North America

New York International Salsa Congress 2017

North America / USA / New York

The New York International Salsa Congress is New York City’s largest and longest-running Latin dance and music event where the world comes to dance every Labor Day Weekend. This year is the 17th annual edition and will take place at the prestigious New York Marriott Marquis, in the heart of Times Square, footsteps from Broadway theaters, museums and other NYC attractions.

New York International Salsa Congress 2017

Taking place August 31 – September 4, 2017

Featuring live band concerts, performance showcases, instructional workshops, and non-stop social dancing all in the center of the world’s greatest city, come see why the NYISC brings thousands of attendees from New York and over 40 countries worldwide for an annual celebration of Latin dance, music and culture.

This year, the 2017 NYISC promises to build on this foundation and take it to the next level. Taking place once again in the HEART of Times Square at the extraordinary Marriott Marquis, you will feel that you are dancing in the center of the world. We’ve upgraded to the larger Broadway Ballroom for an even more extraordinary dance experience.

Schedule for the 2017 New York International Salsa Congress

Enjoy workshops and performances from today’s most talented dancers, live music from world-famous bands, and social dancing all night long. All this in the mecca of culture and entertainment, home to countless attractions, parks, museums and shows – join us again for another memorable edition of New York City’s premier latin dance and music event!

Tickets

Vip Upgrade – $100: (For Full and Evening Pass holders) Upgrade to VIP status! VIP amenities include preferential VIP seating for evening performances, no waiting in line, plus a special VIP commemorative gift, and discounted access to official Congress pre-events.

Vip Upgrade (1 Night) – $35: (For Full and Evening Pass holders) Upgrade to VIP status for 1 night only! Includes preferential VIP seating for evening performances and no waiting in line.

Vip Full Passes – $399 + $22.94 Fee: provides access to all Congress workshops, performance showcases, live bands and social dancing for the entire event. (Does not include bootcamp).

Location

The New York Marriott Marquis is the host hotel for the 2017 New York International Salsa Congress, located in the heart of Times Square, at 1535 Broadway, New York, NY (45th Street).

Surround yourself with the sights and sounds of the city at the New York Marriott Marquis. Get relaxed and energized simultaneously as you step into some of the largest guest rooms in NYC, amid the hustle and bustle of famed Broadway. Nestled in the heart of Times Square, this Broadway hotel gives you easy access to exciting shows, Fifth Avenue shopping, Radio City Music Hall, Rockefeller Center, Central Park, Lincoln Center and Madison Square Garden.

New York Marriott Marquis Stage of the 2017 New York International Salsa Congress

The New York Marriott Marquis puts you in the midst of popular NYC attractions or near several subway lines to access any part of NYC.

Dance Instructors

Today’s most talented, creative, and popular dance instructors to bring their skills and technique to the next level. They are offering a number of workshops over the course of the weekend for beginners to gain confidence and for advanced dancers to enhance their repertoire.

Antonio Doza (Doza Dance Company, New York):

He is dancer, Actor, Model, Health & Fitness Advisor, Founder and Owner of Doza Dance Company from New York City. Known for his great performance presence, Antonio brings so much heat to the stage that he guarantees all eyes are on him.

As an instructor, he brings his intriguing style with his amazing Spinning, Isolation, Body Movement, Styling, Lead and Following, and Technique to his workshops and classes. He is featured in the salsa documentary La Epoca Pt.2 and is featured in various music videos by many top name commercial artists.

Antonio has traveled throughout the world teaching and showing off his talents. Antonio began dancing at the age of three. After many years of studying hip-hop and modern he took an interest in dancing Salsa. In 2008, he trained with the world renown, Clavekazi Dance Company, directed by Shaka Brown. He is currently touring, advising for Visalus, directing his dance company & acting.

Anya Katsevman (New York):

Born in Kiev, Ukraine, Anya Katsevman has been living in the United States since 1993. She began her dance training at the age of ten. After watching her brother become National Champion, Anya developed her own competitive drive that hasn’t stopped since.

She has won over 20 prestigious world titles in the international Latin dance arena, including Eastern United States Championships, Ohio Star Ball, La Classique Du Quebec, American Star Ball and the United States Open Championships. She has also starred in touring shows Burn the Floor and Dancing with The Stars. Anya also took part in numerous television productions including Sabado Gigante, Good morning America and multiple programming on Univision.

