose Madera and George Delgado) and that includes the stars from the original Tito Puente Orchestra. The band plays the famous music from the Palladium days of Tito Puente, Tito Rodríguez, and Machito, and also recorded The Giants Play the Music of the Palladium.

In 2008, Johhny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodríguez Jr. bongoes from the Legends series. John is proud that these drums, which bear his name, present such a sound and visual characteristics outstanding. Keep going, Johnny!

A few days ago, En Mi Voz, the solo debut of the Ecuadorian singer Marco Bermúdez, was officially launched on the market. This is a very good selection of ten songs, under the master hand of Oscar Hernández, the prestigious and renowned musician who is making his debut as a record producer with Ovation Records.

Pedro Bermudez - Arrasando
Pedro Bermudez – Arrasando

Marco has not saved anything for this premiere. He has met with his colleagues from the “Hispánica del Barrio” and the result could not be better: Jerry Madera, Máximo Rodríguez, Maneco Ruiz, Héctor Colón, Doug Beavers, Reynaldo Jorge, Jeremy Bosch, George Delgado, Luisito Quintero and Jorge González give solvency and flavor to En Mi Voz. The album opens with “Amanecer Contigo”, composed with four hands between Hernández and Bermúdez, where the trumpet solos by Maneco Ruiz and flute by Jeremy Bosch stand out.

Jeremy is also heard with his flute in his fine and heartfelt composition “Canto a mi Mamá” and in “Únicamente tú”, making Marco the second voice. The romantic spirit of the singer of the Spanish Harlem Orchestra and Mambo Legends Orchestra is confirmed in songs like “Solo Basta” and “Tu Regreso”. Oscar’s arrangements guarantee the key melody. Highly recommended this album, it has no waste!

I send my greetings and wishes for a reunion with this excellent salsa singer: Hermenegildo Olivera, or Herman Olivera. Born in Newark, New Jersey, the son of Puerto Rican parents and from an early age linked to Latin music. In the 70s, in the middle of the salsa boom, Herman began his love of singing by listening to the interpretations of Chamaco Ramírez, Héctor Lavoe, Cheo Feliciano and Marvin Santiago, among others. These vocalists were primarily his source of inspiration. When he was just 15 years old, Herman began his career as a salsa interpreter with an orchestra called La Justicia.

Johnny Rodríguez
Johnny Rodríguez

Later he was part of the band La Sónica, where he met his friend and trombonist Jimmy Bosch. After this he spent time with the Caramelo orchestra to later take the most important leap in his career by being part of the Conjunto Libre in 1978, where he left his voice reflected for the first time in the Incredible LP of 1981 under the direction of percussionist Manolo Oquendo and bassist Andy González, where he stands out with the theme Decídete.

In 1990, he was invited to record on the album Salsa Sudada, from the Valdesa Records label of Víctor Raúl Sánchez “Patillas” and with the musical direction of Isidro Infante, sharing vocalization with Mario Muñoz “Papaíto”, Adalberto Santiago, Eladio Peguero “Yayo El Indio” and Pablo Villanueva Branda “Melcochita”; in this work he interprets the songs La Aguja and a tribute to the city of Cali called Valle Plateado de Salsa. Later, it launched an independent project called Herman Olivera y La Exclusiva. Chequea la Mercancía.

Herman Olivera
Herman Olivera

Produced by Fernando Pastrana where the song Me Extraña Araña is one of the most outstanding. For 1997 he participates in the CD of the band Rikoson All Stars, called Evoluciones del Son, where he stands out very well in the romantic theme Aquella Noche. In 1998 he was requested by the piano teacher Eddie Palmieri and together with the vocalist Wichy Camacho they recorded the album El Rumbero del Piano, where he stands out as a singer on the songs Malagueña alerosa and Oiga mi Guaguancó.

That same year he was invited to the recording studios by the trombonist Jimmy Bosch and they released the album titled Soneando Trombón, which contains the hit Otra Oportunidad. Who plays a duet with Frankie Vázquez. On this CD also appears the song Descargarana. That same duo, Olivera and Bosch, meet the following year (1999) and produce Salsa Dura, where Herman shines performing the full Impacto Tendremos. The album also features the participation of singers Frankie “Nene” Morales and Frankie Vázquez. Parallel to this album, the RMM label launches a live CD and DVD titled Eddie Palmieri & Friend’s, where Herman looks excellent in the number Palo pa ’Rumba.

Felix Villalobos
Felix Villalobos

The invitation to tune in to the new Fm / Internet radio station on Live365.com continues: Salsagallery. Good music, interviews with the artists and much more… now with the participation of Felix Villalobos who joins Salsagallery Radio with a segment in which we will be talking about Music.

