Search Results for: Afro Latin Jazz

Wilmer Sifontes “Music is one of the most important things in society”

Music has no boundaries, it has the magical power to bridge social and cultural divides. Such is the case of percussionist Wilmer Sifontes, born in Caracas on March 21, 1968, a year of great events worldwide, a native of the parish of La Vega.

In 1992 he travelled to the United Kingdom for the first time to participate with the Entreverao Group in the World Music Festival “Spirit of The Earth” of the BBC in London.

Thanks to his (Wilmer Sifontes) participation with this group, he got several offers to return to the United Kingdom, so from 1996 he decided to settle down definitively in that country.

His musical duality has allowed him to work with different musical groups and bring the intoxicating rhythms of the American continent to those latitudes. He tells us that; “Fortunately, music is a universal language, it is the flag that one carries and allows you to make your way in other spaces”.

Wilmer, sometimes we imagine that the passion for music comes from a family inheritance, I see that this is not the case with you, how were your musical beginnings?

“In my family there are no musicians, however, as a child I always listened to music, on the way to my house there were places where the orchestras rehearsed, and that I liked it, I started playing salsa, it was always my forte, the music worm began at 10 years old, when the theme of Pedro Navaja with Ruben Blades and Willie Colon was in fashion, in the classroom a classmate imitated that little grave on the desk, this impressed me so much that from that moment the message came to me and I said -this will be my thing-“.

That would be his entrance to the world of music

“Yes, that was a message -but look at it-, I was a sportsman -I played Volleyball and Basketball-, and my sportsman friends wanted to be musicians, they were all adults and I was always with them as a boy, but they had no musical skills, no instruments, this prompted me to look for someone who would help me get into music, so, through my cousin I met the bassist José Machado

-he belongs to a family of musicians from La Vega-, they were my first teachers, they were always rehearsing and I saw, -a visual teaching – because I was a kid, they had a Cuban Son group called “Los Machados”.

At some point he played with them

“After a while we started playing with the “Machados”, people were impressed to see such young boys playing, from him I received my first drumsticks, although I wanted to play bongo”.

How was that evolution?

“In the neighborhood I continued with different groups, then with my cousin we created the “Orquesta La Conclave” and here we developed, we played in all the cultural events”. “We were rehearsing at Catia and Jesús Gómez -one of the singers of Sonero Clásico del Caribe- was always passing by and one day he told us that he needed a timbalero and a pianist, that if we wanted to work with him and we said yes, they played every night at La Caneca, a very famous place that was on Sucre Avenue in Catia”.

“This was my first night job, then I went to Silencio and played in different clubs”.

Wilmer Sifontes in the company of various artists

He is an empirical musician

“I made several attempts to study but… It was a little difficult, there were very rigorous classical schools at the time and I could not enroll, in one I went – La Lamas- together with my cousin, we took the exam and they scratched us (laughs), it is a very nice anecdote, we both sang without knowing the Black Tomasa”.

How does it come to perfection then?

“I was playing by ear, it wasn’t something formal, as he already works in the nights in the clubs, a friend told me that in the Central University of Venezuela, Alberto Borregales and Orlando Poleo were giving classes, when I arrived I saw a great amount of people and I said: -whoa, here they are not going to accept me with that crowd- by chance, the teacher Borregales, makes a small group due to the little space that there was in the classroom, and at that moment I was going to evaluate them to decide who was left and who was not, fortunately I passed the test and I stayed”.

The experience of the street helped him

“(laughs), yes.”

Formally, Borregales was their teacher

“Yes, but my first teachers were the Lp, besides the radio, I listened to a program called “Latin America the Cosmic Race”, with Borregales I entered with a greater discipline, he taught me to analyze, he indicated us what to read, what to listen. Later I was with Poleo in Caricuao, then in San Agustín and eventually went to Sarria. In the neighborhood I learned from Carlos “Tabaco” Quintana, he was one of my favorites, he was my inspiration, he was a timbalero with a terrible swing, excellent, in the neighborhood there were many good ones”.

“Apart from them I also learned from; Daniel Milano Mayora, Jesus Milano Palacios, in the Aquiles Nazoa Library -of Caricuao-, the Bigott Foundation and the Grupo Autóctono de la Vega”.

How was that jump from salsa to folklore?

“I was offered to join the Grupo Autóctono de la Vega, with a great trajectory -it must be 40 or 50 years old by now- there is no role for the amount of people who have passed through there, it is the first group that makes the San Juan demonstrations in Caracas, this is from the Rivas and Ochoa family, it was my first school of folklore, they did dances, sports and then it was dedicated only to folklore music, both have been my teaching, I did not leave either of them”. “Then I played with many other folk and salsa groups, music is one of the most important things in society.”

The Grupo Autóctono de la Vega opened its doors to him, but the Agrupación Entreverao marked his future

“Yes, Entreverao marked my future, let’s say it was a show group, a quartet, its musical structure was very particular, harp, bass, drums and singer, then the percussion was introduced, the percussionist Rhay Herrera was their Director, I got a lot of experience with this group, we had a lot of work and learning, with them we made the first trip to the UK in 92”.

How did you decide that London would be your destination, why not another place more tropical, warmer, you did not think that you would face another culture, another language, another climate?

“I was playing with Erick Franchesky, at that time he had 3 songs stuck in New York, we were going to go four or five of the band, it was almost confirmed, but it didn’t happen, music is like that, sometimes it offers you villas and castles and tomorrow you have nothing.” “I also had other proposals to come to the United Kingdom, the first thing that came out was this, that is, my destiny wanted me to come here”.

“Being out of your country, you learn other things, and that’s one of the particularities of my work, you learn to be more tolerant with people, as I know a lot of folklore from other places has allowed me to arrive, the culture is different to ours, is strong above all if you do not master the language, even if it is the basics, the climate if it was a shock, this is a fridge, (laughs)”.

I can’t imagine the English dancing and listening to Salsa, do they like the genre?

“In the 90’s Salsa was very fashionable around here, there were many places to play, the acceptance of the music is excellent, when the Salsa boom, everyone wanted to learn to dance it, there are clubs to learn to dance, they have fallen in love with Latin American culture, they have been very receptive to those we have come to work with”. “I am the first Venezuelan to make a legal Folkloric Group in this country”.

