Hello there, regular Salsa Escrita readers, here is your ever friend, Professor Carlos Colmenárez MSc, greets you from Barquisimeto, the musical city of Venezuela. In this edition, we are introduing three vocalists and an orchestra with a great trajectory at a national and international level, who have done a great job on behalf of Latin music and we want to continue projecting them worldwide on these pages.
Among these names are: Jorge Luis Suárez, Cheo Valenzuela, Gustavo Gerardo and the orchestra “Negramenta”, si I certainly hope the written interaction between you and us is to your liking.
In Venezuela, musical talent is without a doubt top of the line and of proven quality nationally and globally. A great number of artists with seniority and status have emerged and born in Barquisimeto, Lara, exalting our Latin rhythms.
For this edition of “Salsa Escrita”, we are honored to have as a special guest the vocalist Jorge Luis Suarez, pride and symbol of Afro-Caribbean music and diverse genres, who has showed his class and professionalism for years.
Jorge Luis is a singer, musician and multi-faceted artist; he was born on August 7 in the city of Maracaibo, the son of parents from the city of Carora, where he spent the most of his childhood in the state of Lara, began to lean towards music, and was largely influenced by his father, who played the guitar and sang romantic music.
At the beginning of the 80’s, he moved to Barquisimeto to attend university and was discovered as a singer and bass, cuatro and guitar player. Welcome to “Salsa Escrita”, through International Salsa Magazine, Jorge Luis Suarez.
To start this pleasant, enjoyable and long-awaited meeting, we would like you tell us your experiences about your artistic career, which has been very successful nationally and globally to make everyone who knows you very proud.
Thank you Professor Carlos Colmenárez for inviting me to your widely read and recognized salsa column, unique at a national and international level and in which you project Venezuelan musicians.
Jorge Luis, with which groups did you start your journey of this wonderful art in which you have demonstrated versatility, perseverance, discipline and quality? Well, let me tell you that I started my musical activity professionally, being part of groups of regional standing like “Las Estrellas del Momento”, “Orquesta Alegría” and then “Venezuela en Gaitas”, “Sason Latino” and at the end of the 80’s and beginning of the 90’s, I joined the staff of the orchestra “La Banda Actual”, a salsa icon in the state of Lara.
By the way, Jorge, we remember your beginnings with “La Banda Actual” and it was an obligatory reference for private parties, night places and of course sharing stage with great artists and Latin and Caribbean music luminaries.
In which groups did you have the joy and the pleasure to sign with national and international stars? In fact, Professor, when I was part of La Banda Actual, we performed with Héctor Lavoe, Wilfrido Vargas, Las Chicas del Can, Porfi Jiménez, Guaco, Los Melódicos, Hermanos Carruyo, Billos Caracas Boys, Orquesta La Crítica and many more during their visits to Barquisimeto, having the Bolivarian Dome and the Trade Fait Complex as locations.
In fact, Jorge Luis, due to your outstanding vocal capacity, gave rise to the call of Luis Frómeta, Billo Frómeta’s son, to join the ranks of Billo’s Caracas Boys. With them I learned to have more artistic discipline and gain experience during 4 years, managing to record three musical productions and traveling through Latin America, the US and Europe; precisely in the Tenerife carnivals we achieved the Güines Record related to public attendance to a dancer, sharing the stage with Celia Cruz and Oscar D’León.
But I found Oscar’s offer interesting and finally I said yes. With the Word’s Leading Sonero, to whom I owe a lot, because thanks to him I established myself even more as a performer and especially in salsa, bearing in mind his recommendations to the letter and of course it was an unforgettable experience, since with his orchestra we traveled many countries and performed on stages such as: Carnegie Hall, Madison Square Garden, House off Blue in Los Angeles, Orange Ball, jazz festivals in Europe, sharing with established artists.
Professor, while I worked with Oscar’s orchestra, I recorded my production “Una Tercera Persona”, in mid 1992, which spawned the hit single “Niegalo Todo”, obtaining the first places in the hit parade.
In that production, I was accompanied by renowned musicians, such as Luisito Quintero, Roberto Quintero, Robert Vilera, Raúl Agraz, Yorman León and the Nicaraguan Luis Enrique.
Jorge, how many years did you work with Oscar and why did you decide to leave his orchestra? I worked with Oscar for approximately four years and I decided to leave the group due to force majeure such as business and commercial commitments that I had and still maintain to this day in Barquisimeto.
For those who do not know, Jorge Luis is a multifaceted artist and has managed to enter in different musical genres as a vocalist, from salsa, bagpipes, tropical dance, guaracha, merengue, Venezuelan and boleros; becoming the musical arranger and producer of the trio Carora International at the end of 2014 in the last one.
At the same time, he produced and performed 19 Venezuelan music songs with arrangements by Jean Piero González, which will be released soon.
Jorge Luis, when you settled again in the musical capital of Venezuela, who did you record with? Professor, in Barquisimeto I have been invited to record with the following groups: Venezuela Somos Gaita, Nikitao, Amantes de la Gaita, Venezuela en Gaitas, Unión Gaitera, Rafa y sus Diamantes, Grupo Colorama, Con Klase, Orquesta Variación, Orquesta la Mayor, Orquesta la Gran Premiere, Venezuela Rumba, La Orquesta Raza Caribe, recording 8 songs with this last one in the production that is also about to be released.