At the Spanish Harlem Salsa Gallery Museum we are happy to say that we are gradually returning to our activities and we will be opening the gallery sporadically. We do not stop, we continue to work for our music and we will always keep you informed through our social networks. We hope to have more news shortly and that we can return to normal soon.

Publicity
Raymond Stewart
Johnny Cruz
Correspondent
New York

Digital voice effects processors

logo

Although the technology of voice processors is not new and has been used for decades, first in recording studios when refining vocals and instruments, it is now available to anyone, be it vocalist, instrumentalist or both, now we are presented with the question, is a performer using it a good vocalist or not, in fact only if we have an “unplug event”, can we realise the vocal range actually, as I said before, it has been used for years in recording studios, as I said before, it has been used for years in recording studios, maybe they have given it another name but they “tweak” the voice on the tracks and you could notice it, only in live events you could perceive some differences and they said it was the “acoustics” or some other excuse.

Nowadays we can no longer distinguish it as it has been used and popularised in performances in front of the audience, whether they accept it as part of the show or just don’t care about the real voice. But don’t misunderstand this, because there are excellent singers who have used it or use it to have a virtual backing vocal with their own voice, special effects as required by the song and it is totally valid.

Courtesy of: Roz Firth

What is really unacceptable, or at least it is to me, is that I am a lousy “shower singer” who uses it to modify my voice to such an extent that it is a deception to “my audience”.

Technology has digitised the equipment by reducing its size and power consumption, adding extra functions to just processing the voice like in a recording studio, it has integrated the voice through a microphone to musical instruments, whether the vocalist is playing a guitar or other musical instrument while performing in front of an audience or accompanying himself in the recent “if the music inspires me to vocalise, it’s perfectly valid” home studios.

Digital Voice Effects Processors

Pedal digital Voice Effects Processors

However, these very small pieces of equipment have their detractors, be they purists or bandleaders, the latter may argue that it “takes away the work of the extra musicians” but the current reality indicates that if you want to make a live performance you must take care of the economy of all and not only favour the orchestra or the producer of the event, what must prevail is the excellence of the music in front of the audience, and for that you need good vocalists and excellent musicians.

The technology of voice processors accompanied by digitised effects is already with us, there is no turning back, nor should there be, everything changes for the better and that leads us to have better vocalists and more qualified musicians, it gives the opportunity to emerging musical groups that do not have a large budget for extra musicians, recording studios … if you are good with little, you will be evaluated by those who really matter, your audience.

Now let’s talk about these vocal effects processors, what they do, what they look like, costs, etc.

 

What do they do?

They are electronic devices that allow echo effects, reverb, voice multiplication (to be and make your own chorus), enhance the vocalist’s singing in real time, pitch, depth, volume, add pre-recorded harmonies and loops, change tempo, gender, age and distort the voice, something you could never do on your own, all while performing in front of your audience, something unthinkable between how the artist sounds in studio and “live” and in addition to this we can integrate via MIDI connection a guitar, piano, synthesizer or simply next to the microphone, a harmonica, to the audio output.

What are they like?

They are small, portable and not expensive musical equipment digitized or purity of sound that emanates from them, are placed between the microphone, either dynamic, condenser … the main thing is its connection is XLR, these capture the voice processing it, mixing it to achieve and deliver a very refined voice (such as that of a recording studio operated by a sound engineer), directly to the audio system to the public, and are presented as desktop models or pedal, both do wonders.

Variety and cost

At this point we must remember that like all equipment, they are constantly updated, improving their quality and variety of effects and interfaces to other equipment, so there is a wide variety of prices according to their characteristics, currently we can indicate six really efficient voice processors, I established the order according to the price range and not preferences, in the links you can see videos of artists using them, their use and more.

  1. TC-Helicon VoiceLive 3 https://www.tc-helicon.com/product.html?modelCode=P0CDY ($ 740)
  2. Boss VE-20 Vocal Performer https://www.boss.info/global/products/ve-20/ ($ 360)
  3. Zoom v3 https://zoomcorp.com/en/us/vocal-processors/vocal-processors/v3/ ($ 285)
  4. Roland VT-3 Vocal Transformer https://www.roland.com/global/products/vt-3/ ($276)
  5. EHX Voice Box Vocal Harmony Machine and Vocoder https://www.ehx.com/products/voice-box/ ($ 262)
  6. TC Helicon VoiceTone Harmony-G XT https://www.tc-helicon.com/product.html?modelCode=P0CMT ($ 229)
  7. Behringer Virtualizer 3D FX2000 https://www.behringer.com/product.html?modelCode=P0A3P ($ 160)

Current news in the San Francisco Bay Area

What is happening now?