Tell us a little about that project; AfroAmerica Project

He founded it in 2007, it is an official group of typical and traditional Afro-Venezuelan music, people love Latin American music, they receive it very well, the name is due to a magazine that Jesus “Chucho” Garcia made, which speaks of Afro-Cuban music”.

He continues to work with this project

“Yes, it is a group like Un Solo Pueblo, 90% is Venezuelan music, fulia, tambor, parranda, Calipso, Larense music, there are people who are outside Venezuela and do not know their music, then, we must show what we are, show our culture”.

Photo of Wilmer Sifontes and his instruments

What groups have you worked with in the UK?

“Any number of bands, when I arrived in the UK I started with a man named Kora, he played an African harp, his band was World Music, his music was a mix of African rhythms and the idea was to play Latin American percussion, as I have the virtue of playing different styles of music work with him”.

“Although I did a lot of Salsa in the early years, the other bands I remember are Conjunto Sabroso, Hussein Zahawy, Tumbaito, Ensamble Criollo, La Papayera, Salsa Nueva, The Voices of Naturale, La Charanga Rivera, Tango Tierra, Ensamble Criollo, Clara Rodríguez, Ola Onabule, AfroAmerica Project, Cubanito, Chacón y Su Timba, Bahareque, Salsa Céltica, Kora Colours, Los Charlys Orchestra, Classico Latino, Bilongo all Stars, among others”.

It’s easy for him to move through different genres

“Yes, I owe this to my country, thanks to all that learning I have been able to do so many things and share with so many people in different parts of the world.”

Thanks to this duality you have worked with and accompanied different artists, which ones do you remember?

“Among those I remember are Herman Olivera, Willie González, Maelo Ruiz, José Mangual Jr, Luisito Carrión, Roberto Torres,Tony Vega, Pedro Brull, Tito Gómez, Tito Nieves, Cano Estremera, Giovanni Hidalgo, Andrés Cepeda, Aterciopelados, Leroy Burges, Rodolfo Arcardi, Henry Fiol, Alci Acosta, and the Bands and groups in Venezuela are; Orquesta la Grande, Catatumbo, Entreverao, Criollo y Sabroso, Orquesta la Raza, and with whom I have participated are; Grupo Cosecha, Grupo Autóctono, Jesús Ruiz, La Gran Compañía and Eric Franchesky -who- among many others”.

Wilmer Sifontes in the studio with his instruments

Celtic Sauce, explain that to me, it sounds a little strange

“It’s a Scottish group that mixes Celtic music with Salsa, with them I started doing substitutions for the timbalero, it’s very nice and interesting, they use the traditional instruments of Scottish Folk and the instruments of Salsa and Latin Jazz, they have also mixed it with pop, with rock, with Indian music, that gives them a unique and characteristic sound to this group, with this group I have traveled the world”.

Another band you have worked with is Sidestepper, very famous for fusing elements of Antillean and Colombian music with electronic music.

“Yes, the band was formed in Colombia, by the English producer Richard Blair, he revolutionized the traditional sounds of the region by mixing them with avant-garde sounds, with them I made an interesting work”.

Tell us about the Salsa Nueva Project

“That is the project of the Venezuelan pianist Elena Riu, is the fusion of Salsa with classical arrangements, you can be listening to a kind of montuno, a tumbao’ on the piano and the minute it disappears and leaves a passage well classic, is Latin in classical music, had original themes, is a theme that is called sal-si-ta -so separated-, had songs by Ruben Blades, Ismael Rivera, very cool.

“She needed a rhythmic element and invited me to accompany them, two months later we recorded an album in a church”.

How do you feel about conducting one of the most popular bands in London, El Conjunto Sabroso?

“It has given me a lot of foundation and satisfaction, it was founded by Mrs. Luisa Elena Caicedo, since I arrived here I started to work with them, she listened to my references and called me to make substitutions, then I was their director and assistant director”.

With you, the saying goes… No one is a prophet in his own land

“I think that yes, many people have been prophets, but… after death or after many years -laughs-, I don’t know, at this moment it is so difficult to put a definition to this, although I believe that nobody is a prophet in his land”.

From whom or from whom has he taken his musical influence?

“There are several, the list is long, Carlos “Tabaco” Quintana, Orlando Poleo, Alberto Borregales, Alfredo Villamizar, Orestes Vilato, Tito Puente, Dave Wackel, Ray Barreto, Un Solo Pueblo, Guaco, Paquito de Rivera, Giovanni Hidalgo, Paoli Mejias whom I had the pleasure to meet and accompany, El Trabuco Venezolano, La Fania All Star, Irakere Orchestra, and Puerto Rican and New York Salsa, among many others”.

How has your musical growth been?

“I have learned a lot from each culture, from the Colombian, Cuban, Argentinean, African, knowing the folklore of other places teaches you a lot, sharing with people from all over makes you grow and learn every day, this is part of the particularity of my profession.”

How do you see the market right now, there is a great variety of music, everyone has their own style, what do you think of all this new, but sometimes not good?

“I don’t know if it’s taking a turn or not, the truth is that Europe is different, it has another kind of market, which is not that I’m involved, previously there were many festivals, pop and rock are the popular music of this country, but, reggaeton has been influenced by society, it has been injected with a lot of money, apart from the impact of social networks, it reaches more people, social networks have changed the way music is sold in the world.

“People are scared of reggaeton, for me it depends on who is doing it, the market has changed because of the networks, anyone makes music, anyone plagiarizes music from others, we are in a time of change and music does not escape from it.”

What do you think about tributes and copies, is the musician’s creativity running out?

“When people are alive it is always good to highlight their contribution to the world, there will always be a reference to someone, but it is good that people are creative, and there are the brazen ones who shoot the songs and put other lyrics on them, it is like winning people over with other people’s work”.

“The musical genius has not declined, what happens is that there are no promotions, people who do not do commercial work, it costs a little more to reach, fight against the great machines that bet on other things, musical geniuses are born for generations, are counted.”

The first production of the Conjunto Sabroso is entitled “Ya tengo lo que quería, realmente”

“You never get to have everything you want, but at that moment, we had what we wanted, in that production there are arrangements by Naty Martínez”.

Among your personal projects, which ones would stand out and what new proposals do you bring to the public?