Likewise, I was invited to record with the Son Colón Orchestra from Maracay and the Latin Grammy nominees, our Grupo Santoral from Barquisimeto, participating with them as a special guest in the show “El Amor se Canta” during Valentine’s Day, touring and starting in Juares Theater and other cities in the country, and private presentations.
Regarding current projects, what can you tell Salsa Escrita readers? Currently, my second solo production in the gender of salsa is about to be released with arrangements by Barquisimeto multi-instrumentalist Taylor Aranguren and myself.
We are releasing the album this June with the promotional track “No lo beses”, a song that was interpreted by Alejandro Fernández and by Mexican composer José Luis Roma. The production is called “Jorge Luis Suarez Covers”, which includes songs that have been hits around the world, such as: Cobarde cobarde, Escándalo, La bomba, Cuatro rosas, Darte un beso, El amor más grande del planeta, Bailando, No lo beses, among others.
In this production, I am accompanied by my nephew Taylor Aranguren and the musicians: Carlos Giménez, Rómulo Paiva, Jeison Marchán, Wílner Navas, Freddy Adrián, in the master and mixes: Latin Récods Digital.
Sound engineer: René Zerpa and in the general production: Jorge Luis Suárez. Jorge Luis, what are your social networks or digital platforms to interact with your followers? My contacts are, Instagram: @jorgeluissuarezoficial, Youtube: Jorge Luis Suárez Oficial, [email protected].
Jorge Luis, finally, we want to congratulate you for your consistency in music and wish you continue to fresh triumphs, because you have quality and to spare. Salsa Escrita “La Columna Salsera”, will be at your disposal to support you in your present and future projects, at a good time… Thank you professor and personal friend, Carlos Colmenárez, for offering me your support in your salsa column, allowing me to reach your regular readers all over the world; once again a thousand thanks, blessings and long live Venezuela!.
We are pleased to have as a special guest in our salsa column one of the vocalists who has a unique, admirable and respected quality of interpretation, which has been highlighted in our country and abroad and took his flavor and swing with great professionalism and hierarchy. We are talking about Cheo Valenzuela, “El Sonero de la Dulzura”, born in Cantaura, Anzoátegui on January 24th.
At the age of 7, he moved with his family to the city of Caracas, specifically in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, “La Columna Salsera” and International Salsa Magazine. Thank you, my friend and professor Carlos Colmenárez, for giving me the opportunity to be present in this tribune of our Afro-Caribbean music, which serves us to make known our talents and musical projects and thus be able to interact with its ragular readers in Venezuela and around the world. Cheo, to begin with, we would like you to tell us how your beginnings in music were. Carlos, at the age of 14 I began my career as salsero and eventually I was called to join quite renowned orchestras.
This CD is composed of traditional salsa, romantic salsa, bolero, son and ballads. Dear salsa lovers and consistent readers, let me tell you that Cheo, every time he gets on stage, shows off all his musical talent with total stage control, since he is a sonero backed by multiple experiences acquired in his presentations, both in Venezuela and in the different countries he has visited.
Cheo, what can you tell us about your current musical situation? Professor Carlos, at present I am presenting the new promotional theme to all music lovers, which is part of my second musical production called “Salsa buena”, a theme of my own with musical arrangements by Venezuelan pianist, trombonist and singer Mauricio Silva, which we hope will lead to your full satisfaction.
Of course, it will be a success, my friend Cheo, because your productions always carry an indisputable seal of quality. By the way, what are your digital platforms and contacts? You can get me as Cheo Valenzuela in all social networks, you can also do it by email: [email protected] and [email protected] and for bookings by phone +58 424 1044822 and +58 416 6388420.
At the end of the interview, let me say that it was an honor to have you in Salsa Escrita “La Columna Salsera” and wish you continue to succeed inside and outside our country, so that we all enjoy Cheo Valenzuela “El Sonero de la Dulzura”.
A thousand thanks, Professor Carlos Colmenárez, for your unconditional friendship and for giving me a space in your column through International Salsa Magazine, I also predict successes to bulk and that you continue to support us in order to make our productions and presentations known very soon in the name of the lord. Blessings to you Carlos and count upon the Cheo Valenzuela’s friendship “Con Dulzura” and a lot of salsa…!
Today’s character is the extraordinary vocalist Gustavo Adolfo Gerardo González, artistically known as Gustavo Gerardo: singer and composer. He was born in Caracas, Venezuela, on September 12, 1972.
He began his career in July 1990, studied theory, solfege, and lyrical singing at the José Reyna School (CONAC). He has participated in different orchestras and accompanied more than 90 artists or orchestras of Venezuela, and almost 60 of other countries live and/or in record productions, on backing vocals or as a soloist.
His voice has transcended boundaries of his land, as he has sung on stages in Panama (Chiriqui and Panama City), Colombia (Cali, Bogota, Manizales, Medellin, Quibdó, Apartadó, Barranquilla, Supía, Istmina, Pereira, Necoclí, Marmato), France (Marseille and Dax), and Mexico (DF).
