Orchestra

Héctor Martignon has been one of the most sought-after pianists on the Latin jazz scene in New York

New York based-, Colombian born Hector Martignon has composed, orchestrated, produced, performed and recorded music in a wide spectrum of genres, from Classical and Crossover, to Jazz and World Music, to Rock and Pop.

His five albums as a leader, two as co-leader (MOZART’s BLUE FANTASIES and BACH’s SECRET FILES) as well as his work on over a hundred albums, scores for five feature films, three Broadway Musicals and multiple other projects, showcase his wide-ranging area of expertise.

At Mozart Studios recording Carlos Jimenez’ second CD, + Ruben Rodriguez + Vince Cherico. A pleasure!

After several nominations as a sideman, two of his five solo CDs were nominated for a GRAMMY Award (REFUGEE, 2008, and SECOND CHANCE, 2010).

He arranged and performed parts of the score of Ang Lee’s OSCAR-nominated movie EAT, DRINK, MAN, WOMAN.

His first professional recording was at age 18 (Mikis Theodorakis’s “Canto General”) while one of the most recent was on legendary rock band CHICAGO’s latest production, the Latin-tinged “EXITOS”.

He has written symphonic orchestrations, performed and recorded by the Russian Philharmonic Orchestra and compositions like ABRE LOS OJOS, CIERRA LOS OJOS, commissioned and premiered by the MUSICA DE CAMARA STRING ORCHESTRA at St Patrick’s Cathedral in April 2011.

Hector Martignon is currently working on a first CD with his BANDAGRANDE Big Band + String Quartet as well as an album with selections out of a series of 7 solo piano recitals at the Ludwigsburg University of Education (Germany), where he conducts a “compact seminar” on Classic Music-based improvisation every November.

As a requested sideman he has toured the world with such greats as Paquito D’Rivera, Ray Barretto, Gato Barbieri, Steve Turre, Don Byron, Tito Puente and was featured pianist with Max Roach’s PROJECT AMERICA at the 92 St Y.

His joy of teaching has made him a requested guest-lecturer and performance teacher in music faculties and academies in several countries of Europe, Japan, North- and South America.

Hector wrote an instructional book on Latin piano commissioned and published by Hal Leonard, the SALSA PIANO BOOK.

Martignon’s abilities as a pianist have always been enriched by his interest in varied musical genres.

He paid for his studies of classical piano and composition at the prestigious Freiburger Musikhochschule in Germany by performing with the best Afro-Cuban and Brazilian bands of Europe, backing stars like Celia Cruz and Ismael Quintana on their European tours, and recording with Tata Güiness and Arturo Sandoval.

At the same time he was attending seminars of contemporary composition with masters like Gyorgi Ligetti, Luigi Nono and Karl Heinz Stockhausen.

He also performed classical music in recitals and concerts in Germany, Italy and his native Colombia, specializing in Chopin, Bach and Debussy.

One of his latest endeavors has been a Jazz-Classical crossover project, co-lead with star virtuoso trumpeter Joe Burgstaller, in which the music of the classics, from Bach to Ellington is re-created in a chamber-jazz setting, to be enjoyed on their two releases, “Mozart’s Blue Fantasies” and “Bach’s Secret Files”.

Living in Brazil for a one-year love affair with that country and its music, Martignon soon became a requested studio musician and worked for star producer Carlinhos Brown.

Since relocating to New York City, Martignon has been one of the most sought-after pianists on the Latin jazz scene.

He’s toured North and South America, Europe, and Asia with the bands of Mongo Santamaría, Gato Barbieri, Steve Turre and Don Byron, who had him record in his latest CD.

He was featured pianist with the bands of Tito Puente, Mario Bauzá, Chico O’Farrill, Paquito D’Rivera, and Max Roach in his “Project America.” Most notably, Martignon was pianist for the late Ray Barretto’s various ensembles.

During his eight-year association with Barretto, his contributions as pianist, arranger, and composer were fundamental in shaping the sound of the now famous New World Spirit Sextet.

One of his last collaborations with Barretto, “My Summertime,” was a favorite nominee for a Grammy award. Martignon’s versatility has also made him extremely active in the film and television industries.

Besides playing all piano parts, he arranged and produced many parts of the score for the Oscar-nominated film “Eat, Drink, Man, Woman” by Ang Lee and performed the piano and keyboard parts for many movie scores (i.e., “Gloria”, “Relativity”).