Anya has also danced for many latin artists such as El Gran Combo and Gilberto Santa Rosa. Often referred to as the future of salsa, Anya’s combined background of training, dynamic stage presence, elegance, graceful style, feminine approach, and strong technical action Anya quickly became one of the most sought after Latin dancers in the world. Currently, specialize in teaching all levels, coaching competitors and current champions and adjudicating competitions worldwide.

Delille “Mambo D” Thomas (New York):

Delille Thomas, also known as “Mambo D”, is one of the world’s most creative and dynamic Latin dance performers and instructors, internationally recognized for his pure style and virtuosity.

His dance background includes extensive training in Jazz, Modern, Hustle and Latin (Afro, Mambo, Cha-Cha, Tango) and various Caribbean and street dances. Since October 1992, Mr. Thomas has been teaching Mambo classes and conducting special workshops in New York City and various parts of United States and the world.

Ernesto And Denisse (Florida/New York):

Ernesto ‘El Watusi’ Bulnes was born in Honduras and raised in Miami, Florida, the city where he discovered his passion for dance. His initiation into Salsa began with training under the Mayan International Champion, Danny Bravo, an instructor who inspired Ernesto’s distinct dancing style.

Through training across various dance disciplines, he has developed his own style, a fusion of various arts and techniques that make him a distinct member to any dance floor.

After years of training, in 2011 Ernesto founded his own school, Potencia Latina Dance. Born in Miami with an Argentinean heritage, Denisse Cambria has accomplished many of her life goals starting with becoming one of the most well-known and recognized “Salsa” dancers in Florida, USA.

She has taught and performed with many top dance companies including Shaka Brown, Jayson Molina, Al “Liquidsilver”, Casa Salsa Dance Studio, Salsa Lovers Dance Studio, Project Generation, Energy One, Salsa Heatwave and Salsa Mia. She also competed at the ESPN World Salsa Championships with her partner Alfredo DiNatale.

After a total of 10 years of dancing salsa, she continues to enrich her craft with her partner Ernesto Bulnes and the New York Movement Competition team who are the new Professional Large Team WSS World Salsa Champions of 2016.

Lorenz Latin Dancers (New York):

The Lorenz Latin Dance Studios, With Four Locations In Nyc, Is A Complete Dance Academy Dedicated To Providing You With Professional Dance Instruction. We Offer Classes At All Levels, For Children, Teens And Adults, As Well As Choreography, Private Lessons, And Entertainment. Whether You Are An Experienced Dancer, Or Have Never Stepped Out On A Dance Floor,

We Have A Class That Suits Your Needs. Learn To Dance Salsa, Bachata, Cha Cha, Merengue, Hustle, Tango Or Ballroom, With Our Experienced And Dedicated Instructors. They Have Locations In Glendale Queens, Corona Queens, The Bronx And Manhattan. Their Website Is Lorenzdancestudio.com

Among much other artists…

DJ’s

Their passion is bringing you the music that fills your soul and keeps you dancing the night away. They spin at the most popular socials, clubs and events where the serious dancers come together. Meet the best Salsa DJ’s in the world – They are 11 and you will be with them in the New York International Salsa Congress.

Dj Frankie Flores (Cleveland):

DJ Efrain “Frankie” Flores is The Main Resident DJ for the Renowned Baila Duro socials and festivals in Cleveland, OH and is working actively at keeping Classic Hard and Rare Salsa alive. He ignited his passion for music when he first started spinning house music in the basements of warehouses in Cleveland during the early 90s.

Dj Gonzo (Texas):

The musician, producer and DJ was born and raised in El Callao, Peru. At the age of 17, he moved to New York City. He studied music at Queens College music school and learned Latin percussion at Boys Harbor Conservatory for the Performing Arts located in El Barrio, NYC.

His musical studies helped him develop an eclectic taste, and led him to the authentic salsa vieja sound for which he is known. DJ Gonzo’s unique style and soundly rich music selection has made him one of the most influential and top salsa DJs in the U.S. In September 2014, DJ Gonzo launched DJ Gonzo Productions, and signed salsa legend piano virtuoso, Mr. Alfredito Linares.

DJ Gonzo productions’ first album was released the first week of November 2014. The album “DJ Gonzo presents Alfredito Linares – Salsa Pa Todo El Mundo” includes 10 dance floor killer tracks and is now a favorite by salsa DJs world-wide.