He has already recorded his first album, which will be entitled “Valió la Pena Esperar”, under the musical production of Víctor “Piolín” Gámez, of which 3 songs are already known, and at the same time he is working on what will be his second album, still without a name, produced musically by Irving Manuel, of which 2 releases have also been made: his first single as a soloist, “Volveré a nacer en ti”, to be released in October 2015, with lyrics and music by Sonsireth Perdomo and arrangements by Alexis Sánchez.
His second promo single “Manos Negras” was released in May 2016, a composition by Pedro Linares, and an arrangement by Víctor “Piolín” Gámez. In February 2017 he presented his third proposal, “Lo que me quedó”, a composition by Colombian singer-songwriter Santiago Cruz, with an arrangement by Irving Manuel; all accompanied by video clips made by Montmadfilm and Jam Producciones.
In October 2017, in Medellín, he released his fourth single, “Se me acabó el amor”, whose authors are Karen Loewy and Ricardo Prado, arrangements by Irving Manuel. February 2018 was the month chosen for several Youtube channels (Venezuela, Colombia, Mexico, Ecuador and Peru) to make public their fifth theme, “Me extrañarás”, again with arrangements by Irving Manuel, and authorshipof lyrics and music by Sonsireth Perdomo; both accompanied by audiovisuals in photo format made by Jam Producciones.
There is particular focus on featuring or collaborations in productions by other artists: “Cuando una madre se va”, (Los Andrade ft Gustavo Gerardo / May 2017); “Homenaje a Leo” (Luis Ángel Tovar y su Distrito Salsa ft Gustavo Gerardo / 2017); “Ángel o demonio” (Carlitos Flores ft Gustavo Gerardo / December 2017); “007 Mambo” (Orquesta Siguarajazz ft Gustavo Gerardo / September 2018).
Among the songs recorded as the leading voice in recordings by Venezuelan artists are: “Plazos traicioneros” (Reinaldo Torcatt y su Orq. “La Manzana”), “Mujer sensual” (Pedro Méndez y su Orquesta), “Vuelve” (Pedro Méndez y su Orquesta), “Sueño enamorado” (Pedro Méndez y su Orquesta), “Ahora Dios sabe” (Pedro Méndez y su Orquesta), “Ven tú” (Machado y su Orquesta 210), “Esa mujer” (Machado y su Orquesta 210), “Dudo” (Machado y su Orquesta 210), “Marijuana” (Carlitos Guzmán y su Orquesta), “La lluvia” (Carlitos Guzmán y su Orquesta), “Me falta todo” (Carlitos Guzmán y su Orquesta), “De jean y franela” (Carlitos Guzmán y su Orquesta), “Nunca dejé de amarte” (Frank Márquez y su Orquesta) “Dancing was dancing” (Sabadonga), “At Maria’s house” (Sabadonga), “Thirsty for rumba” (Sabadonga), “Paint your lips Maria” (The Constellation “Wladimir Lozano”), “Llanerísimas 1” Popurri (Los Eléctrikos del Vallenato), “Burial night” (Los Eléctrikos del Vallenato), “Nobody is eternal” (Los Eléctrikos del Vallenato), “The Testament” (Los Eléctrikos del Vallenato), “The Old Men are in charge” (Los Eléctrikos del Vallenato), “Your love is good for me” (Los Eléctrikos del Vallenato), “Back to the Amazon” (Kenny su Orquesta El Trovador de la Salsa / September 2018.
Currently, he records songs for his solo record productions, teaches vocal technique classes in Medellin, Colombia: vocal coach and recordings vocals or leading voice for other artists.
He participated in the symphonic Latin concert of radio station Latin Stéreo Medellín, in which he interpreted the work Hommy of master Larry Harlow and the always cheerful theme by Raphy Leavitt, accompanied by the Symphonic Orchestra of the University of Antioquia. Finally, Gustavo Gerardo reiterated the invitation to the Gala Night this Saturday, November 2 at the Santo Juan Nueva Era club in Medellin.
For bookings, please contact him at +57 323 5116736 with his legal representative Sonsireth Perdomo. From “Salsa Escrita” the salsa column and from this servant Carlos Colmenárez, we wish all success to this extraordinary Venezuelan vocalist.
It is the turn of one of the most onternationally recognized Venezuelan salsa bands “La Negramenta”, an orchestra formed in 1998 by Pedrito Linares and Willians Castillo, with the idea of highlighting all the contribution given by Barlovento to salsa. They managed to record in 2008 their first production “Cosas de negros”. “La Negramenta” has its origin in the “Orquesta Magistral”, founded by Pedro “Saba” Linares. The name of the group “Negramenta”, is given to highlight the kindness, ideals and feelings of its people.
They have recorded the following productions: “Cosas de negros volume 2”, “Otra cosa”, “Pa’los cuatro vientos” and “Libre”. The list of their successes includes: Aquí no se rinde nadie, Música negra, No me caso, La ley y Pedrito el lento; by the way, these last two songs reached the top ten brands in the Latin environment of New York, Miami, Peru and Colombia.
