Search Results for: Afro-Cuban

Tribute to my friend Larry

It is now a year since the unfortunate departure of one of the greatest icons of Latin music, who is none other than the one and only producer, composer and pianist Larry Harlow. Let’s remember that he passed away on August 20, 2021 in a health center located in the Bronx at the age of 82. His death was caused by heart failure due to a kidney condition from which he had been suffering from for some time.

“El Judio Maravilloso” passed away on August 20, 2021

A little of his history

The also known as “El Judio Maravilloso” has a great success story behind him in the field of music, which began with the occupations of his parents. Recall that his mother was an opera singer and his father was a musician in the orchestras of Barrio Latino, which could explain his interest in the industry when he was very little. From a very young age, little Harry already handled certain instruments in a skilled way, showing what he could dedicate himself to in the future.

His great interest in Cuban music and culture led him to travel to Cuba, where he began his musical studies related to Afro-Cuban music. Unfortunately, the arrival of the Cuban Revolution prevented him from fulfilling his task and he had to leave the island prematurely due to the political crisis that started to develop.

Since then, the Harlow Orchestra became one of the first groups to be formed with the label of Fania Records. At the same time, Harlow was producing an tremendous amount of albums, both his and other musical stars’, catapulting him to becoming one of the most respected producers of that time. Reportedly, there were approximately 270 records in total, which gave us a lot of hits that continue to be heard to this day.

One of his greatest achievements was to have brought the world famous Cuban singer Celia Cruz to New York, thus becoming the first artist of Latin origin to perform at the Carnegie Hall, a famous concert hall located in Manhattan that had only had room for Anglo-Saxon artists until that time. It was “El Judio Maravilloso” who managed to bring Latin America to the Carnegie Hall for the first time from the hand of “La Guarachera de Cuba”, something unthinkable in those years.

Larry Harlow and Johnny Cruz in the 80’s

He also had an important role in the film “Our Latin Thing”, along with several transcendental figures of the Fania All Stars.

Relationship with the Spanish Harlem Salsa Gallery Museum

It is of common knwoledge that Larry and this server had a close relationship, since we knew each other for many years and lived many incredible experiences related to this wonderful genre called salsa. That is why the famous pianist sent me some of his most precious costumes to be exhibited in our gallery so that all his fans could be as close as possible to their idol.  After his departure, seeing all those things donated by him leaves a deep emptiness in those who see them, but at the same time this reaffirms our commitment to offer our public the best salsa exhibittions they have ever seen.

Larry has left an indelible mark in the hearts of all of us who got to know him during his lifetime, but our duty is to move on with our heads held high.

Harlow and Cruz in 2018

 

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

Jimmy Castro and his radio station Ritmo Caribe Promotions Radio

We had the pleasure of interviewing businessman, producer and broadcaster Jimmy Castro, who started his radio show “El Toque Latino” on radio station WTCY 1400 AM from 1998 to 2002 in Harrisburg, Pennsylvania. He then worked as a producer on “The Latin Jazz & Salsa Show” in Richmond, Virginia on station WCLM 1340 AM between the years 2008-2014. He eventually launched his own online Radio station Ritmo Caribe Promotions Radio in 2018 through the link www.ritmocaribepromotionsradio.com. Here, listeners can find salsa, Latin jazz and Afro-Cuban music.

Producer, promoter, and broadcaster Jimmy Castro

Here is our conversation:

You founded Ritmo Caribe Promotions in 1998. What made you found this company and why focus on setting up festivals and concerts?

I started the company as a DJ Record Pool called Caribbean Rhythms Record Pool in 1996 in Harrisburg Pennsylvania. I began meeting many of the artists that I was receiving music from, who began asking me if I would bring them to Harrisburg, Pennsylvania to perform. That’s when I changed the company name to Ritmo Caribe Promotions, and produced many concerts and festivals there featuring artists to include Larry Harlow, Tito Puente, Cano Estremera, Hector Tricoche, Van Lester, Miosotis, Edgar Joel, Yomo Toro, Eddie Palmieri, and more.

Why focus specifically on salsa, Latin jazz and Afro-Cuban music?

I used to promote more genres when I began such as Merengue, Bachata, Reggaeton, and Mexican but as the years went on it began getting more difficult because I was receiving so much music but I had a limited staff to and wouldn’t be able to focus on so many artists. I decided to limit it to the genres I had the most experience in.

Jimmy Castro while leading his old show “El Toque Latino”

I knew that Ritmo Caribe Promotions has co-produced songs by several well-known artists. Let’s talk a bit about your role as producer and record label.

Throughout the years, I have always dreamed of producing a Salsa song with my company. In 2020, I had the opportunity to co-produce my first Salsa song with JA Creations entitled “Mariana” by Colombian Salsa vocalist Jaime Andres featuring Frankie Vazquez “El Sonero del Barrio!” Since then I have co-produced 3 more Salsa tunes, “Nuestro Camino” by Leonardo Garcia featuring country vocalist Cat Beach, Max Rosado, and special guest Nestor Torres, “Mi Motivo” by Leonardo Garcia featuring Grammy nominated Miss YaYa, and “Lo Afortunado Que Soy” by William Mendoza’s Latin Heartbeat Orchestra featuring Cuban vocalist Amauri Menocal. Finally, on August 15, 2022 I will be releasing my first Salsa tune as Executive Producer entitled “Historia de Un Amor” featuring a vocalist from The Netherlands, Julie Huard.