Dj Mike Calderon (Miami):

Mike Calderon is a native born and raised in the Magic City of Miami with descendents from Quito, Ecuador. At 21, he started taking Casino salsa lessons and that is where his journey to become a very popular local DJ began. Mastering Casino, he took his dancing to the next level with LA Style and On2 on his own with no classes, just by being in the socials and with other dancers.

DJ Mike Calderon has been doing weekly and monthly events since 23 years old in the salsa scene in Miami. DJ mike calderon (Miami) and much more Djs in New York salsa congress 2017… to get more information and detail about this amazing event, visit http://www.newyorksalsacongress.com

Alain Pérez Triumphs in Puerto Rico with a Confident Stride

The exclusive Tropicoro Club at the Fairmont El San Juan Hotel in Isla Verde was overflowing to welcome the multifaceted Cuban musician Alain Pérez, who performed in Puerto Rico for the first time as a solo artist. Before the dance concert, held on Puerto Rican soil, which closed Alain’s first solo tour of the United States, he had performed in New York, Los Angeles, Miami, and Tampa.

To open the concert, the Cubanísimo concept, led by Puerto Rican bassist and cuatrista Jesús Algarín, set the mood for the audience. The young musician made a confident entrance, accompanying himself with powerful interpretations on his instruments, skillfully directing his own orchestra. Prior to Alain Pérez’s show, the musicians of Cubanísimo—cuatrista, singer, and director Jesús Algarín, trumpeter Miguel Ortiz, vocalists Carmen Jiménez and Gilberto Félix, bassist Félix Juan Algarín, bongos player Freddy Camacho, conga player Jeren Guzmán, and flutist Juan Ortiz—brought to life songs like ‘El yerbero moderno,’ ‘Esa niña,’ ‘El bodeguero,’ ‘La rosa oriental,’ ‘El paralítico,’ ‘Así fue,’ ‘Parampampam,’ ‘Lo que fue no será,’ ‘Que te pedí,’ and ‘El cuarto de Tula.’ Once the musicians, directed by Algarín, finished their set, Alain Pérez made his triumphant entrance.

The singer, bassist, guitarist, percussionist, pianist, orchestra director, arranger, and music producer had been in Puerto Rico on a handful of occasions as a backing musician for artists of the stature of Issac Delgado and Chucho Valdés, to name a few. This time, of course, he arrived as a solo artist and with force, to the rhythm of ‘El cuento de la buena pipa.’ Once on stage, the “guajiro,” who confessed in an interview to having “converted to flamenco,” showed that he felt at home while singing, dancing, guaraching, playing the bass, soneando, and rumbando. Once Alain and his orchestra warmed up the luxurious venue, which was overflowing with people, the virtuous multi-instrumentalist performed songs such as ‘ADN,’ ‘El sabor de mi rumba,’ ‘Amor fugaz,’ ‘Son con moña,’ ‘Hablando con Juana,’ ‘Shorcito,’ ‘Modo avión,’ ‘Batilongo,’ ‘La lámpara,’ ‘Pa’ to’ la vida,’ ‘La moneda,’ the title track from his most recent production: ‘Bingo,’ ‘Andaba solo’—a duet with the “Caballero de la Salsa,” Gilberto Santa Rosa—and ‘Pistolero,’ the latter loudly requested by the elegant audience.

Alain Pérez acompañado de su bajista Mauro Cabrejas

Gilberto joined Alain to sing ‘Andaba solo’ as a duet, but not before giving a “welcome to this beast of music, with whom I had the opportunity to record and whom I had the opportunity to meet in person recently,” clarifying that he already knew him musically, adding that they would sing “without rehearsal, but with affection.”

During the show, the musician who defines himself as a guajiro, sonero, guarachero, and rumbero, delivered fusions characteristic of Alain’s great contribution to Latin music, within Afro-Cuban traditions influenced by his exposure to Hispanic folklore. Pérez built the show using a varied repertoire that included salsa, timba, son, and bolero in interesting fusions. Accompanied by his band—composed of Mauro Cabrejas, Josué Puig, Roberto Medina, Víctor Oliva, Alejandro Sosa, Robelis Arévalo, Julio Puig, Yunnier Stoker, Cristhian Díaz, Darío Andrés, Alejandro Fernández, and Isaac Cambar—Alain Pérez delivered on his promise: “a night full of Caribbean flavor, rhythm, and

energy.”

From the moment Alain started the dance, the energy did not wane. The audience connected with the artist and the person, who visibly emotional, repeatedly expressed gratitude “for the affection received and the nobility perceived,” adding that since setting foot on Puerto Rican soil he has “felt a lot of peace” and that he’s going to have to buy “a little ranch here.”