“I was the founder of Ensamble Criollo, we still work with this, AfroAmerica Project, Wilmer Sifontes y Su Combo Caribe, Will Sifontes and his Latin Sound and I’m still working with Conjunto Sabroso as musical director, besides, I’m making a solo album, -let’s say it’s called Latin Jazz- it’s a mix of everything, of my musical career, I already have 3 numbers, there will be duets, quartets, guests, the production is going to be called “Handmade”.

If you were to choose between folklore and salsa

“I’ll take them both, they’re different loves, I still do folklore, salsa and fusions.”

What recommendation do you have for the relay generation

“My recommendation is that they prepare themselves, musically, but first of all their idiosyncrasy, we have to have very clear the bases of what we are and develop them with modern techniques and other elements from other countries, to have discipline, today it is easier to have the information, there are more institutes, the internet”.

By Eling Blanco, ISM Journalist Correspondent, Caracas, Venezuela

We continue working to enhance Salsa

This month I want to continue sharing good news for everyone in NY and in the Salsa world. On this occasion, Oscar Hernández and Spanish Harlem Orquesta join Spaha Salsa Gallery Museum. Oscar has donated an incredible piece that we will be exhibiting immediately.

Four times Grammy Award Winner, Oscar Hernández, has long been considered one of the most gifted and prominent pianist / arrangers on the contemporary Latin, Latin-jazz and salsa music scene. He has achieved legendary status for his prolific career spanning now over 40 years.

Hernández is the leader of the world renowned Spanish Harlem Orchestra. Won the Grammy for their second CD release, “Across 110th Street” and winning yet another Grammy with their 4th CD “Viva La Tradition” and won their 3rd Grammy with “Anniversary” in 2019. Oscar was the music producer as well as pianist / arranger on all CD’s.

Since the band’s inception in the year 2001, SHO has garnered numerous awards and world acclaim as one of the finest exponents of Salsa and Latin / Jazz music. Spanish Harlem Orchestra is generally considered one of the best Salsa & Latin Jazz Orchestras today and one of the finest music ensembles in the world.

The Bronx native has produced such artists as Ruben Blades, Paul Simon, Willie Colón “Carabali”, Daniel Ponce, Rafael Dejesus, Eddie Torres, Phil Hernandez, Steve Kroon, Juan Luis Guerra, etc.

In addition to being Rubén Blades pianist, arranger and musical director, Oscar Hernández has enjoyed a prolific musical career recording and performing with such world renown artists as Latin music king Tito Puente, Queen of Salsa Music Celia Cruz, Latin Pop Star Julio Iglesias, Juan Luis Guerra, Ray Barreto, Earl Klugh, Dave Valentin, Johnny Pacheco, Ismael Miranda, Pete “Conde” Rodríquez, Oscar De’ Leon, Luis “Perico” Ortiz, “Libre” “Grupo Folkorico Experimental “, Willie Colón, Kirsty MacColl, etc. Oscar’s musical exploits include working as Musical Director / Conductor, arranging and producing the music for “The Capeman,” pop-rock icon Paul Simon’s Broadway musical.

Oscar is also the music producer of “The Capeman” cast recording. Oscar was Musical Director / Arranger for the hit shows “Quén Mató a Hector Lavoe” and “La Lupe” at the 47th Street Theater. He was also, Music Supervisor / Arranger for the show “Four Guys named Jose & Una Mujer named María” Oscar also has released 2 CD’s as a solo artist, Oscar Hernández & Alma Libre, titled “The Art of Latin Jazz” and “Love The Moment ”on Origin Records. It is a true honor to have the donation of an incomparable musician like him in our museum. Thanks, Oscar!

Another of the great figures of the Spanish Salsa Harlem Orchestra is Luisito Quintero, the timbalero from Venezuela. Luisito Quintero was born in Caracas, Venezuela where he had his first contact with music. Cultural influences of Afro-Venezuelan rhythms were always present at home. His father, a highly respected percussionist, taught and encouraged Luisito to play the timpani in his teens.

Quintero continued to refine his playing level with the Venezuela Symphony Orchestra, where his technique for playing the timpani soon caught the attention of his colleagues. Subsequently, he joined the popular music groups Guaco and the Trabuco Venezolano and traveled with Oscar D ‘León with whom he achievedan important international projection. The live performances, recordings and projects in which he has participated are countless.

He has made his mark as a percussionist with figures such as Tito Puente, Eddie Palmieri, Marc Anthony, Gloria Estefan, Richard Bona, Jack Dejonette, Willie Colón, George Benson, Natalie Cole, Herbie Hancock, Nuyorican Soul, Masters at Work, and of course, The Spanish Harlem Orchestra. Luisito is part of the group Elements of life, with whom he has toured for the last years.

The band has shared stages with major artists in the market such as Robert Plant, Lauryn Hill and Alicia Keys, performing at festivals such as Montreux Jazz Festival in Switzerland, North Sea Jazz Festival in Holland, Roskilde in Denmark, Blue Note in Japan, Jazz Cafe in London, England and the legendary New Morning Cafe in Paris, France. Without a doubt, an impressive and worth mentioning career.

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 60th anniversary with great artists of the genre. This his 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.

Johnny Cruz and Adalberto Santiago - Salsa — Johnny Cruz and Adalberto Santiago – Salsa

I also want to remember Raphy Leavitt, on the fifth anniversary of her death on August 5. In 1970 Leavitt organized an orchestra that should have a different sound and style. He wanted to select the repertoire of songs of the orchestra with a particular, positive, social and even philosophical message; and founded “La Selecta”. Since its inception, La Selecta has featured Coamo-born Sammy Marrero as one of its singers.

Marrero, who has always been strongly influenced by the music of the Puerto Rican jíbaro, had an opportunity to teach his dramatic singing style in his first hits as the almost hymn “Jíbaro Soy”, a very patriotic and unusual Puerto Rican song, “Payaso”, and “The Good Shepherd”. However, it is in the band’s signature song, “La Cuna Blanca,” that Marrero’s voice is for the most part associated.

In the 1990s, he established his record recording company, R.L. Records. The company’s first production was the album titled “Provocame,” which became a hit in Puerto Rico, the United States, and South America.