What leads you to launch your own online radio station in 2018?

I started in radio broadcasting in 1997 with my own radio show called “El Toque Latino” on a commercial radio station, WTCY 1400 AM in Harrisburg, Pennsylvania. I was on the air for 5 years. I then moved to Richmond, Virginia where I worked as a producer on The Latin Jazz & Salsa Show on WCLM 1450 AM / WHAP 1340 AM for 8 years. I was also the entertainment producer for 10 years for the annual Latin Jazz & Salsa Festival, with The 15th Annual Latin Jazz & Salsa Festival scheduled this year on August 27th, in which I will be bringing headline artist Herman Olivera.

Finally, in 2018, I no longer was interested in working on everybody else’s radio station, and decided to launch my own 24/7 internet radio station, Ritmo Caribe Promotions Radio, where I am able to program exactly the way I want to. www.ritmocaribepromotionsradio.com.

Jimmy Castro with the “King of Timbales” Tito Puente

You have also produced theatrical plays and film productions. Give us more details about that.

The play I am most proud of was produced by my company Ritmo Caribe Promotions and Yamile Music (Los Angeles) entitled “Melena: A Cultural & Musical Journey into my Afro-Cuban Roots” which was the true story of Afro-Cuban latina percussionist Melena, and her journey from Cuba and becoming one of the best female percussionist in the world. You could check out the play in 3 parts on YouTube by searching for “Melena: A Cultural & Musical Journey into my Afro-Cuban Roots (Part 1, 2, and 3).”

You also receive music in mp3 format from the audience to place on the station. What basis do you have for choosing between the tracks you receive?

I accept music from artists from around the world, again Salsa, Latin Jazz, and Afro-Cuban music, and I listen to all the music I receive and focus on the quality of the production, ensuring I receive mp3/wave along with the album cover image, and last but not least the music has to be GOOD! I also send it to many Salsa dancers who I am connected with to get their opinion on the tune.

What you can say about your show “El Toque Latino”? How has this show changed with the passage of time?

I mentioned “El Toque Latino” in a question above, however, this show is no longer on the air. Now, it is only “Ritmo Caribe Promotions Radio” 24/7 at www.ritmocaribepromotionsradio.com.

Jimmy Castro with Puerto Rican salsa singer Cano Estremera

 

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Here you have our interesting comversation

We are here with Uruguayan bandleader, multi-instrumentalist, and percussionist Edgardo Cambón, who currently lives in Oakland. It’s very nice to meet you, Mr. Cambón. What a pleasure to have you with us today.

Hello, Karina. It’s a pleasure to have you here too despite the distance. I also send my regards to the followers of salsagoogle.com and to salsa fans around the world because this is an international connection. Thank you for the opportunity to connect with so many people.

Uruguayan bandleader and singer Edgardo Cambón next to new MOPERC walnut, 7 & 9 inches drums

On one of your Facebook pages, one can read that the conga is your main instrument, but you also play many others. In that sense, is the conga the instrument you most enjoy playing or are there others?

That’s a very good question. I am a percussion lover in general and, being Uruguayan, I also came into Brazilian percussion. The instrument to which I always gravitated around and returned to very strongly was the tumbadora or conga (commercial name). To study that instrument and the batá (the most religious Afro-Cuban music) I went five times to Cuba from 1989 to 2006. I have a very deep connection with Cuba and with all the countries in which the tumbadora is used. This is also the instrument I play while singing, which makes me have a very special connection with it. Jokingly, I say that I feel naked if I don’t play something while singing. I always try to play a güiro, maracas or another instrument because I always have.

You also teach music and percussion. It is well known that the teacher teaches students, but also that tstudents can also teach the teacher. Could you tell us what you have learned from your students?

That’s a very important and lovely question. I could tell you many things. The first thing you learn is to be patient with yourself and your own progress because the musician never stops progressing. The human being never stops progressing. When I see a student who is very nervous and isn’t patient with himself, I always try to make him understand that performing one instrument well takes a long time.

I learn a lot about what to do and what not to do. I learn to be patient with them, to rewind the cassettetape and to get back to the basics of what I learned in Cuba when I started traveling. My students also teach me to be grateful to my own teachers and connect with the instruments. When you reach a certain level, you become overconfident and it’s harder to connect with the instruments. Classes force you to pick up an instrument without being obliged to do so, which the professional musician tends to leave out after a long career.

My students remind me of what I was doing when I was learning and force me to keep practicing despite the experience. I always learn from them.

Edgardo Cambón in front of El Floridita

You teach both in person and via Zoom. What teaching strategies do you implement at home?

The difference between one mode and the other is huge and it was hard to get used to this situation. I was receiving a lot of proposals to teach via Zoom before the pandemic. I was avoiding at all costs the use of digital platforms even though many people were interested. I have a lot of online videos with great success and positive feedback, thank goodness. This has caused many people to ask me if I can teach them on Zoom.