Tito Garcia-The Doctor of Salsa, the renowned colorful bandleader and timbalero of Tito Garcia y Orquesta Internacional passed away on Saturday, April 23rd after a long battle with cancer.  Tito has performed Salsa and Charanga in the 1970’s with the seminal SF based bands Ritmo 74 and later Charanga Rene Del Mar. He later spearheaded the band “Orquesta Salsa Dulce” in the late 1980’s which morphed into the first edition of his band La International featuring a young Julio Bravo on coro in the early 1990’s.  La Internacional were remembered for their explosive performances by dancers and aficionados.

Tito was a staple at the late, famed salsa palace Cafe Cocomo with his monthly “Mambo Saturdays” during the early 2000’s. I often was the DJ during those hot nights. His band featured fine musicians and vocalists such as former Batachanga vocalist Ricky Rangel, congueros Eddie Borrero and Sandy Perez of Los Muñequitos De Matanzas and keyboardist Coto Pincheira who relocated to New York.

Tito García had been fitghing against, cancer, which took his life at the end

Tito resurfaced after his bout with Cancer in 2020 to relaunch La Internacional but the comeback was short lived due to his health issues. He later hosted some outdoor rumba sessions near his new home of Vallejo but those dates were limited due to COVID restrictions. He relapsed during his recent trip to Costa Rica and died due to complications with his recovery.  He will be sorely missed.

Don’t forget coming up on Friday, May 6th at 8 pm with be the tremendous Cuban music double bill of “El Tren De Cuba”…Los Van Van and Alexander Abreu y Havana d’Primera at the UC Theatre, 2036 University Avenue in Berkeley. Two of the powerhouses of Cuban Popular music are appearing together for the first time in the US and on only certain dates of the tour…SF Bay Area residents are blessed to have this double bill play here!  DJ Antonio will spin in-between sets.  I will be your MC for the evening. Run to get your tickets because they’re going fast!  For more information, go to jaffeevents.com

Salsa superstar Oscar D’Leon and his orchestra will visit the SF Bay on Saturday, May 21 at Roccapulco, 3140 Mission St. in San Francisco. Oscar is still one of the dynamos to watch perform live…a tremendous show!  Guayacan Orquesta from Colombia will also play on Friday, May 13 at the Mission Street hot spot.  Also coming to Roccapulco Sat. June 11th…the Homenaje A La Musica Cubana featuring Mayito Rivera, Alain Perez, Yeny Valdes, Lily Hernandez “La Amaona” and Julio Cesar “JC Five” plus DJ Walt Digz (SF) and DJ Jimmy Rumba (LA) and on Thursday, July 7th…the explosive sounds of Pupy Y Los Que Son Son direct from Cuba.

Oscar D’ León will be in the San Frrancisco Bay Area on 21 May

SF JAZZ and the San Francisco Jazz Festival are featuring an impressive array of Salsa, Cuban and Latin Jazz starting Wednesday June 8 with Pacific Mambo Orchestra.  Followed by Gonzalo Rubalcaba and Grammy nominee Aymee Nuviola 6/9; Chucho Valdes with Dianne Reeves and Joe Lovano 6/12; Changui Majadero 6/13, Danilo Perez Global Messengers 6/14; Issac Delgado’s Con Tumbao Project w/Miguel Zenon, Oscar Hernandez, Pedrito Martinez, Alain Perez, Tony Succar and more 6/18.  SF JAZZ and Stanford University co-presents Eddie Palmieri and Arturo Sandoval at Stanford’s Frost Amphiteater on July 23.  Info: www.sfjazz.org.

The Yerba Buena Gardens Festival will begin Saturday, May 7th from 1 to 2:30 pm with a free concert featuring local treasure Jesus Diaz y Su Habana Afro-Cuban Ensemble featuring a lineup of heavyweights from Cuba and the SF Bay including Ariacne Trujillo Duran, Leider Chappotin, Raul Pineda, Roberto Junior Vizcaino, Karl Perazzo, Jeff Cressman, Melecio Magdaluyo and Julio De La Cruz.  The Yerba Buena Gardens is located on Mission Street between 3rd and 4th Streets in San Francisco.  Visit ybgfestival.org for more information.  There will also be an after party featuring Jesus Diaz and the Habana Afro-Cuban Ensemble and DJ Carlitos Way at the Elbo Room, 311 Broadway in Oakland.

The San Francisco Carnaval and much more

The annual Carnaval San Francisco is back on the streets of San Francisco on Sat, May 28 and Sun. May 29th with the theme Colores De Amor.  The two day festival will take place on Harrison between 17th and 22nd Streets from 11 am to 6 pm.  The grand parade will take place on Sunday, May 29th starting at 9:30 am on 24th and Byrant Streets.  Scheduled to perform will be Jesus Diaz y Su QBA, Momotombo, Sambada, Javier Navarette & His Socially Distant Friends, Dos Four, Puro Bandido, Namorados da Lua, Annette Aguilar & West Coast Stringbeans, Susanna y Orquesta Adelante, Magna Fresq, Los Allegres Callejeros, Aqua Pura, Mariachi Juvenil, Azul Latino and more.  Headliners TBA.  Food, Beer, Crafts, DJ areas and Cannabis gardens on the grounds.  Free!   For more information: carnavalsanfrancisco.org.