With the Puerto Rico performance, Alain successfully concluded his first solo tour of the United States with resounding success. That was the idea. Here in beautiful Borinquen, the audience while demanding makes sure the artist feels the love and respect with which they are received and celebrated. Congratulations!

Also Read: Bella Martinez, the irreverent Salsa writer

“An Argentinian with a taste of Cuba,” Rogelio Martínez told Carlos Argentino, the King of La Pachanga

On June 23, 1929, in Buenos Aires, Argentina, Israel Vitenszteim Vurm, better known in the music world as “Carlos Argentino,” was born. He was an excellent Argentinian tropical music singer who was part of the Cuban band Sonora Matancera. He was also known in musical slang as “The King of Pachanga.”

Born in the La Paternal neighborhood of Buenos Aires, his parents were in the textile manufacturing business, and from an early age, he showed an entrepreneurial spirit. Despite belonging to a socially and economically well-off family, he worked as a street vendor, selling newspapers, magazines, and even coffee on trams and at racetracks.

Un argentino con sabor a Cuba, dijo Rogelio Martínez a Carlos Argentino, el Rey de La Pachanga Imagen Discogs — An Argentinian with a Cuban flavor, said Rogelio Martínez to Carlos Argentino, the King of La Pachanga Discogs Image

Ignoring his parents’ wishes for his professional future, he ventured into singing under the pseudonym Carlos Torres. In 1946, at just seventeen years old, he traveled to Brazil with an unknown orchestra. Problems quickly arose, as he had to ask for the intervention of the Argentinian ambassador to return to Buenos Aires, with the intention of studying medicine at Otto Krausse University, as his parents wished.

While there, he completed his mandatory military service, and upon finishing it, he returned to the music scene, definitively abandoning his professional career. He joined the orchestras of Luis Rolero and Raúl Marengo, performing in Peru and Chile. He then traveled to Colombia with Efraín Orozco’s orchestra. Something very curious happened on that trip: there was a Colombian singer named Carlos Torres, and to differentiate himself, he added his patronymic, becoming Carlos Torres Argentino, before artistically consecrating himself as Carlos Argentino.

Carloa Argentino También fue conocido en el argot musical como «El Rey de la Pachanga».

In 1952, he also traveled to Havana, where he worked with the orchestras of Felo Bergaza, Arnoldo Nalli, and Julio Cuevas. He studied singing with the Italian professor Eduardo Bonessi.

In June 1954, he visited Bogotá, and in December, he traveled to Medellín. In February 1955, Sonora Matancera (from Cuba) went on tour in Colombia. They met at the Teatro Colombia in Bogotá. According to Carlos himself, Rogelio Martínez, director of Sonora, asked him if he was from Cuba, and Carlos replied, “I am Argentinian!” Martínez retorted, “Well, you’re an Argentinian with a taste of Cuba; you have to get on the vehicle!” “What vehicle?” Carlos asked. “Ours!” Don Rogelio replied and proposed that he travel to Havana, to which he agreed.

After several months of rehearsal, on August 17, 1955, they recorded their first 78 RPM record. His first single was the bolero-tango “Una canción” (by Aníbal Troilo), and on the other side, the guaracha “Las muchachas caraqueñas” (by Billo Frómeta). Later, he would record other songs such as: “Ave María Lola,” “El solterito,” “Cuartito 22,” “¡Ay, cosita linda!”, “Un poquito de cariño,” “Tu rica boca,” “En el mar,” “Boquita golosa,” “El novio celoso,” “Apambichao,” “Lamento náufrago,” and “La mamá y la hija,” among others; in addition to the boleros: “Alma Vendida,” “No pidas más perdón,” “El amor no existe,” “Cruel indiferencia,” and “Cuando tú seas mía.”

With Sonora Matancera, he traveled throughout Latin America and remained with the group until November 1959. In 1960, he left Cuba and traveled to Mexico. After this, in 1961, he returned to Argentina, where he was received with joy. He settled back in his native neighborhood of La Paternal, in Buenos Aires.