He is composer of the original music of two feature films, one of which, “Septimo Cielo”, won international awards. He also collaborated in the production of many Broadway musicals (“Chronicle of a Death Foretold”, Paul Simon’s “The Capeman”, “Selena Forever”) as conductor, arranger, and co-composer. In the fall of 2003 Hector visited Slovenia and Russia to collaborate with singer-songwriter Vitaly Osmsçko’s first symphonic CD.

The Russian Philharmonic Orchestra recorded in Moscow the orchestrations written by Hector.

As a composer, producer and arranger of TV and radio music his record is no less impressive. In 2001 he landed two spots for HBO Latino, and one for Coca Cola.

HECTOR” S FOREIGN AFFAIR In 1998 Martignon performed with his quartet “Foreign Affair”at the Brooklyn Academy of Music’s famed annual festival “The Next Wave” on a triple bill with Tito Puente’s “Top Percussion” and Don Byron’s “Music for six Musicians”.

This proved to be a turning point for him and his ensemble, which evolved from the strictly acoustic trio sound of the first two CDs to a more eclectic and electric quartet sound.

The new configuration that evolved from that memorable concert started a series of concerts and recordings, with guitarist Mark Whitfield, Cameroonian bassist Richard Bona and Cuban drummer Horacio “Negro” Hernández.

This quartet performed and recorded live during a weeklong stint at New York’s famous Birdland.

The group has also performed on BET television festivals, at jazz clubs in Manhattan, and made various appearances in clubs and open-air festivals in his native Colombia and in Europe.

Martignon’s third solo project, to be released in the fall of 2003, is not only a reflection of the group’s new musical direction but also of his interaction with other world class musicians.

Eddie Gomez, Jeff Watts, Mathew Garrison, John Benitez, Dafnis Prieto, Willard Dyson have all made their unique contribution to this, Martignon’s new sound of Jazz.

Hector In Amsterdam with daughter Leticia

Hector Martignon never fails to surprise, challenge and delight us. Stay tuned and get involved in this affair.

Site: Héctor Martignon

Also Read: “El Sol de la Música Latina” el primer premio Grammy para el histórico disco de Salsa Eddie Palmieri

“The Sun of Latin Music” the first Grammy Award for Salsa Eddie Palmieri’s historic album

It has been 49 years since “The Sun of Latin Music”, Eddie Palmieri’s historic album, which marked a fundamental milestone in the history of Latin music by becoming the first production to win a Grammy Award in the category of Best Latin Recording, awarded on February 28, 1976.

"The Sun of Latin Music" the first Grammy of Salsa Eddie Palmieri's historic album — “The Sun of Latin Music” the first Grammy of Salsa Eddie Palmieri’s historic album

Recorded in New York at Electric Lady Studios, the album was released by Coco Records on Wednesday, September 18, 1974.

The album featured vocals by Lalo Rodríguez, who was only 16 years old at the time.

It includes: ‘Nada De Ti’, ‘Deseo Salvaje’, ‘Una Rosa Española’, ‘Nunca Contigo’, ‘Un Día Bonito’, ‘Mi Cumbia’.

“The Sun of Latin Music” proved to the world that Latin music, especially Salsa, was an honorable art form and opened the doors for many other Latin artists to receive solid recognition for their talent and work.

Eddie Palmieri

The sun of Latin music

MP, 1990. MP-3109 CD

Recorded in 1975

The Sun of Latin Music was a controversial album. It was too far from the easy formula of the middle salsa boom – what César Miguel Rondón calls the “mtancerization of salsa”.

“Ahead of its time” was one of the comments; “a piece like Un día bonito, had to be mutilated” with a 6-minute piano intro just to be able to play it on the radio; a danzón (Una rosa española) with lyrics by the Beatles; a cumbia that is not very Colombian, despite the name (Mi cumbia) and the chorus that says “very Colombian…”.

Nevertheless, this album represents the strength of the spirit of salsa: the encounter between the harshness of the street and the majesty of the most sophisticated musical sound.

One of the best albums of Caribbean music ever released.

Palmieri was always in search of something new. The Sun Of Latin Music is the culmination of a phase that began with an earlier album, Sentido (1974).

This time he chose the Panamanian Vitín Paz for the trumpet solo, Barry Rogers for his trombone and an unusual tuba, which formed a kind of basso continuo, and besides Barry, José Rodrigues, who for a long time was, and despite his absence still is, his most emblematic trombonist.

Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.

Ronnie Cuber and Mario Rivera were chosen as the first saxophonists in a Palmieri orchestra.

For many it is Palmieri’s best album, the most experimental and universal. One that borders on academic music, but without forgetting the dancer.

With spices like the violin of Alfredo de la Fe, who contributes his creativity everywhere, the tuba, the penetrating power of the brass, the overwhelming percussion.

Thus, Una rosa española is a modern danzón that later becomes a montuno that revives the joyful Palmerian game with the dignified uproar of trumpets, saxophones and trombones.

A young man of only 17 years, Lalo Rodríguez, who years later would become the standard-bearer of what was called salsa erotica, was chosen as the singer. Another novelty: the timbre of his voice, with a very high register, and the way he faced the montuno, which did not correspond to his age, caused different reactions.

But the most amazing thing about this 1974 album is the 14:20-minute track Un día bonito, arranged by Barry Rogers, which would keep even the most trained dancers busy. But Palmieri wasn’t just thinking about leg sets or dance floors.

The piece begins with a long piano interlude, the same structure he used in the track Adoración from the album Sentido, which would mark a new musical phase in his career.

It was more than experimental, it had some electro-acoustic music; no one had ever had the audacity to do that on a salsa album. Palmieri made the leap, he could do it, it sounded more like Stravinsky or Milhaud than Puente or Fania.

Suddenly, back in the piece, the orchestra bursts in, harder and heavier than ever, wishing the city of Los Angeles a beautiful day and San Francisco a “warm greeting,” and it is certain that Keruack and Borrough heard the call.

Then Eddie Palmieri was consecrated by the intellectuals and the educated and also by the Grammy.

Eddie Palmieri

The sun of Latin music

Produced by Harvey Averne

Eddie Palmieri: piano

Lalo Rodríguez: vocals

Vitín Paz: trumpet

Virgil Jones: trumpet

Barry Rogers: trombone, tenor tuba

José Rodrigues: trombone

Ronnie Cuber: Baritone Saxophone, Flute

Mario Rivera: Baritone Saxophone, Flute

Alfredo de la Fe: Violin

Eddie Guagua Rivera: Bass

Tommy Chuckie Lopez, Jr.: Bongo

Eladio Pérez: conga

Nicky Marrero: timbales, percussion

Peter Gordon: French Horn

Tony Price: Tuba

Jimmy Sabater: Chorus

Willie Torres: Chorus

Tommy López Sr.: conga

Tracks: Nada de ti; Deseo salvaje; Una rosa española; Nunca contigo; Un día bonito; Mi cumbia

Arrangements by René Hernández and Barry Rogers

One of the most valuable pieces in the exhibition “Rhythm and Power: Salsa in New York”, which will be presented until next November at the Museum of the City of the Big Apple, is the first Grammy in the history of Latin music, awarded in 1976 to Eddie Palmieri for his album “Sun of Latin Music”.

Sources:

Anapapaya

Salsero Radio

D j. Augusto Felibertt

Also Read: Salsa and its detractors “Caiga quien Caiga”

José Alberto “El Canario” and his orchestra enjoy a great international reputation in the Latin music scene.

His start in music was as a drummer, then as a bongo player, with some 48 years in Latin music and as a sonero, today in International Salsa Magazine through www.salsagoogle.com, José Alberto Justiniano Andújar, better known artistically as José Alberto El Canario, was born on December 22, 1958 in Villa Consuelo in Santo Domingo Dominican Republic.

El Canario began to have a passion for music from a very young age, first playing drums, bongo and timbales, at the age of 7 his mother Adalgisa, recognized dancer of the golden age of “Radio-Televisión Dominicana”, took him to live on the island of Puerto Rico, as a professional dancer she had to perform in important international theaters.

El Canario began to study in a military school in Las Antillas, then in 1970 he moved with his father to New York, where he began to sing with several orchestras, receiving international attention as the leader of the Típica 73 in October 1977, where he earned 25 dollars for each presentation and recognized it as his university in the life of art.

José Alberto credits his compadre Roberto Geronimo for his successful artistic career. Geronimo discovered him as an artist and managed him for many years. El Canario also sang merengue at the onset of his musical journey.

In 1983, José Alberto established his own band and gained fame as a major Latin star after his debut album Noches Calientes released in 1984.