The staff of “La Negramenta” is made up of: Wiwi Buznego, Anthoni Ramos and Noel Alexánder Machado (vocalists), Heyzer Cabrera (bongo and chorister), Renzo Hernández (tombales), Mauricio Landaeta (timbales), Willie Melo (piano), Franklin Rodríguez and Joel Brito (trombones), Luis Allen and Ignacio Blanco (trumpets), Wílmer Maestri (sax), Willians Castillo (bass and musical direction), Pedro Linares (composer and general director), Celedonio Martínez (production and animation).
La Negramenta’s contacts for booking are: +58 414 2988874 and +58 426 5132334
Virgen Milagros Orta Rodríguez is the first name of “La Reina Del Sabor”: Choco Orta, as this Puerto Rican actress, percussionist and singer-songwriter is internationally known. She was born in Santurce, a traditional neighborhood in San Juan, the capital city of La Isla Del Encanto.
Choco is the only female daughter in a home formed by the brothers Tomás Jr., Jaime, Gilberto (her twin) and Ismael; fruits of the union of don Tomás Orta Abad and doña Andrea Rodríguez Rivera. By the way, the brothers are mostly percussionists, among amateurs and professionals.
The father, Don Tomás, is an excellent guitarist and Mrs. Andrea, the mother, has a privileged voice. We could say, then, that Choco Orta’s talents are “purebred”.
In Santurce, specifically in the area known as El Chícharo, Choco’s childhood, adolescence, and youth are present.
The blackness of this neighborhood cradled and nursed her, imprinting on her a deep imprint that she knew how to capitalize on and externalize in her artistic development.
Choco still remembers and celebrates the improvised musical meetings in her neighborhood with neighbors and friends, in which to the rhythm of percussion instruments they recreated the famous rumbas that blacks and blacks of the Caribbean turned into one of the most recognized standards of their culture.
This activity led her to become interested in her musical training, which she did in a self-taught manner first and then alongside renowned musicians from the patio such as Giovanni “Mañenguito” Hidalgo, Anthony Carrillo, and Angel “Cachete” Maldonado.
Recognized teachers of the Conservatory of Music of Puerto Rico offered him knowledge of Theory and Solfeggio, and great cultivators (men and women) of classical and popular dance also contributed to mold the artist that we know today.
In the academic field Choco Orta, she is a graduate of the University of Puerto Rico.
She has a Bachelor of Arts degree after graduating with honors (Cum Laude) from the Theater Education Program of the Rio Piedras campus of this prestigious University.
Television programs such as “La Tiendita De La Esquina” (comedy) and “Latino” (musical program), also record Choco’s talent. As if that weren’t enough, the seventh art: the cinema, also knew about the talent of this complete artist. “Bala Perdida”, “Dios Los Cria” and “Assassins 1995” are proof of Choco Orta’s talent and versatility.
Her entrance to the recording rooms is produced by the hand of the famous trombonist and conductor Julio “Gunda” Merced, who on one occasion enjoyed an improvised presentation of Choco with the Giants of the South.
That night, Gunda Merced made the approach to Choco, and some months later the musical production AND SOMETHING MORE! (Gunda Merced Y Su Salsa Fever) included the songs “Huracán” in Choco Orta’s voice and “El Baile Del Buey Cansao” (Choco Orta in duet with Raquel Velázquez). The year was 1987.
The first years of the 90’s present us with a multifaceted Choco Orta: always in music and accompanied by diverse formations: trios, quartets, etc.; also doing jingles and commercials for radio and television, but also internationalizing her work with various participations in the Club Hammou (southeast of France known as French Riviera or Costa Azul) and as it corresponds in an artist avid of knowledge: nourishing herself with the people and their culture.
By 1997 -always under the guidance of Julio “Gunda” Merced- with the support of the record label Musical Productions (MP) of the late but always remembered Tony Moreno, Choco Orta published his debut album. It was titled SENTIMIENTO Y SABOR (Feeling and Flavor) and presented us with 10 very well achieved cuts that quickly placed themselves at the top of the Latin music charts (Basta, Y Qué De MI, Yo Perdí El Corazón, El Hombre Que Yo Amo, etc.).
By the way, this production was presented at the MIDEM Convention for Latin America, which is why Choco Orta recorded an official video clip of the song “El Hombre Que Yo Amo”. MIDEM is the chapter for music professionals of Reed MIDEM: a professional market organizer founded back in 1963.
SENTIMIENTO Y SABOR was also featured in PULSE Magazine! (USA) and Choco would later be invested as Ambassador of Puerto Rican Culture in Tampa, Florida. He also obtained the Farándula Award (Puerto Rico) as best salsa singer and made an extensive and acclaimed tour in the Dominican Republic, performing in various Dominican stages including television sets.
She is remembered -also- until today, her ovation and applause with La Universidad De La Salsa, El Gran Combo de Puerto Rico, for the 16th edition of the National Salsa Day (1999) in the Juan Loubriel Stadium in Bayamón.
In 2001, Choco Orta received an invitation from Banco Popular de Puerto Rico to be part of their famous annual production entitled RAÍCES. Here Choco performs two songs with the accompaniment of two important musical institutions from the patio, the Orchestra of Maestro Lito Peña (Para Los Boricuas Ausentes) and the Orchestra of Maestro William Cepeda (Melitón Tombé).