In 1978, Leavitt discovered a young singer named Tony Vega, who became a legend among salsa singers on his own merit. Raphy Leavitt and La Selecta were responsible for the introduction of salsa in many countries. Raphy passed away in Miami as a result of an operation of the hip prosthesis that had been installed due to an accident in 1972, and that he had become infected. Leavitt passed away in his sleep. Raphy will always be endorsers of the Salsa Museum with the clown suit of its 25th anniversary.

I also want to thank the constant and significant support for the Museum, from my friend Sully Díaz, who as endorser of the museum, is always working to promote and make our work reach more people. Sully was born in New York, the daughter of Sephardic parents from Puerto Rico. She began her career as a model, and at the age of 17 she began acting in Spanish soap operas, making herself a well-known figure on television in Puerto Rico.

In 1983 she became popular throughout Latin America with the role of Coralito, in the telenovela of the same name. From that moment on, Sully was known as “the queen of Puerto Rican soap operas.” In the early 1990s, Sully moved to Hollywood and appeared on various television shows as a guest star and worked on a few movies.

In the mid-1990s, Sully joined four other Latina women (Dyana Ortelli, Marilyn, Ludo Vika, and Lydia Nicole) in a comedy group called “The Hot & Spicey Mamitas”. They sold out at several Los Angeles comedy clubs. They recorded a CD live called simply The Hot & Spicey Mamitas.

In 2002 Sully appeared in the play La Lupe: My Life, My Destiny, in which she played the Cuban singer La Lupe. Shortly after the execution of this work, Sully made her own production of La Reina, La Lupe. This work toured all of Puerto Rico and was a great success in Florida. That same year, she starred in the Puerto Rican thriller “Cuéntame tu pena”, in which she plays Isadora, a radio host who receives a call from a woman who is killed while on the air.

In 2004 Sully toured with Gilberto Santa Rosa in a play called “The True Story of Pedro Navaja.” In 2009 Sully appeared in the movie Princess Protection Program as Reina Sofía, along with Selena Gómez and Demi Lovato.

Papo Rosario and Isidro Infante - Photo — Papo Rosario and Isidro Infante

Recently, Papo Rosario released his new single “Gracias” produced by arranger and musician Isidro Infante. Rosario appreciates being alive and being able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico on high. Rosario, who retired in 2019 from the group considered the “University of 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. I wish you success in this new beginning.

The invitation to tune in to the new Fm / Internet radio station on Live365.com: Salsagallery continues. Great music, artist interviews and much more.

At the Spanish Harlem Salsa Gallery Museum we are happy to affirm that New York City is preparing to resume its activities little by little. We hope to have more news soon and that we can return to normal soon.

By Johnny Cruz, ISM Correspondent, New York, New York City

Wilson “Chembo” Corniel Jr.

Wilson “Chembo” Corniel Jr.“A sprinkling of be-bop, a touch of swing with a dollop of bomba, rumba, tango and danzón topped with ‘un chin’ de charanga.”

Grammy award nominated percussionist Wilson “Chembo” Corniel was born in Manhattan on November 22, 1953 of proud Puerto Rican parents; Chembo was raised in the humble streets of Red Hook, Brooklyn.

1- Wilson “Chembo” Corniel Jr

Wilson “Chembo” Corniel Jr

It was during these years, as a quick-witted youngster, that he had the privilege and honor to study with such percussion luminaries as, Tommy Lopez Sr., “Little Ray” Romero, Louie Bauzo, and Cachete Maldonado.

Chembo honed his skills at The Harbor Conservatory for the Performing Arts in New York, and also at the prestigious La Escuela Nacional de Arte in Havana, Cuba under the direction of the great Chucho Valdés.

His intense studies with such legends noted above channeled his energy onto a path where Wilson “Chembo” Corniel has now created a reputation for himself among musicians and the public. Today, he is considered as one of the best hard-hitting, versatile percussionists around.

Chembo teaches percussion to students at the SUNY Purchase Conservatory of Music and leads numerous clinics throughout the United States where he brings awareness to others of the rich Afro-Caribbean traditions.

Among his credits, Chembo was chosen to create his own instructional DVD called, “An Introduction to Hand Percussion: Volume I—Congas”. It was released in December of 2000 and with distribution by Warner Brothers it has been a success.

He’s been a vital endorser of Latin Percussion instruments since 1982 as he is currently for Remo drum heads, Vic Firth sticks and Sabian cymbals.

His touring credits are as long as his performing credits. Chembo has toured with many major artists throughout Europe, Asia, North & South America, and the Caribbean. Television credits include an appearance on the “Bill Cosby Show” and a recurring recording gig on Nickelodeon’s children show, “Dora the Explorer”.

Chembo continues to perform and/or record with many artists of different genres. He is currently concentrating on leading his own Latin Jazz quintet, “Chembo Corniel Quintet”. Chembo received a GRAMMY NOMINATION by NARAS IN 2009 for “BEST LATIN

JAZZ ALBUM” for his 2009 cd “Things I Wanted To Do”. This is a well-balanced Latin Jazz group that incorporates many rich traditions, such as writer Aurora Flores states:

“A sprinkling of be-bop, a touch of swing with a dollop of bomba, rumba, tango and danzón topped with ‘un chin’ de charanga.”

Wilson “Chembo” Corniel Jr. ARTISTS: RECORDINGS:

Wilson “Chembo” Corniel – “Land Of The Descendants” – 2016
Wilson “Chembo” Corniel – “Blue Monk” (ASM) – 2012
Wilson “Chembo” Corniel – “Things I Wanted To Do” – 2009
Akiko Tusuruga – Orient Express – 2009
Wilson “Chembo” Corniel – “For The Rest Of Your Life” – 2007
Mark Sherman – Family – 2007
Carlos Jimenez – El Flautista – 2007
Akiko Tusuruga – Sweet And Funky – 2006
Chris Washburne & SYOTOS – Land Of Nod – 2006
Chembo Corniel & Andrea Brachfeld – Beyond Standards 2006
Willie Martinez – La Familia – 2005
Hilton Ruiz – Steppin’ With T.P. – 2005
Wilson “Chembo” Corniel – Portrait In Rhythms – 2004
Ray Vega – Squeeze Squeeze2004
Chris Washburne & SYOTOS – Paradise In Trouble – 2003
Steve Wilson – Soulful Songs – 2003 Larry Harlow’s
Latin Jazz – Live At Birdland -12/02
Chico Freeman – By The Way -4/2002
Ray Vega – Pa’lante -3/2002
Blood, Sweat & Tears – Christmas Album -12/02
Chris Washburne & SYOTOS – The Other Side – 4/2001
David Gonzalez & LLB – Sofrito3/2000
Bobby Sanabria BIG BAND-Live At Birdland -2/2000
(Grammy Nominated) Chris Washburne & SYOTOS – Nuyorican Nights -10/99
Ray Vega – Boperation- 8/99
Larry Harlow – Latin Legends Band – 5/98
The Bronx Horns – Silver in the Bronx – 4/98
Greg Abate – Sweet Samba – 3/98
Buddy Montgomery Trio – Here Again -1/98
Ray Vega – Ray Vega -12/97
Willie Colón – Honra y Cultura Louie Ramirez – El Genio de la Salsa Jose Bello – Jose Bello y su Orchestra Bobby Rodriguez y la Compañia – Hay Que Cambiar La Rutina