Jose Alberto is a renowned singer who has recorded numerous chart-topping hits, including “Sueño Contigo”, “Hoy Quiero Confesar”, “Te Voy a Saciar de Mi”, “A Gozar”, “Es Tu Amor”, and “Quieres Ser Mi Amante”, among others, for his 1988 album Sueño Contigo and several others.

His inimitable voice and unmatched improvisational skills have earned him international acclaim. Jose Alberto has collaborated with several contemporary artists such as Johnny Rodriguez, Mario Rivera, Nicky Marrero, Oscar D’Leon, and Celia Cruz.

El Canario began to have a passion for music at a very young age, first playing drums, bongo drums and timbales.

José Alberto “El Canario” has earned multiple gold and platinum records due to his high number of album sales.

He has achieved success not only in the United States and Europe but also throughout Latin America, including his native Dominican Republic, Puerto Rico, Peru, Venezuela, Panama, Colombia, Ecuador, and Costa Rica.

The nickname “El Canario” was bestowed upon him by a New York disc jockey who christened him so in a disco due to his improvisational skills; “Canta canario” was the catchphrase he would belt out through the control microphone.

José Alberto ‘El Canario’ and his Orchestra have gained immense international recognition in the Latin music industry.

His musical prowess and captivating voice make his live shows some of the most thrilling performances.

El Canario, winner of the “Congo de oro” in 2005 – an award given to the best musical groups presented at the Festival de Orquestas del Carnaval de Barranquilla – and of three Latin Grammys in 2013, 2015 and 2018, is one of the undisputed artists of Latin music with a career spanning some 48 years.

Arturo Sandoval, Oscar D' Leon y El Canario — Arturo Sandoval, Oscar D’ Leon y El Canario

Throughout his career, José Alberto El Canario has gained international recognition for his unique voice and style, but also, according to his biographies, for his improvisations on stage.

José Alberto El Canario y su Orquesta enjoys great international renown in the Latin music scene.

Also Read: Jimmie Morales a conguero for the history of Afro-Caribbean music

José Hildemaro Hugas Amarista “El Sonero del Amor” from Venezuela to the world

José Hildemaro Hugas Amarista, better known artistically as “Hildemaro, El Sonero Del Amor”, was born on November 10, 1957 in Caripito, a city in the eastern Venezuelan state of Monagas.

He is a Venezuelan singer-songwriter whose interest in music began at a very young age, participating in various children’s programs on the radio station in his hometown and in Maturin, the capital of the state of Monagas.

In 1970 he won the first “Festival De La Canción Inédita” held in Caripito.

Then he moved to Carúpano, where he began to sing with different musical groups of that city, such as “Los Bravos” and “Soles De Media Noche”.

"El Sonero del Amor" from Venezuela — “El Sonero del Amor” from Venezuela

Later he was called by the “Combo Melorítmico” of Maturín, where he stayed for a year. He always wanted to sing in the capital.

In 1976 his dream came true when he was called to be a part of the Front Train Orchestra “Los Satélites”, for seven (7) months, the proposed goals began to be different and began to work to achieve them. In 1979 he joined the “Orquesta Ideal”, with which the song “Contigo Besos Salvajes” was played all over the country and was successively imposed among the first places.

In 1981 he joined the “Supercombo Los Tropicales” of Maracaibo, then the “Noche Caliente” orchestra and later the “Porfi Jimenez” orchestra.

In 1985 he joined the orchestra of Renato Capriles: “Los Melódicos”, which gave him the greatest and best experience, given the popularity, prestige and discipline imposed by its director.

In 1986, as a soloist, he recorded his first LP of tropical music under the name “El Jr. de la música tropical” for the record label “Sur Americana del Disco”, , with the name “El Jr. de la música tropical.”

In December 1987 he received a wonderful offer from the record label “Top Hit (T.H.. ) and in 1988 he records his first LP, as a “sensual salsero” for Venezuela, titled “Amanecí Contigo” under the pen of José “El Flaco” Bermúdez, who is also the creator of the style that pushes him towards the international market, where all his songs hit with great acceptance and have his greatest impact in Peru (his second home as he usually calls it), starting his successful career as “Hildemaro, El Sonero Del Amor”.