As a distinguished horseman, he became the owner of several thoroughbred horses, which he named after his songs: “Pachangueando,” “La Espumita,” and “El Manotón.” Apart from horse racing, Carlos was a football fan and supported his neighborhood club: Argentinos Juniors (the club where Diego Armando Maradona was born), and Boca Juniors, to whom he dedicated “Pachanga de Boca,” celebrating the title the “Xeneize” team won in 1962, and the album Somos la mitad más uno, celebrating Boca’s Metropolitano championship with Maradona in 1981. He also dedicated songs to other teams, for example, “Equipo de José” (the Racing champions of 1966-67); the one he recorded when Estudiantes de la Plata became world champions in 1968, under the technical direction of Osvaldo Zubeldía; or Chacarita Juniors (Metropolitano champions of 1969), among others.

Throughout his life, he resided – in addition to Cuba – in Colombia, Mexico, and Venezuela, where in 1978 he performed as a singer with the orchestra Los Solistas de Renato Capriles, and participated in their first two LPs, but he always returned to his Argentina.

On a memorable afternoon, July 1, 1989, he reunited with Sonora Matancera in Central Park, New York, to celebrate the group’s 65th anniversary with his old recording companions. On that occasion, he shared the stage with Celia Cruz, Daniel Santos, Vicentico Valdés, Welfo Gutiérrez, Leo Marini, and Nelson Pinedo, among other figures.

Argentino El Rey de la Pachanga con La Sonora Matancera

It was the last time he would be seen in performances, as on June 20, 1991, he died of a myocardial infarction while watching a horse race in Buenos Aires. May he rest in peace and eternal glory!

Also Read: Argentina y sus géneros musicales de origen y los tropicales

By:

Dj. Augusto Felibertt

Los Mejores Salseros del Mundo

The Night Hector Lavoe, “The Singer of Singers,” Refused to Please Pablo Escobar

January 1, 1981. The air was thick with the scent of a new year, but for Héctor Lavoe, it was anything but celebratory.

In Medellín, at a New Year’s Eve party hosted by none other than Pablo Escobar, the “El Cantante” himself found himself in a terrifying standoff.

This isn’t just a rumor; it’s a chilling anecdote that has cemented its place in music lore. It was a night when the King of Salsa faced down the King of Cocaine, and lived to tell the tale.

The Escape

The story begins with a frantic encounter recounted by a Colombian chronicler, Juan José Hoyos, who heard it directly from a taxi driver. It was well past midnight when a man, impeccably dressed in a suit but barefoot, suddenly appeared on the side of the road. He was clearly terrified, and the driver, unable to ignore his distress, pulled over.

The man, disheveled and without a dollar to his name, begged for a ride to his hotel. He explained he’d been singing at a “mafioso” party, and things had taken a dark turn. “My name is Héctor Lavoe,” he whispered.

Héctor Lavoe: “El Cantante de los Cantantes”

The taxi driver was skeptical. “You’ll have to sing ‘Yo Soy El Cantante’ if you want me to take you to the hotel,” he challenged.

Héctor, now inside the cab, bristled. “My friend, that’s exactly why I’m in this mess! One of those guys made me repeat that song like ten times, threatening me with a pistol! I got fed up and told the orchestra, ‘I’m not singing anymore, shut off the equipment!'”

The driver insisted, reminding the slight man in the suit that he was doing him a favor. Then, a voice, otherworldly and unmistakable, filled the cab:

“🎵 Yo soy el cantante / que hoy han venido a escuchar / lo mejor del repertorio a ustedes voy a brindar. / Y canto a la vida / de risas y penas / de momentos malos / y de cosas buenas. 🎵”

There was no doubt. It was Héctor Lavoe.

The Ordeal, Corroborated

What might have been dismissed as another tall tale from a taxi driver gained chilling veracity when members of Lavoe’s band corroborated the story.

Eddie Montalvo, the group’s conga player, vividly recalled the night. The gig with Pablo Escobar had been arranged by Larry Landa, a music promoter with deep ties to the drug world. The contract stipulated they’d play until 2 AM, but Escobar had other plans, demanding they continue until six in the morning.

“When it was two in the morning, Héctor told the band to stop,” Montalvo recounted. “The organizer threatened them at gunpoint to force them to keep singing. He wanted Héctor to repeat ‘Yo Soy El Cantante.'”

Amidst the chaos, the legendary salsa singer Ismael Rivera, who was also present, bravely stood up to the aggressors. Even the bodyguards got involved. Eventually, Lavoe and his musicians were herded into a small room and locked in for the rest of the night.

After an hour, in a desperate move, Héctor smashed a window. With the help of the other musicians, they slipped out one by one into the darkness, leaving their instruments behind, consumed by fear. “For thirty minutes they slipped and fell until they reached the highway,” Montalvo revealed.