That same year, it was part of the production of the Borinquen quartet player José Antonio Rivera Colón, better known as “Tony Mapeyé”, with the title VIEQUES, TIERRA PARA LA PAZ. Here he prints his vocal record in the songs Ni Bala Inerte Ni Viva and Plegaria Por Vieques.
Then to round off a great year, the release of his second production is made official: this one would be titled LA REINA DEL SABOR and from that record label, we continue enjoying the quality and flavor of songs like La Nueva Reina Del Sabor, Que Pague, Se Acabó Y Punto, etc. In this production, the tribute paid to “El Rey Del Timbal” stands out: Ernesto “Tito” Puente, who was the one who nicknamed Choco as “La Nueva Reina Del Sabor” (The New Queen of Flavor), a theme that is also Choco’s incursion into composing.
The repercussion of the song was such that Choco Orta briefly established himself in New York where he performed in renowned venues such as the Copacabana, to offer successful presentations, accompanied by orchestras such as that of the famous Dominican pianist and arranger Ricky González.
At this time of year, we also highlight her journey through various cities of the Major Island: Cuba, where she was loudly applauded during her participation in the Fifteenth International Festival of Golden Boleros and distinguished as the Favorite Daughter of Christ, a community near Santiago (Cuba).
The years between 2001 and 2009, allowed Choco to record in three recognized collaborations:
– HIJOS DE LA SALSA GORDA: published in 2004 under the concept of La Mundial De La Salsa with the direction of the pianist and arranger Willie Sotelo. Here Choco Orta performs the song “Me Saludas A La Tuya”.
– Cuando Hay Amor” is another of Choco’s well-achieved songs that includes his profuse record of collaborations. This number is part of the production EL CORTE PERFECTO (2004) with the Orquesta Sueño Del Caribe.
– In 2006, Mr. Afinque Willie Rosario publishes his production LA BANDA QUE DELEITA in which he invites Choco to bring to life with his voice the song “Lo Que Más Yo Quiero”, a song -by the way- that is a must in Choco’s personal presentations.
In 2011, Choco delighted us with a new production entitled CHOCO SWING. This work was considered among the 20 Best Productions of 2011 by the National Foundation for Popular Culture. On this plate we find again Rei Peña as a musical producer, Choco’s pen stands out represented by the excellent theme Homenaje A Las Soneras, a tribute made a song with which Choco highlights the presence of women in the musical world; additionally, you can enjoy compositions of Gino Meléndez and Raúl Marrero, among others; having magnificent arrangements of musicians of the height of Ricky Zayas, Guillermo Calderón, Ernesto “Tito” Rivera, Carlos Torres, etc.
The next seven years (2011 – 2018) have been prolific in collaborations and here is a synthesis of these:
– Ralphy Santi y Su Conjunto (2012): The Puerto Rican musician (Ponce) invites Choco Orta to be part of his extensive discography. The musical production is entitled HOMAGE TO THE DANCER and there he performs the song “Sin Clave Y Bongó No Hay Son”.
– Orquesta Guayacan (2013): The popular Colombian group celebrated at that time its 25 years of institutional musical trajectory, for which they publish the production 25 YEARS, 25 SUCCESSES, 25 ARTISTS, in which Choco is responsible for the theme “Como Una Hoguera”.
– Kambalache Negro (2014): Group led by Peruvian percussionist Robert “El Chino” Bolaños, an “old” acquaintance of Choco as he integrated and is part of Choco’s musical staff for his presentations at the Iron Babel: New York. In this production titled POR FINAL EN LA CALLE, Choco performs the song “Añoranzas”.
– La Orquesta Del Solar (2017): Orchestra whose musical epicenter is the Spanish capital: Madrid and is composed of musicians of various nationalities (Peruvian, Colombian, Venezuelan, Spanish, etc.) and led by Ecuadorian Julio Mena. In this production entitled BACK TO MY ROOTS, several of the singers that the group usually accompanies when they perform in Spain are invited. Choco Orta is the voice of the song “No Insistas Más”.
– Medley Soledad Bravo” song that will be part of the production LEGACY OF WORLD SALSA of the outstanding Venezuelan musician and arranger Mauricio Silva. In this medley, Choco Orta participates with Marianella (Venezuela) and Mélida Trujillo (Panama). Choco interprets the song “Son Desangrado” by Silvio Rodríguez and his colleagues the song “Déjala Bailar” by Chico Buarque.
– Noel Quintana & The Latin Crew (2018): Recent musical work by percussionist Noel Quintana who has invited a series of renowned singers to this production. Choco Orta gives life to Pedro Jesús’ composition “Qué Viva La Salsa”, a tribute this time to the dancer, an important element of this artistic binomial: dance-music. The production is entitled NOEL QUINTANA & THE LATN CREW VOL. 1.
– Abran Paso Orchestra: The Abran Paso Orchestra is getting ready to launch its new musical production soon. For this musical work, Choco has been invited to interpret a theme of the French musician and composer Paul Mauriat that, for the Latin environment, decades ago La Lupe adapted and interpreted (in Spanish) for our enjoyment. Its title: “Si Vuelves Tu”.
We should also refer to some singles that were recorded by Choco Orta, as is the case here:
– Chico Is The Man (2010): Adaptation of the song that José Feliciano (Chico And The Man) popularized, aimed at celebrating the arrival of the young Mexican soccer player Javier Hernández Balcázar known as “Chicharito” to England when he was hired by the English soccer team Manchester United.