ARTISTS: TOURS/PERFORMANCES:

Chucho Valdés
Hilton Ruiz
Buddy Montgomery
Angela Boll
Tito Puente
Grady Tate
Machito
Willie Colón
Toshiko Akiyoshi
Jane Bunnett & Spirits of Havana
Bobby Sanabria Big Band
Charlie Sepulveda
Andrea Brachfeld
Ray Vega
Bob Baldwin
Jose Alberto “El Canario”
Pete “El Conde” Rodriguez
Larry Harlow
Tito Nieves
Louie Ramirez
Chico Freeman
Chris Washburne & the Syotos Band
Chico O’Farrill Big Band
Bobby Rodriguez y Compañia
Lainie Kazan
Celia Cruz

Bebo Valdés is considered one of the central figures of the golden age of Cuban music

On March 22, 2013 in Stockholm, Sweden, Dionisio Ramón Emilio Valdés Amaro, better known as Bebo Valdés, died.

He was an excellent musician of Cuban music and Afro-Cuban jazz, considered one of the central figures of the golden age of Cuban music.

In addition to being a pianist, his best known facet, he has been a composer, arranger and orchestra conductor.

He was born in Quivicán, Cuba, on October 9, 1918. He was the father of the Afro-Cuban jazz pianist Chucho Valdés (b. 1941). From 1931 to 1935 he studied piano in his hometown with Moraima González; in 1936 he moved with his family to Havana, where he studied music theory, harmony and composition with Oscar Bofartigue.

In 1938 he made his professional debut with Happy D’Ulacia’s orchestra. He played in Havana, since the 1940s, in the orchestras Ulacia, García Curbelo, Julio Cueva and Orquesta Tropicana, and recorded albums with groups dedicated to performing Afro-Cuban jazz.2

Known among his family and friends by the affectionate nickname of Caballón because of his considerable stature, he composed mambos, such as La rareza del siglo, which covers the genre recently introduced by Pérez Prado and which would change the course of Cuban music. From 1948 until 1957, he worked at the Tropicana cabaret as pianist and arranger for Rita Montaner.

The Sabor de Cuba orchestra, of Bebo Valdés, and that of Armando Romeu, made the show of this night club, in which Valdés stopped performing in 1957, when he was hired by Ernesto Roca, of the Peer International Music Publishers, to make arrangements for Xiomara Alfaro and Pío Leyva; at the same time, he joined Guillermo Álvarez Guedez, of the Panart and Rolando Laserie in Radio Progreso. With his orchestra Sabor de Cuba, he accompanied singers Reinaldo Henríquez, Orlando Guerra (Cascarita), Pío Leyva and Ada Rex; Beny Moré also sang with this group, and Chucho Valdés made his debut.

About the descarga or jam session, there are multiple versions, this is the one by Bebo Valdés which, due to the concreteness of data, dates and record labels that made the recordings, is the most objective: “One night in October 1952, I was resting in a cabaret in Havana with members of the Tropicana orchestra.

Bebo Valdés Fue un excelente músico de música cubana y jazz afrocubano, considerado como una de las figuras centrales de la época dorada de la música

It is important to know that since 1948, Cuban, Mexican or even American musicians used to meet on Sunday afternoons at the Tropicana to play descarga, in the course of which we mixed jazz and Cuban rhythms.

Sometimes the descargas were held at four o’clock in the morning, at the end of the [Tropicana] show. The percussionist Guillermo Barreto was the one who animated them; we had received Roy Haynes, Kenny Drew, Sarah Vaughan, Richard Davis and many other musicians passing through; in fact, all the great names of jazz paraded through the Tropicana.

All of that could have been recorded, but no one was interested. So, that night Irving Price, the owner of a record store on Galiano Street, announces to me that producer Norman Granz is in town and that he can’t believe that Cuban musicians are capable of playing jazz.

Granz and Price ask me to go to the studio to record. It was September 16, 1952. So, I called some musicians, but I myself was late for the session, because in the morning I had another recording for RCA: I was going to accompany a singer! When I finally arrived at Panart’s studio, Granz had already left for the United States.

We called the orchestra The Andre’s All Star, after the name of Irving Price’s record store. We had decided to play classic jazz tunes, such as Distrust, Taboo, Sleep and Blues for Andre. At the end of the session, as there were still a few minutes available for the record, I started playing a riff, from which we improvised. We called that track “Con poco coco.”

The record was titled Cubano! and the participating musicians were all from the Tropicana cabaret: Gustavo Más, tenor saxophone; Alejandro Vivar (El Negro Vivar), trumpet; Kiki Hernández, double bass; Guillermo Barreto, timbal; Rolando Alfonso, tumbadora and Bebo Valdés, piano.

The works it contains are the same as those mentioned by Bebo Valdés, and the label, Mercury. In 1955, Bebo Valdés recorded, in the studios of Radio Progreso, Holiday Habana and She Adores the Latin Type, for the Decca label, which contained mambo, chachachá, bolero, jazz descarga, even jazz with bebop tendencies.