The pandemic forced me to build that dormant muscle, so I think I achieved a very good system for giving online classes. In person, I use some applications that allow me to play certain songs I can slow down. These apps can work like a metronome, but funnier. Some of them are Percussion Tutor, Salsa Rhythm, Amazing, Slow Downer, among others.

In the case of Zoom, I suggest my students download these apps on devices other than the one they are using to meet with me. The biggest problem with digital teaching platforms is the delay sound between the student and the teacher. Now, amazing things have been done like the fact that a symphony can play in one country, while the conductor is in another conducting them. There have been improvements.

It may also be the case that there are students with excellent quality equipment, but others who have devices with outdated operating system and low download speed. So, we have to find a way for everyone to learn as well as possible. This system consists of doing a demonstration first, getting the student to play the rhythm from his side through the metronome or the application. Many times, we can spend a whole class trying to solve technical issues, but once everything is solved, you can establish a rhythmic relationship between the student and the teacher.

There are situations in which the mismatch between the sound and image prevents errors from being corrected, so we use phone calls to counter these issues effectively. This is how I look at the video image of the student (if there are no delays) and hear the sound at the right time.

The good news is that I can have students from around the world and doors are opened me for an broad international spectrum that I never expected.

Edgardo Cambón with a Pandeiro in a studio

Strategies on stage (título 3)

Radically shifting the issue, according to your website, one of the main defining things about Edgardo & Candela is that you know how to read the crowd very well and what the audience wants at that moment. How do you do that? What techniques do you use?

That’s a very good question. That’s a technique which is a bit instinctive. I must confess that that technique does not belong to the full orchestra, but to me as the lead singer and the orchestra leader. The guys know that I ask for a set list and even send it in advance. Several of them have their iPads and the music there in digital format, but others don’t.

I have over 240 songs in the repertoire, but I don’t get them all with me. On average, you play about seven songs in each set for an hour, which means that you’re thinking of 14 to 16 songs for two hours. It also depends on how long each song lasts.

If you’re playing to an American audience, you’ll probably have to slow down, play one or two songs in English and light beats such as cha cha chá. You have to include digestible things if you’re not playing to a salsa audience.

If I’m playing for the Mexican community, I have to include cumbia and medleys of local bands and artists like Maná, which is a very important Mexican group.

I have four original score albums. The first one was called ilusiones and released on vinyl in 1989. We produced it here in the Bay Area when there were few groups making original music around here. Following a trip to Cuba the same year, I decided to go back and focus more on my melodies, my songs and my lyrics. Another thing I wanted was to keep the Uruguayan essence in salsa and add a bit of candombe, which is the Afro-Uruguayan rhythm par excellence.

Edgardo and Candela at The Seahorse

I’ve had a lot of popular songs on certain digital platforms, but I wouldn’t be honest to say that I had a big hit like Llorarás by Oscar D’ León and Yo no sé mañana by Luis Henrique. I can use these things to push my original music a bit harder in general. You can have your original music, but you also have to play music known by the public to accustom people to your style and make them learn to digest your thing a little bit.

In the 70’s in New York, the bands only played original music, but those times has disappeared. That’s why I mix original music with familiar music, but I focus on making the result digestible and danceable for people. I play at least four times a week and, if I want to maintain that rhythm of work, I need a repertoire that includes Cuban, Colombian, Venezuelan, Mexican, Dominican music, among others.

What made you get involved in Charley’s project?

No self-respecting musician can allow his career to revolve around two or three clubs because these venues can open and break.

What I liked most about Charley’s was its proposal so similar to that of the 80’s, the decade when I arrived here. They were more stable clubs that had organization and the collective participation of artists such as DJ’s, dance instructors, radio folks, among others.

Also, Charley’s is a nice place and has a size that I think appropriate. When clubs get too big, there comes a point when the vibes can get cold, something that doesn’t happen in this place due to its moderate size.

The only downside is that gas is $6.25 and it’s far away for people from San Francisco, but people from closer areas can go.

Your music reaches audiences from all over the world. Have you had the chance to play abroad?

Yes. In 1996, we were at the Benny Moré Festival in Cuba. A few years later, we were on the island of Guam on the occasion of 5 de Mayo sponsored by Budweiser.

On both occasions we were very well received by the audience.

Most recently in May this year, we just played a large concert with over 1500 people at the Fairmont Orchid Hotel in Kona, Island of Hawaii. On that occasion, everything was arranged by the Salesforce company.

This last work was impressive because of the high technical and professional level of the entire production, since in addition to our Latin music, the popular pop singer Kathy Perry closed the show…

International jobs, and simply out your city, give another angle to the career encouraging the musician to present his original music.

After playing in Cuba, Guam and Hawaii, I jokingly say that I only get booked to play on Islands (chuckles).

Traveling on my own (without the orchestra) gave the pleasure of performing in Sweden and Argentina with the support of local musicians from those countries.

Cambón at Brooklyn Basin in Oakland