– Killing Me Softly (2013): Crossover of the theme “Killing Me Softly With His Song” by Charles Fox and Norman Gimbel, based on Lori Lieberman’s poem “Killing Me Softly With His Blues”. Lori was his first performer but became notorious in the early ’70s with Roberta Flack. Choco gives this song a characteristic feeling when performed in its original language.
– Bomba Lamento Para Oscar López Rivera (2015): Interpreted to the rhythm of bomba, this song by Choco Orta demanded the immediate release of the now free Oscar López Rivera: a Puerto Rican politician who defended the independence of the island and who served 35 years in prison in the United States.
– Tofu Sin Lechón (2016): This song is based on the lifestyle of its composer and performer who has had a vegan lifestyle for approximately 30 years.
We round up and finish the present semblance of this brilliant artistic career of Choco Orta with the celebration of her 30 years in music. An event also marked by the publication of the musical production entitled CHOCO ORTA: 30 AÑOS REPARTIENDO SABOR.
At the beginning of 2017, he published the song “Te Perdí La Fe” by the notable Elizabethan composer (Puerto Rico) Johnny Ortiz, with which he began the recordings of his fifth personal musical work. He then recorded in Colombia an inspiration of the late poet Petronio Álvarez, “Mi Buenaventura”.
It continues with a theme of the also disappeared composer Palenque, that made very popular Ismael Rivera with Cortijo y Su Combo: “Severa”, here Choco Orta correctly “improvises” vindicating in first person Severa as a black woman and although humble, beautiful and intellectual.
It was March of that year when Puerto Rico received waves of media and fans of the salsa movement and their representatives, who from different parts of the planet attended the “National Salsa Day” organized by the Z-93 radio company.
The festivities begin in the days before the central (usually the third Sunday of the month) and for the past year, Choco Orta took advantage of the occasion and captivated the attendance of the dance of its 30th Anniversary in The Latin Roots, a local located in El Viejo San Juan.
The presence in Puerto Rico of José Alberto “El Canario”, one of the guests of the National Day, made possible the recording in the studios of Maestro Ángel “Cucco” Peña of the song “Sé Que Tú”, an event to which a good part of the international press had access.
Lino Iglesias, Choco’s friend and ad honorem advisor, composed the song “Choco Orta: 30 Años De Sentimiento Y Sabor”, a musical portrait of The Queen of Flavor is recorded before her trip to Cuba with the purpose of recording the songs “Canta Choco Canta” by the Cuban singer-songwriter living in Puerto Rico Juan José “Juanchi” Hernández and the bolero “Miénteme” (“Chamaco” Domínguez) under the arrangements of the Cuban guitarist and composer Reinaldo “Rey” Montesinos Muñoz and a pleiad of musicians from La Isla Mayor.
He includes in this production a theme of his own authorship and that he interprets together with Ismael “Maelo” Ruiz; by the way, a theme of the daily life and of necessary listening and analysis. Finally, he closes his production with the invitation of his musical brother, the great Herman Olivera, with whom he performs the song “Otro Amor”.
The production, although it should have been published at the end of last year, only saw the light in March of this year due to the circumstances that were lived after the passage of the hurricanes Irma and Maria (of this last one especially), that paralyzed all type of activity in Puerto Rico.
Weeks prior to this natural phenomenon, Choco Orta performed under the concept of The Last Fania Legends, which brought together in a much-applauded concert the still existing and former members of the Fania Machinery with a group of renowned guest musicians and singers, a concert of approximately four hours made the Rubén Rodríguez Coliseum in Bayamón vibrate. For this show, Choco Orta paid a well-deserved tribute to Queen Rumba Celia Cruz, through three of her popular songs: Kimbara, Yerbero Moderno, and Bemba Colorá, whose performance brought the respectable audience to its feet.
To round out the faena, cutting “tail and ear”, Choco Orta joined the legendary duo Richie Ray & Bobby Cruz, interpreting with them in a majestic way the theme “Cuando Me Digas Si”.
We return then to the launch of their recent production, the same one that is of great acceptance in Puerto Rico; Colombia, Peru, New York, and other countries and cities that pride themselves in being salsa musicians. He has been positioning himself with several of the themes that integrate this production, especially “Choco Orta: 30 Años De Sentimiento Y Sabor”, “Te Perdí La Fe” and “Otro Amor”.
It is also necessary to highlight the facet of Choco Orta as a woman who fights for the interests of her country and for a greater presence of women in the music industry; this through panels and talks in academic spaces and by sponsoring and promoting attendance at vegetarian and vegan restaurants, as well as diverse businesses.
We celebrate the trajectory of this great representative of Puerto Rican culture and her musical trail, which has been captured in acclaimed productions of her own and prestigious collaborations. The maturity is notorious and the feeling and flavor has also aged. Congratulations because we need and will have Choco for a while, we are sure of that.
North America / United States
We are about to end this 2020 so atypical and challenging for everyone. Especially for artists who make a living from shows and entertainment. I want to congratulate all those who keep up working despite adversity. I also take advantage of the season to thank those who accompany us to make each and every one of our projects possible, and of course, to God, for the health and recovery of those who have had relapses throughout this year. Thank you all!