According to Luc Delannoy, in 1956 the Panart recorded Cuban Jam Session, with Julio Gutiérrez and Pedro Jústiz (Peruchín), as directors, and the musicians Alejandro Vivar (El Negro Vivar), Edilberto Escrich, Osvaldo Urrutia (Mosquifin), Emilio Peñalver, José Silva (CHombo), Juan Pablo Miranda, Salvador Vivar, Jesús Esquijarrosa (Chucho), Oscar Valdés, father, Marcelino Valdés, Walfredo de los Reyes and José Antonio Méndez. The participation of Israel López (Cachao) in a descarga did not occur until 1957, when the Panart recorded Descargas cubanas, with the participation of Cachao himself, Guillermo Barreto, Gustavo Tamayo, Rogelio Iglesias, Richard Egües, Andrés Hechavarría (El Niño Rivera), Rolito Pérez, Alfredo León, Arístides Soto (Tata Güines), Alejandro Vivar (El Negro Vivar), Generoso Jiménez, Orestes López (Macho), Emilio Peñalver and Virgilio Vixama. In other years, there were also recordings of downloads, and some unrecorded ones, such as those recalled by Leonardo Acosta at the Cuban Jazz Club, held between 1958 and 1960, with the participation of Pedro Jústiz (Peruchín), piano; Guillermo Barreto, drums and pailas, and Arístides Soto (Tata Güines), tumbadora (drums). This proves -or at least shows another side of the coin- that Bebo Valdés was one of the initiators of descarga in Cuba, a resource used by Cuban musicians in the most diverse instrumental formats, genres and styles of our popular music, as, for example, did the composers of the filin movement.

On June 8, 1952, with a band of twenty musicians, Bebo unveiled the batanga rhythm in the studios of RHC Cadena Azul; among the three singers in the orchestra was Beny Moré.

Bebo Valdés un virtuoso de la música cubana

That same year he travels to Mexico with the purpose of recording a disc with this new modality of Cuban music, which also included a new choreography; they were not successful, and, according to Bebo Valdés, “the batanga died a natural death”.

When he left Cuba in 1960 due to disagreements with the Cuban government, Bebo also abandoned his family, his wife Pilar Valdés and his five children (including Chucho). Bebo Valdés goes to Mexico, then moves to Los Angeles, California, where he works with singer Miguelito Valdés; from there he travels to Spain, where he records two albums as director of the orchestra that accompanies Chilean singer Lucho Gatica.

Later he toured England, France, Holland, Germany and Finland with the Lecuona Cuban Boys. In 1963 he settled in Sweden, and worked with the Hatuey Orchestra, a Swedish group playing Cuban music. In Sweden he formed a new family when he married in 1963.

International career

After thirty years of relative anonymity, on November 25, 1994, Valdés received a call from Paquito D’Rivera, who invited him to record a new album in Germany for the Messidor label. A new beginning in his career took place at the age of 76 with the recording of Bebo Rides Again.

He participated in Fernando Trueba’s film Calle 54, along with, among others, pianist and composer Chucho Valdés, Paquito D’Rivera, Elaine Elías, Chano Domínguez, Jerry González, Michel Camilo, Leandro J. Barbieri (Gato Barbieri), Ernesto Antonio Puente (Tito Puente), Arturo O’Farrill (Chico), Israel López (Cachao), Orlando Ríos (Puntilla) and Carlos Valdés (Patato).

In 2004 he traveled to Salvador de Bahia, Brazil, to participate in Trueba’s film El milagro de Candeal, along with Carlinhos Brown, Marisa Monte, Mateus Aleluia and César Mendez.

Bebo y Chucho Valdés una verdadera dinastía de la Música Cubana

An integral musician capable of tackling the most diverse genres and styles of music, not only as a pianist and composer, but also as an orchestrator and orchestra conductor of sublime values; of solid technical training, both theoretical and pianistic, Bebo Valdés is one of the all-time greats of Cuban music. He was, with Israel López (Cachao) and Patato Valdés, nominated for the Latin Grammy Award for El arte del sabor, best traditional tropical album 2002.

In 2002, Fernando Trueba produced Lágrimas negras, an album that unites flamenco singer Diego el Cigala with Bebo Valdés on piano.

After its release in 2003, it became an international success, recognized with a Grammy, three Music Awards, an Ondas Award, five Amigo Awards, three Platinum Discs in Spain and one each in Argentina, Mexico and Venezuela. The New York Times praised the album as Best Latin Music Album of the Year and opened the doors to a tour of Paris, New York, London, Havana, Buenos Aires, Tokyo, Mexico City, Madrid and Barcelona, among others. By the end of 2004 the album had sold more than 700,000 copies worldwide.

He retired to Benalmádena, a village in the province of Málaga (Spain), until his death in Stockholm (Sweden).

Chucho Valdés

Fidel Antillano “The greatest satisfaction of a musician is to finish a quality product and see the acceptance of the public”

Latin America/ Venezuela / Caracas

Salsa is an expression of life within the caraqueño and Latin American neighborhoods. This fusion of rhythms has known how to slip in and no one escapes its magic and enchantment. Such is the case of pianist, composer and arranger Fidel Gregorio Antillano, born in the city of Caracas on June 10, 1962 and raised in one of the city’s sound districts, Los Frailes de Catia, where he lived surrounded by salsa groups, street performers, carnival and Christmas parties, enjoying the golden age of the salsa boom.

Fidel Antillano - Photo — Fidel Antillano – Photo

This genre influenced his destiny and allowed him to make it his way of life. Salsa is a cultural condiment with the flavor of many countries, which has managed to transcend borders.

Almost always at home the musical vein is lit. Was this your case?

“There was influence from my relatives, in my house there was always music, it was like a big jukebox, La Billos, Los Antaños del Stadium, la Sonora Matancera, Barbarito Diez, Casino de la Playa, among others, my grandmother lived in El Retiro, in La Pastora, she had a piano, when I went to visit her with my dad, I sat at the piano and I liked what I felt, music was part of my family, my dad was a great music lover, he bought all kinds of records, classical music, Creole music, tango”.

Did your grandmother or your father play the piano?

“No, my grandmother Gregoria “Tata” -we called her that because of our affection-, she was an amateur but she did not play it, she had it as a reference, she played cuatro, my uncle also played cuatro and guitar, my father did not play anything, he bought many Lps, given the house we had -the piano was a kind of furniture that embellished and gave cache to the house-“.