There is a new Salsa scene happening on Thursdays starting May 12th at Charley’s LG, 15 N Santa Cruz Ave, Los Gatos presented by your friends at International Salsa Magazine.  Opening night at this state of the art club will feature the swinging sounds of the multi-talented vocalist/conguero Edgardo Cambon and Candela.  I, Luis Medina from KPFA/WSR and International Salsa Magazine will be your DJ.  World Salsa Radio DJ El De La Clave will also be in the house. Dance lessons by Migi & Angel starts at 8:00 pm.  Music starts at 9 pm.  The upcoming schedule is the following: Julio Bravo and Salsabor 5/19, Manny Martinez and La Rebeldia 5/26 and the Charanga sounds of Orquesta La Moderna Tradición 6/2.  Thursday nights just got hotter in the South Bay…be there!!

Edgardo Cambón at The Seahorse Restaurant, Sausalito

The Ramp at 855 Terry Francois Blvd in San Francisco continues to present Salsa orchestras on Saturday afternoons starting at 5 pm.  The night is closed on June 7th for a private event, The Ramp’s first Salsa festival featuring 2 bands: Gary Flores y su orquesta Salsa Caliente and Eric Rangel and Orquesta America 5/14, The Latin Rhythm Boys 5/21 and Louie Romero and Mazacote on May 28th.  DJ Mendy spins in-between sets and after the live music from 9 to 11 pm.   The Ramp has a great patio overlooking the SF Bay and serves food and drinks.

The Seahorse located at 305 Harbor Drive in Sausalito features live music plus KPOO-KPFA DJ Jose Ruiz on Saturday and Sundays.   Sat, April 30th features La Clave Del Blanco, Rene Escovedo Salsa Band with Ric Feliciano Sun 5/1; Edgardo Cambon & Candela Sun, 5/8; Orquesta Timbalero Sat, 5/14; Louie Romero & Mazacote Sun, 5/15; Susanna y Adelante Sat, 5/21; Orquesta La Original w/Alexis Guillen 5/22; Pepe Y Su Orquesta Sat. 5/28; and Orquesta Taino Sun. 5/29.  Enjoy the fine Italian cuisine, beer, wine and ambiance both indoors and the outdoor patio at this scenic spot just crossing the bridge to Marin County.

The Cigar Bar, 850 Montgomery St. in San Francisco is a favorite spot to dine, have drinks, enjoy a cigar in the courtyard and dance to hot Salsa music.  The calendar for May includes Manteca 5/6, Orquesta Timbalero 5/7, Somos El Son 5/13, Josh Jones Latin Jazz Ensemble 5/14, N’Rumba 5/20, Edgardo y Candela 5/21, Orquesta Taino 5/27 and La Clave Del Blanco 5/28.

René Escovedo will perform at the Seahorse Restaurant, Sausalito, on May 1

DJ Walt Digz has a hot Wednesday night Cuban scene “El Timbon” happening at the Slate Bar, 2925-16th Street in San Francisco.  Digz also hosts his own livestream called “El Timbon” featuring the latest Timba, Cuban Salsa and Cubaton videos every Tuesday night from 7 to 9 pm on Twitch.  He also keeps busy by hosting the monthly Fresquecito Saturday nights at La Furia Chalaca in Oakland and the outdoor El Timbon En El Callejon Sundays from 3 to 8 pm at Vida Cantina, 56 Belden Place in San Francisco.  Digz also continues his original Friday La Tropi-Cal monthly at Il’ Pirata in SF with Añejo Productions now going on their 21st year!

Berkeley’s Ecology Center will present the Berkeley Farmer’s Market Salsa Festival on Saturday, May 21 from 10 am-5 pm.  This free event will feature Christian Pepin and Orquesta Bembe, Afro-Cuban and Afro-Peruvian keyboardist Erick Peralta and Band, Berkeley High School Youth Ensemble and the Latin Jazz Youth Ensemble.  Dance performance and Dance lessons by Rebecca Galindo.  Food, crafts and more. For more information, visit www.ecologycenter.org. 

Don’t forget to check out my radio programs: Con Sabor now in it’s 25th Anniversary Year on KPFA 94.1 FM every Saturday night from 9 to 11 PM PST and Sabiduria Con Tumbao every Wednesday night 5 to 7 pm PST on WorldSalsaRadio.com.

That’s it for this month!  Ciao 4 now!

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.