And that’s how Héctor Lavoe ended up in that taxi, on a cold January morning in 1981.

A Strange Resolution

But the saga didn’t end there. The very next day, a mysterious individual visited Héctor and his band at their hotel. He presented them with a check, returned their confiscated passports and retained instruments, and offered a surprising apology.

This dramatic incident remains a stark reminder of the volatile world Héctor Lavoe navigated, and his unwavering spirit in the face of immense danger.

Also Read: International Salsa Magazine showcases important facts about Héctor Lavoe

By:

1) Los Mejores Salseros del Mundo

2) Dj, Augusto Feliberrtt

3) Hector Lavoe – Fans

Adrián Joel Rodríguez Rivera is a musician with extensive experience as a Bassist

Adrián Joel Rodríguez Rivera (a.k.a. “AJ”) had his first experiences with the electric bass at 14 years old.

He began formal studies at the Antonio S. Paoli Specialized Music School in Caguas, Puerto Rico, that culminated with a Bachelor’s Degree in Music in Jazz & Afrocaribbean Music Execution with a major in Electric Bass from The Conservatory of Music of Puerto Rico.

Throughout his career, he has played and recorded with musical groups in diverse music genres, e.g. reggae, rock, jazz, urban and tropical music.

He’s had the pleasure of collaborating with artists like Calma Carmona, Yaire, Auudi, Brytiago, Raquel Sofía, Jean Carlos Canela, Galé, among others.

Adrián Joel Rodríguez Rivera (alias “AJ”) gained his first experiences with the electric bass at the age of 14

Presently works from Puerto Rico and has performed in the United States, Colombia, and Ecuador.

The History of the Electric Bass

The history of the electric bass is intrinsically linked to the need for a more practical and amplified alternative to the bulky double bass, especially as musical bands grew larger and louder.

The Early Steps and Paul Tutmarc (1930s)

Although there were some earlier experiments, the first functional electric bass is considered to have been developed by Paul Tutmarc in the 1930s. In 1936, his company, Audiovox, launched the Model 736 Bass Fiddle.

This instrument featured a guitar-like design, with a solid body, frets, and an electromagnetic pickup, making it easier to transport and play compared to the double bass. However, Tutmarc’s invention was not a great commercial success at the time.

Leo Fender’s Revolution (1950s)

It wasn’t until the early 1950s that the electric bass truly took off, thanks to Leo Fender. Seeking to solve the problems of size, volume, and tuning of the double bass, Fender applied his expertise in electric guitar manufacturing to create an innovative instrument.

In 1951, Fender launched the Precision Bass, the first mass-produced and commercially successful electric bass. Its design was robust, with a solid body and frets (hence the name “Precision,” for the tuning accuracy the frets offered). This bass quickly became a standard, used in a wide variety of musical genres, from soul and R&B to rock.

Later, in 1960, Fender introduced the Jazz Bass, which offered a slimmer neck and two pickups (one near the bridge and one near the neck), providing greater tonal versatility and a sound that many jazz musicians found closer to the acoustic double bass.

Expansion and Evolution (1960s Onward)

Throughout the 1960s, other brands like Gibson, Höfner, and Rickenbacker also began manufacturing their own electric bass models, flooding the market with new options. The popularity of the electric bass grew exponentially, solidifying its place as a fundamental element in modern music.

The 1970s saw further experimentation. Preamplifiers began to be integrated into instruments to expand the tonal range, and multi-string basses emerged. In 1974, bassist Anthony Jackson and luthier Carl Thompson collaborated to create the first six-string bass, with the goal of expanding the instrument’s sonic range.

From the 1980s onward, innovation continued. 5 and 6-string basses became popular, as did active circuits and “boutique” basses from specialized luthiers. Designers like Ned Steinberger introduced headless basses and experimented with materials like carbon fiber. Influential musicians like Jaco Pastorius brought the fretless bass to the forefront, and techniques like “slap” and “double thumb” were developed and popularized.

Today, the electric bass continues to evolve, with a vast range of designs, configurations, and sounds, adapting to the needs of the most diverse musical genres and the creativity of bassists worldwide.

He began formal studies at the Antonio S. Paoli Free Specialized School of Music in Caguas, Puerto Rico.

Also Read: Charlie Haden was an extraordinary double bassist and composer who was a key figure in the history of modern jazz