Family photo of Fidel Antillano's uncles Isaías, Pablo and his grandmother Tata — Family photo of Fidel Antillano’s uncles Isaías, Pablo and his grandmother Tata

“My older brother -on my father’s side- he did have some knowledge, he was the most educated, in that house there were harps, cuatro, maracas, records, my family on my father’s side were very fond of music, from our musical family tree we have four musicians -Julito Antillano, Denis Antillano, José “Kikin” Fernández and me”.

What anecdotes or memories do you have of the piano?

“At the time of the construction of La Cota Mil, my grandmother’s piano was taken to my father’s house, at that time I began to kill a fever, I was about 10 years old, it was the time of the gazebos to choose the queens of the neighborhoods, the Sexteto Juventud was in fashion with its theme Caramel and Chocolate; at Christmas and Carnival we did not peel a rehearsal of the groups that lived in Catia”.

That would be the first impulse to awaken the gift within

“Yes, that was my first impulse, I inherited that musical vein from my grandmother and my father, they were close to salsa and folk musicians, besides, my father and my uncle bought a lot of Long Play (elepé), I started working with my

brother in a shoe store and started buying records.

Fidel, I understand that you are a self-taught musician. How was that learning process and deciding that the piano would be the instrument to play?

“Yes, I am a self-taught musician, back in the 70s we used to hear Nico Monterola’s Orquesta Renovación, La Banda y Su Salsa Joven on the radio. To my surprise, we used to meet with those musicians and we used to go and hang around their rehearsals, this had a big impact on me, there were many shows, it was a coming and going of groups of the moment”.

When I was 18 or 19 years old, seeing Salsa Mayor, Pacheco, Carlos “El Grande”, all those great musicians, I made the decision to learn to play an instrument, I looked for a teacher or someone who would teach me to play the piano -Salsa was underestimated and that’s why they thought it shouldn’t be studied”.

He got a teacher

“No, because of what I’ve told you, salsa was seen with bad eyes, the scholars did not see it as music would be, look, at that time I was exchanging the Lp with my friends, in one of those exchanges a friend lent me the album “Musical Conquest” by Sonora Ponceña, when I heard the song ‘Ñañara’ I fell and the entrance of the piano played by Papo Luca, that simple montuno, I was hooked – I said; this will be my thing!

That was the leap you’re hoping for

“Yes, that was the big jump, I went uphill because I didn’t know what a chord was, I didn’t know anything, I mounted 4 songs with simple chords, taking the first steps I fell in love, then I joined people with more knowledge”.

“As there was no one to teach me, I saw books, I had chords of the songs and I was guided by a music theory book, I learned to decipher the codes, music is a code, I read the Swing Latino magazine -from my friend Angel Mendez-, without stepping on a school, I was fed up; one must know about harmony, contra punto, I bought the Berklee harmony book and many more, -I rubbed shoulders with other musicians -some records came as a clinic, all this was feeding me”.

He was his own teacher and a very disciplined student

“I was my own teacher and I took on a discipline because that’s what I wanted, if you went to an institution where they gave music lessons and you said you wanted to play salsa, the musician was fined or thrown out, they were treated in a derogatory way”.

It was worth the effort, from being an empirical musician to playing with the best orchestras.

“I started with Grupo Fósforo, back in 81, we only wanted to play, it was a sextet, Mr. Manuel Ibarra passed me the notes and I didn’t know much about playing, then Jesús “Mandinga” Torres, took me to see different groups, That’s when I decided to introduce brass into the sextet and it became an orchestra, -all the arrangements were done by me-, I had any number of records and many songs from those Lp were not played or played by other orchestras -Gran Combo, Sonora Ponceña, among others-“.

He is a collector

“Not a collector as such, but I do like it, not with the eagerness that any collector has to obtain all the production, as La Sonora Ponceña says, but I have my Lp”.

What happened with the group Fósforo?

“It dissolved because they each started playing for different orchestras.”

And then the Grupo Fósforo

“Mandinga tells me that Carlos “Tabaco” Quintana needs a pianist, I clarify to him that I do not know how to read the scores, that he gives me the papers that I have the album, I began to listen to the album and I saw the papers, with that I completed the study, and I was increasing the experience, I recorded in the production of Tabaco and his Group Futuro”.

“Then with Dimas and his Orchestra Alegria, it was the first album I recorded professionally in the year 85, through those works I was doing with Dimas, I know Mauricio Silva, I felt afraid because Mauricio already had experience, he was the producer of Dimas’ album, but everything flowed, on the way I know many other professionals”.

“In the year 87 Roberto Blades came to Venezuela to the famous events Consul, Alberto Vergara recommended me Manuel Guerra and we made several tours by some regions of the country, then Julito – my nephew – told me that Naty Martinez needed a pianist”.

How was your time with Naty’s orchestra and your separation?

“Thanks to the album I made with Dimas, many doors opened for me, he believed in me and I will always be grateful for that. Through this album, Naty hired me, he already had references from me, and I recorded 4 of his productions with him -Naty, El Legendario, returned, In Dos tiempos and Proyecto Maelo-, with Naty I made my debut at the Poliedro de Caracas, I met Ray Barreto and the pianist Ricky González -he passed me some tricks-, we also went to Colombia and alternated with Grupo Niche and Joe Arroyo, a great growth and learning”.

“I left the Orchestra with a good relationship with Naty, so much so that he called me later to record in the productions, En dos Tiempos and Proyecto Maelo”.

It was a very fast growth

“Yes, I’ve even recorded jingles, I was with the Orquesta Café de Caricuao, I was with Erick Franchesky in the production where he pays tribute to Billos”.

From Salsa orchestras to working with one of the greatest exponents of Caribbean popular music, maestro Porfi Jimenez

“At the time that erotic salsa was introduced, I started to play with Porfi, merengue and snail soup were in fashion, all that music was in great demand, it was a boom, weekly there were 3 or 4 dances, this dragged a great group of followers, with it I go to Tenerife to some carnivals, I have great respect and admiration for the master”.

His time with the group of Porfi opened the doors to work with the group “Los Roques” of Tenerife

“Of course, however, I had left my resume there and one day they called me and told me that they were going to send me the ticket, I was with them for about 7 months, I played in the carnivals of Tenerife, it was something apotheosis, dances and dances did not let me come – laughs – they played merengue, I was blessed to visit Africa”.