José Hildemaro Hugas Amarista "El Sonero del Amor" from Venezuela to the World — José Hildemaro Hugas Amarista “El Sonero del Amor” from Venezuela to the World

In 1989 he recorded his second LP entitled “Sin Tabú”, which went gold a few weeks after its release, and this album took him back to Peru, where he is considered one of the main idols of Salsa Sensual. Panama, Mexico, Colombia, Ecuador, Argentina, Chile, Dominican Republic, Puerto Rico, Costa Rica, United States, Europe (Spain, Italy, France, Holland, Switzerland, among others), Asia (Japan), among many other countries, have joined his successful career.

In 1990 he recorded his third album called “Romantic and Sensual”, consolidating himself as one of the best voices of Latin American and Caribbean Salsa, qualities that were also reflected in his fourth production entitled “Lo Mejor De Mí” in 1991.

In 1993 he recorded his fifth album under the name “Al Natural”.

In 1994 he was invited to participate in the recording of the album “Con Ganas” by the Cuban Issac Delgado, where he performed a duet of a song composed by José L. Cortes called “Que Pasa Loco”, which quickly became an international success and took him to other latitudes.

In 1995 he released his sixth production with the title “Lo Que Siento”. One year later he signed a contract with the Mexican label “Balboa Records”, where he recorded the album “La Mejor Salsa Con Hildemaro”.

"El Sonero del Amor" from Venezuela and Viti Ruiz — “El Sonero del Amor” from Venezuela and Viti Ruiz

In 1999, he was invited by the Venezuelan group “Melody Gaita”, along with other artists, to record a tribute song to his friend and colleague Oscar D’ León.

In 2001, “Orquesta La Constelación” decided to record an album with several artists, in which he participated with two (2) songs (Peruvian waltzes), “Cuando Llora Mi Guitarra”, in duet with Andy Montañez, and “Jamás Impedirás”, which allowed him to sound nationally and internationally.

In 2002, he is called by another Venezuelan group “Pajarito Vola Show”, along with other artists, this time to participate in a well-deserved tribute to Betulio Medina. In 2002 and 2003 he burst in the national and international radio stations with two (2) singles “Corazón Loco” and “El Celular”.

In 2016, he begins to sound again in the radio stations with the song “Que Voy a Hacer Sin su Amor”.

In addition to his talent to sing Salsa Romántica, he is recognized for his interpretation of the Bolero. And on stage he has shared the stage with artists of the stature of: Oscar De León, Tito Rojas, Tito Gómez, Paquito Guzmán, Andy Montañez, Maelo Ruiz, Viti Ruiz, Gilberto Santa Rosa, David Pavón, Ismael Miranda, El Gran Combo de Puerto Rico, Tony Vega, Nino Segarra, José Alberto “El Canario”, among many others.

"El Sonero del Amor" from Venezuela and El Canario — “El Sonero del Amor” from Venezuela and El Canario

Among his many facets is his love for sports, especially volleyball, which he has practiced since he was very young. He is an honorary member of the FUCUFOCA Foundation, which has been responsible for the organization of the Festival de la Canción Inédita de Caripito for fifty-one (51) years. Faithful collaborator of the Friends of Palencia Foundation and sponsor of several institutions.

Through his foundation HH Productions, he has carried out social actions such as Collaboration in the construction of the Virgen del Rosario Church in Caripito;

Donations of medicines and food to the needy, assistance to sports teams with equipment and clothing, organization of charity concerts and support of the “Amigos de la Palencia” Foundation.

Through his foundation HH Productions, he has carried out social actions such as Collaboration in the construction of the church “Virgen del Rosario” in Caripito;

Donations of medicine and food to people in need, help to sports teams with equipment and clothing; Realization of benefit concerts and concerts of popular attraction in collaboration with the end of year festivities of his hometown.

He has always given value to new talents, helping them in their first steps with his advice and teachings, such as Angel “Tu Angel”, Hildemaro Jr. “La Continuación”, Gilberto Hugas, among others.

Between the years 2022 and 2023 he will celebrate his forty (40) uninterrupted years of artistic life, with a long international tour in countries such as: Colombia, Bolivia,

Peru, Panama, United States, Canada and Europe. He is now promoting the songs “Si Tú Te Vas” and “Amigos Especiales” from his new production, which he is preparing with his inseparable director and producer, José “El Flaco” Bermúdez.

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

Metamorphosis: from music to photojournalism, a reinvention without limits

In the salsa scene, we are privileged to have the presence and companionship of Felix “Guayciba” Ayala.Guayciba is one of the greatest photojournalists Puerto Rico has ever produced.