This Puerto Rican artist became famous during the salsa explosion of the 70s in New York, his fans called him “El niño bonito de la salsa”. Miranda was still a teenager when he recorded with the Larry Harlow Orchestra and joined the Fania All Stars.
Then came a solo career of extraordinary quality. Known for his professionalism and healthy habits, Miranda continues to record and perform concerts with his voice as vital as ever.
He recorded his first album at 16 with the Joey Pastrana orchestra. Then he went to Larry Harlow and began to seek his own identity and have more respect for music. He confesses that at first he did not take his music career so seriously, and although there were women and drugs, he never disrespected his directors or the public.
“When fame falls on you and you are not prepared, you become a person who is not very nice, who thinks that he is more than anyone else. I was an inexperienced baby, but I was catching up little by little.
Friends like Cheo Feliciano and Pete “El Conde” Rodríguez watched over me. Adalberto Santiago was always by my side. Santitos Colón — Tito Puente’s singer — became my compadre. With all those people that surrounded me, I had to start doing things as God intended so as not to lose their support,” he said in an interview. Given the good impression his performances with Andy Harlow made, his brother, Larry Harlow, called the Judío Maravilloso, decided to recruit him to his orchestra.
Ismael Miranda began his recording cycle with the album El exigente. Convinced of the potential of the young singer, in 1968, Larry launched a new production entitled Harlow Orchestra presents Ismael Miranda.
The successes were repeated with the recordings Electric Harlow, Tribute to Arsenio Rodríguez, Abran paso and Oportunidad. With Larry Harlow, Ismael also ventured into the field of composition, sharing credits with him on the songs “La revolucion”, “Guasasa”, “Arsenio”, “El malecón” and “Lamento de un guajiro”, among others.
He has also stated that the most unpleasant thing about his career is that being so young in the beginning, he has had to see iconic characters and great friends like Héctor Lavoe, Celia Cruz, La Lupe pass away.
Find it difficult to be alone after having so many friends. “Today the world is each one by his side. La Fania was not just a record company. We were a big family in which we all loved each other very much. Every time I hear another musician leave, my soul breaks. ”
In the 1980s he recorded several productions with his independent record label. He recorded in 1984 with the prestigious Cuban group Sonora Matancera for his old record company Fania.
In 1986 his album Versos de Nuestra Cultura, together with singer-songwriter José Nogueras, was one of the great successes of the Christmas season of that year. In 1988 he announced his intention to retire from the artistic media. But that idea never came to fruition. Ismael has recorded with his own record label, IM Records, and with the RMM company.
He has a very close family. He has been with his second marriage for 25 years and has also been with his first wife for another 25 years. All of his children are married and have their own businesses. He has 13 grandchildren and two great-grandchildren. Recently Ismael Miranda and José Alberto “El Canario” joined Daniel Peña in “Hijo Del Cañaveral” Daniel Peña, Dominican based in the city of Miami.
He is recognized for his percussion skills and for being a music producer. Peña has worked with music greats such as Tito Puente Jr., pianist Marlow Rosado, Ismael Miranda, pianists Richie Ray and Larry Harlow, Celia Cruz and Giovanni Hidalgo. In 2014, he made his debut with the album “Eleven”, dedicated to his children; and three years later I have released “Sancocho”, a project with eleven songs.
The Dominican presents his new single “Hijo del Cañaveral”, a production that he made together with two great masters of salsa, Ismael Miranda and José Alberto “El Canario”.
Puerto Rican Gerardo Rivas delights his followers with the launch of his first solo song. “A derretir el hielo” is a salsa, composed by Juan José Hernández and Victor Sanabria López, with musical production by Marcos Sánchez.
A few weeks after its premiere, the video clip has almost thirty thousand views on YouTube. The work leads to mysticism and contains a refreshing proposal. The direction was the work of Giova González and was filmed in San Juan, Puerto Rico. “Vamos a juntar los cuerpos bella, vamos a subir al cielo, vamos a prender la vela bella, vamos a derretir el hielo” the chorus quotes.
After more than a decade belonging to the group NG2, Puerto Rican salsa duo Rivas decided to try it on their own. “With great humility I present my first solo work. All my life I have been involved in music and daring to do a solo project feels very good “, declared Rivas. The singer is the son of Jerry Rivas, who belongs to “El Gran Combo”. From a very young age he has been immersed in the musical world. He was the vocalist of the group “Gerardito y los rockolos”.
In addition, it has around twenty-five years of experience. Rivas has always been a believer in salsa, bets on it and defends it in each presentation. A faithful representative of the genre!
This is the land where I was born. Papo Rosario is a world-class artist who has put the name of Puerto Rico high. Rosario, who withdrew in 2019 from the group considered the “Universidad de la salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems, affirms that he already feels ready to resume his musical career with the Launch of his first solo production by producer Isidro Infante.
From this new album, we have their second single that cannot be missed. Without jumping on stage as before, but maintaining the grace of his movements, the singer Papo Rosario continues to work on his return to salsa with maestro Isidro Infante, who was the musical director of Fania All Stars. Rosario retired from El Gran Combo de Puerto Rico in 2019, after 38 years, as a result of a tumor in the spine, with which he battled since 2000, when he was operated on for the first time. This was followed by a second surgery in 2005, a third in 2017, and a fourth and fifth in 2018.