All this accumulation of experience allows him to decide to create his own orchestra

“When Porfi was in the merengue boom, however, most of us musicians were salsa musicians, and because of that need to play our rhythm I decided to create my orchestra, but before doing the Combo Antillano we had an orchestra called La Gran Fuga, the singer was Edgar dolor, we killed fever with that orchestra and eventually I played with Naty and Porfi, because of so much activity I played with my orchestra on the days I had free, it was a good time for the groups”.

What happened with La Gran Fuga?

“We made it to occupy the days we had free with Porfi’s orchestra, at that time it had suffered a drop in the number of performances, but when it came back up, we didn’t have time or space to play, – well – it didn’t really dissolve, in fact they always give us caps to reassemble”.

From being the musician of the Orchestra Dé, to being the owner of El Combo Antillano and taking responsibility for a team

“A great responsibility and commitment, but it was time to do the same, we opened the compas playing music from the Gran Combo of Puerto Rico, that was the end, we played the greatest hits of the moment, no other band did, on Tuesdays that was full of people in the different places where we worked, this served as a bridge and accompanied other artists, Andy Montañez and other groups, this made me think about making original songs to record.

What was your first composition?

“The “Afro-Caribbean Music Festival” took place at the New Circus in Caracas, with 30 orchestras participating. Lil Rodríguez asked the orchestras to play original songs, and my first composition was a tribute to Caracas”.

At that moment they take a prize as the most applauded group of the night

“Yes, that was impressive, with Leah’s song, a Mongo Santamaría song, it was something new for the moment, an instrumental discharge”.

Tell us about your record productions

“My first production is called Háblame de Melao (2010), in most of the songs I do the lyrics and arrangements, was something new, the black Mendoza puts me to record and tells me to do theme by theme, we made 21 track, but in the album only put 19, this production was made to recognize the singers, Dimas Pedroza, Teo Hernandez, Angel Flores, Larry Tovar, Luis del Valle “Don Wicho”, Rodrigo Mendoza, Eloy Rios, a tribute to them and highlight our people.

“The second, Fidel and the descarga de los Frailes (2013), here we handle the Salsa, Latin Jazz, Danzón, has a lot of instrumental music before starting the rumba, I had the desire to work and create with a sense of belonging, I made an innovation in the melody with the electric guitar and flute, I did not want to continue recording on wet”.

“and, Caracas en su Salsa (2018), is a tribute to the Salsa of Caracas, in this production we have 14 songs”.

Through this production you made a documentary with the same name, which begins with a beautiful phrase of Cabrujas “Caracas Suena. The city was made to be heard, not to be seen”. How would your interpretation of this hidden city be?

“There is a city that cannot be seen, but it is there, and although the media does not show it to us, we can notice it, through, for example, the musical groups that exist in our neighborhoods and that become visible when there are events, like the one organized by Héctor Castillo (+) in 1983, where we could realize that there was a whole cultural movement hidden in each of our neighborhoods”.

“So I urge this type of inter-neighborhood events, which allow the visibility of the hidden Caracas.

Another of his passions is composition. At what point does the muse come to him?

“At first sight I fell in love -laughs-, -Bella Cubana-, to compose you must have a little bit of each thing, love, dislike, joy, sadness, they are not always experiences of the composer, sometimes if, in the variety is the taste, in my case I work with the rhythmic part and I put lyrics, and more than muse is a mixture”.

He makes songs with meaning that captivate the audience

“You like your audience to identify with your songs, the lyrics are thought-provoking.”

Does the song I don’t want to live in the dark have to do with any experience?

“That one was written by Carlos Navarro and I arranged it for him, it was a personal experience of his. I was in a treatment centre and he talked to me about it, I decided to do the arrangement”.

In the music industry we have many issues of strip and shrinkage, is the case of Domina tu lengua

“Sometimes people think that a song can be a strip and shrink, because of the content of the lyrics, in this case it is not, this was written by the Cuban producer Luis Llamo”.

What gives you the most pleasure as a musician?

“Finishing the product with quality and seeing the acceptance of the public, when you are in the studio and you realize that it looks better, then it sounds on the radio, seeing that the public sings it, dances it, that’s priceless, that’s the greatest satisfaction”.

Which of your productions has given you the most satisfaction?

“Tell me about Melao.”

Why?

“There is a great variety of rhythms in it, I had the opportunity and the satisfaction of exchanging with a large number of people from outside, in it is the theme Pa’ Barlovento, in it exported what is ours, our native rhythm, Venezuelan Sangueo, the Culo e’ Puya, the San Millán”.

What have been your musical influences?

“I wouldn’t be a musician if it wasn’t for Papo Lucas, trying to emulate what he did, as a musician, arranger and person, I admire him a lot, from here comes my influence, -in what time he learned everything he knows-, that makes him incredible, apart from the master Tony Monserrat, an independence with his left hand, he was a virtuoso”.

Many begin by imitating a style, versioning lyrics from other groups. What do you think of the copies, has creativity been lost?

“It’s a resource that is used, at a certain moment, it’s a hook, I barely had the opportunity to do my work, one must have the ability to discern where to play each song, maybe many are afraid of not liking it, or not being accepted”.

What do you think this fear is about?

“Perhaps not to be broadcast on the radio stations.”

He believes that more support is needed from the various media

“Yes, the lack of support sometimes makes one fear, it’s worrying to touch on a subject and the track gets empty.”

That’s when the artist turns to the hated payola

“I don’t agree with the payola, but it is a necessary evil, all the work that an orchestra owner does generates expenses, and after making an investment you need a retribution; previously live performances were a springboard, they projected a lot to the groups, that has declined a lot”.

What has happened to the Bolero in productions, you don’t listen to them anymore?

“The record companies are more determined to sell, that’s why I think they stopped recording, the new generation should identify with that rhythm, there are many beautiful boleros and if they stop recording they might be forgotten”.

Fidel, what new projects are on the way?

“Right now I’m recording with Angel Flores -record pocket- the song is called Callejon 107, is dedicated to the experiences of Latin American neighborhoods, is a son montuno very tasty, lyrics by Flores and with arrangements by this server”.

At this time when humanity is going through a hard test for its survival, what message would you leave behind?

“There is advice to live a life attached to good habits, one must live under these guidelines, the book of proverbs is wisdom… The man who walks in integrity walks confidently”.

By Eling Blanco, ISM Jounalist Correspondents, Caracas, Venezuela