He has moved from the musical notes that embrace our ears to now capturing visuals that awaken our five senses of unrepeatable moments.

I appreciate and share first hand the reference of how this idea begins, how the seed of wanting to be a photojournalist is planted, after having directed the Guayciba Group for 12 years.

“In the mid-’80s, a group of friends and I got together. We started playing and put together a Christmas repertoire. People liked it, and they told me, ‘Hey Felix, you should form a group, you sound great.'”

Encouraged by the public’s reception, they set about the task of banding together and formalizing a repertoire of Christmas music, which they later expanded to include popular music. In 1987, the group did not yet have a name, but the musicians were already rehearsing and playing in a bar in Santa Rosa (Bayamón, Puerto Rico).

In 1988 they started calling themselves Murciélago Sound Machine and got their first professional contract, for which they charged $200.00. During one of the rehearsals, Felix’s neighbor, who owned a movie and video rental store, offered to give him the name of his store: Guayciba; which he had already registered with the State Department.

The rest is history.

Felix liked the name, even though he still didn’t know what it meant. Guay-ciba means to take care of the stone. It turns out that our Taino Indians communicated by carving messages on stones, which we now know as petroglyphs.

This form of communication of our Indians, the Tainos, was engraved on the stones that are part of our heritage.

Since 1989, Guayciba claims to have lost his last name – Ayala – to replace it with the name he is known by in the media, Guayciba.

On the salsa stage we have the privilege of having the presence of Felix "Guayciba" — On the salsa stage we have the privilege of having the presence of Felix “Guayciba”

This was the name of the musical group of which Félix Guayciba was the director, composer and singer. As the main member and founder, he took on the task with commitment and in 1989 they released their first record production, entitled Nuestra música primero en LP, because CDs were not yet widespread in the market.

Felix remembers that the first singer of Grupo Guayciba was Gisela Ortiz. Some time later, Gisela got thyroid cancer and when she lost her voice, she had to be replaced by Aidita Encarnación.

Guayciba recalls that Aidita made her debut with the group during the “Coffee Festival” in Maricao and remained with the group until it disbanded in 2000.

In 1991 they produced Echemos pa’lante, which opened the door to radio stations on the island. In 1992 they produced Por ti doblaré rodillas, and in 1993 they released what Felix considers their masterpiece under the title Borinquen, nido de amores.

Félix affirms that this production became the classic album that consolidated them in Salsoul, Z-93 and Estereotempo. Later they released La revolución apoya lo nuestro. In 1999 they released their last album, Contra viento y marea.

In this last Guayciba production, Maestro Luis ‘Perico’ Ortiz made two arrangements: “Déjame Soñar” by Perín Vázquez, which Tito Puente had already recorded on the 100th album, backing the voice of Tony Vega (Antonio Vega Ayala), the cousin of Félix Guayciba Ayala. The six albums of the Grupo Guayciba were recorded in the studio of Maestro Pedro Rivera Toledo, and in Contra viento y marea Maestro Rivera Toledo recorded the saxophone.

In his last album, the song “Por nada la cambiaré” was composed by Guayciba and dedicated to his homeland, Puerto Rico.

They never recorded Christmas music because their mission was to defend our music, the seis, the bomba, the plena and the guaracha, among other indigenous rhythms. The time came for the group to disband, but as Guayciba affirms: “We left a legacy for the musical history of our nation (…) Guayciba was, is and will be one of the best musical groups in the history of typical Puerto Rican music. I have retired, but at least we have left a legacy for history, we have left a mark”.

With the arrival of the new millennium, Guayciba’s musical stage ended to give way to the visual arts, making it clear that he had not retired from the humanistic arts, but had reinvented himself and now stood out in the visual arts.

The images captured by Guayciba’s photographic lens are full of life and movement. The viewer sees as if the artist, athlete or object in the photo comes to life.

Guayciba reflects while explaining how the image speaks or remains silent, depending on the adjustment made, the movement given, the position and the light.

He hastens to clarify: “I have used my musical career to distinguish myself in photography. I photograph artists the way I want them to photograph me.

I try to make the image I take of an artist or a show speak. In photojournalism, the photo has to speak.”

Guayciba made the decision to move from music to photojournalism as a result of a deep depression that he faced and fought with professional help. Once the decision was made, he began training at the University of Puerto Rico.

He never forgot what one of the specialists who was part of the medical team that helped him recover told him: “I have faith in you. If you are going to be a photojournalist, I want you to be the best photojournalist”.