“They took out the whole tumor, which shot up as it pleased. In 2017 they removed 70% of the tumor on my right side, equivalent to a football. In 2018 they rebuilt my spine because the tumor ate a lot. I have a titanium spine, a scaffold on my back with rods that keep me on my feet. They removed 30% of the tumor on my left side in 2018,”, explained the singer. The medical prognosis indicated that he would not walk again.
“After so much therapy, I feel super good. After the operation, he said: let it be the will of Father God, it was not known if he was walking or not. I am up in the fight and grateful to God and to all the people for their prayers, which have contributed greatly to my health ”, the now soloist has stated in recent interviews. Rosario’s relationship with Infante dates back to adolescence, when they studied at Central High School in Santurce.
“I have always been an admirer of Isidro. We met around the world, he with the Fania and I with the Combo. People told me: ‘You have to do something’, I made up my mind and wanted Isidro to make a couple of arrangements for me”, he revealed. He has also stated that: “We come with traditional sauce, eventually something will be done with more mischief. The topics are everyday, nothing hurtful, but motivational in the middle of the quarantine. We do not want to come with bochinches, but to bring joy and give thanks ”. I wish you success today and always!
El Gran Combo de Puerto Rico announced its first virtual concert for this November 14th from the Centro de Bellas Artes in Santurce. After almost eight months of inactivity due to the paralysis of the entertainment and events industry caused by the COVID-19 pandemic.
The “Mulatos del Sabor” have remained “bien guardados” during this period, but they understand that it is now “time to remove the mold and offer the sauce that we are asking for,” according to Jerry Rivas, vocalist of the veteran group. The so-called “Universidad de la Salsa” will offer on Saturday, November 14 at 9:00 p.m. the virtual show from the stage of the Centro de Bellas Artes (CBA), Luis A Ferré in Santurce. The mulatos have named the concert “El Gran Combo para el mundo”, since from the Spyntyx.com platform it can be enjoyed from any corner of the planet.
“The pandemic arrived and the whole world was paralyzed. But in the face of people’s requests and the messages that reached us about when they are going to do a show, we ventured into this format, which is new to us, but it is still an opportunity to reach more people anywhere in the world. In addition, we are going to present some of the themes of what will be our new record production “, mentioned Willie Sotelo, musical director of the group.
Sotelo and Rivas indicated that the founder of El Gran Combo, Rafael Ithier welcomed the virtual format, since like the rest of the members he is eager to return to the stage. Ithier turned 94 years old in August this year and has been very careful and cautious in preventing the spread of the coronavirus. So much so that for the birthday celebration the mulattoes surprised him with a sound bus at his house.
The musicians arrived at the front of Ithier’s residence and greeted him from the outside, and according to Rivas, days later the older mulato was tested for COVID-19 to verify that he is in good health. The virtual show will be prerecorded in some parts to avoid any mistakes. Tickets can be pre-purchased through spyntyx.com at a cost of $ 8.00.
The presentation will be a musical journey through hits such as: “Arroz con habichuelas”, “Sin salsa no hay paraíso”, “El problema está en el coco”, “Es la mujer”, “Achilipú”, “Colombia tierra querida”, “A mí me gusta mi pueblo”, “La espuma y la ola”, “El comején”, “La receta de amor”, “Alguien que me quite tu amor”,”Si la ves por ahí”, “Te veo, nena” y “No hay manera”, among others.
The group will integrate to the repertoire about three new songs as part of the musical production that they have worked in the months of the pandemic and that they hope to release before the end of 2020. “We had started the album before the pandemic, but these months have been perfect because by not traveling we have been able to dedicate ourselves to finishing the nine songs on the album. We are already in negotiations with record companies and the launch should be in December”, said Sotelo.
The group is invited every year to participate in the Feria de Cali at the end of December. This year, the invitation came to make the presentations in a small format capacity and in various tents that can maintain social distancing. The salsa orchestra has not confirmed its participation, so they are still evaluating the possibility of traveling to Colombia. Even so, in Puerto Rico they have six dates of Drive-In events and closed circuits confirmed for the holiday season. This never stops!
And if we are talking about incredible careers in this edition, I can’t stop talking about Adalberto Santiago and the new projects of the 65th anniversary with great artists of the genre. This time I can tell you about Cuco Peña’s string arrangements, the participation of Nelson Jaimes and, of course, the help of my friend Freddy Miranda. At 83 years old, he is still in the rumba. There is less and less to show the world this historical piece for the world of salsa.
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.
As always, remember that Spanish Harlem Salsa Gallery is in 1708 Lexington ave New York N.Y. 10029. Open free to the public all Thursdays & Fridays from 4 to 7 pm and Saturdays from 1 to 8 pm. Check the updates in our website: spahasalsagallery.com.
Also, The Johnny Cruz Show, the # 1 Salsa Show on television on all 5 Boroughs of New York on CH67. Saturdays from 3:30 to 4:30 pm.
Contact: Johnny Cruz. 917-747-8505. [email protected].