Felix attended classes every Wednesday for three hours. He remembers his first photographic experiments. One that comes to mind is Ricardo Arjona, who performed for an entire season at the Centro de Bellas Artes. Felix would leave his weekly class to go to the CBA, where he would stay until late.

The next day he would go to a megastore to develop the photos from the night before and bring them to the professor to evaluate the shots. The professor would give him advice on what to do to improve the photos he had in hand.

Another moment he remembers with emotion was in 2002, when Fania played a concert at the Juan Ramón Loubriel stadium in Bayamón.

Guayciba already had a digital camera, and during that concert, he says he used 25 rolls of film with 36 exposures each.

He says this was his first international assignment. The first time he photographed an international artist was when he was still a photography student, practicing with Ricardo Arjona in the Fine Arts Department.

As a result of that coverage, he got in touch with the Guatemalan artist, who was thrilled with the photos Felix took, saying at the time that they were the best photos he had ever taken, adding that the Puerto Rican had captured his best side.

Felix has continued to evolve and has had the opportunity to cover concerts by Elton John, the Rolling Stones and Paul McCartney, among others. He says: “The only thing I don’t do is pornography, weddings or quinceañeras”. His specialty is artistic shows and sporting events.

Guayciba is the longest serving photographer to cover the Coliseo de Puerto Rico since its inauguration in 2004, when Sonora Ponceña, Richie Ray & Bobby Cruz and Roberto Roena’s Apollo Sound performed in that memorable concert produced by Pepe Dueño.

One of the highlights of his career was a trip to Cuba in 2009, where Guayciba was the official photographer for the Puerto Rican delegation that went to the Cuba Disco Festival, which was dedicated to Puerto Rico in that edition.

He has taken more than 24,000 pictures of Cuba. The most memorable experience of his trips to Cuba was visiting the resting place of Che Guevara.

He continues to learn from all the images he has taken and published. “At one point, during the performance of the 2013 musical Pedro Navaja, the Caballero de la Salsa, Gilberto Santa Rosa told me, “You have to let yourself be criticized and you have to accept criticism as long as it is constructive criticism.”

Felix added and still maintains: “It depends on who is criticizing you, because there are people who criticize you just to make fun of you; yes, you know, out of envy”. In fact, Felix understood that he had the best photos of Gilberto.

When he went to see him to show him, Santa Rosa told him: “They’re good, but these photos where I’m alone don’t say anything because it could be at the Fine Arts Center or it could be in some theater. This concert is symphonic, where is the symphony orchestra?” Santa Rosa was right. “From that ear flattery I learned that you have to take the picture of the artist and the complements like stage, orchestra, etc.. It’s like writing a story. You have to include the day, the historical setting, the characters, and make sure that the viewer can get a picture of what happened there in the moment. It’s more of a frozen in time effect.

Guayciba considers Conrado Pastrano her teacher and mentor. She expresses gratitude for all that she has learned in photography and acknowledges that there is still more to learn.

Conrado is an exceptional colleague who takes the time to explain ways to correct unwanted effects in images. Guayciba has developed her own unique style by studying the works of other colleagues and drawing inspiration from each of the photojournalists whom she admires.

Guayciba is highly regarded as one of the top photojournalists in Puerto Rico, although he is humble and has never claimed the title for himself. He recognizes that there are others who may be more talented than him. His motto is: “I may not be the best, but I am proficient in my craft and the photos I take convey a narrative.”

When he is at the ball park, he adeptly adjusts his lighting, shutter speed, and lens to capture the intricate details on a ball despite its velocity exceeding 100 miles per hour. When artists perform on stage, Guayciba faces the task of restoring their natural appearance despite the color filters and stage lighting often making them look unnatural or cartoonish. Overcoming these challenges and bringing the images to life, imbues these artists with renewed enthusiasm for their craft, a pursuit they have devoted over two decades to.

At 68 years of age, he prays daily for longevity. He abstains from drugs and alcohol, including wine, champagne, and cider. His sole indulgence is tobacco and photography.

To view Félix Guayciba’s artistic works and keep in touch with this vital advocate of Puerto Rican culture, please visit the publication at www.guayciba.com. To email him, please use [email protected], or follow his IG account at https://www.instagram.com/guay54/.

To reach him by phone, please dial 787-637-8617. He is always available and eager to assist with his usual helpful demeanor.

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