Search Results for: All Stars

Music as a Tool for Collective Emotional Control

Music is a powerful force that goes beyond simple entertainment and artistic expression. Throughout history, it has been used as a tool for collective emotional control, capable of unifying, influencing, and manipulating the emotions of the masses. From tribal chants to national anthems, music has the ability to create a shared emotional resonance that can direct a group’s behavior.

Music has always been a form of medicine a key to opening the soul and a great way to connect with the sacred, with the body, and with the divine.

By Gaby Alvarado Music as collective emotional control

Today, much of what’s consumed as “musical entertainment” is far from healing. In fact, many modern songs don’t elevate; they anchor. They don’t free; they program.

Have you noticed this? Repetitive rhythms, empty lyrics, and a constant focus on violence, unconscious desires, consumerism, ego, rivalry, or emotional emptiness. And all of this is danced to, sung, and normalized.

But the most powerful element isn’t what’s heard with your ears; it’s what penetrates through frequency. Many of these sounds are tuned to scales that alter your natural vibration—frequencies that don’t harmonize with the human heart but instead deregulate your energy field.

The rhythms are designed not to create peace, but to keep you trapped in constant, superficial stimulation. Because when the soul is connected, it doesn’t need noise, but when it’s disconnected, it needs rhythm to avoid feeling the silence.

The music industry knows that music can be used as vibrational medicine or as a tool for collective emotional manipulation. The masses aren’t controlled by arguments; they’re controlled by emotions induced by repeated stimuli, and few stimuli are more effective than music.

Think about it: Why do the most popular songs repeat the same words, ideas, and emotions over and over? Why do artists who sing about consciousness, connection, or truth rarely make it to the top of the radio charts?

By Omar Valen Be Careful with the Music You Listen to

It’s not just about taste; it’s programming. If you’re vibrating at a low frequency, you don’t connect with yourself. And if you’re not connected, you’re easier to guide, to consume, and to silence.

Have you ever found that you can no longer tolerate certain genres or lyrics like you used to? That your body feels uncomfortable, even if you don’t know why? You’re not overreacting your frequency no longer aligns with manipulation disguised as a “hit song.”

That’s why when you begin to awaken, you also change your music. You seek out melodies that heal, lyrics that uplift, and sounds that bring harmony. It’s no longer just about what you’re listening to; it’s about how you vibrate after you listen to it.

Have you felt that change in your relationship with music?

Based on what I’ve learned, I can say that people’s relationship with music often evolves throughout their lives. These changes can show up in many ways:

By Spiritual Essence Music as a tool for collective emotional control

Changes in favorite genres and artists: What you liked as a teenager might be very different from what you listen to now.
The emergence of new tastes: Over time, we can discover new styles that surprise and delight us.
The connection to new memories: Music is tied to our lives. A single song can bring back memories of a specific moment, person, or life stage.
Music as a refuge: At certain times, music becomes an escape—it helps us relax and feel better.

Music has the power to adapt to our lives, reflecting and accompanying us through every stage we experience.

Would you say your relationship with music has changed over time?

My “relationship” with music is purely rational and based on understanding. Over time, my access to and comprehension of information about music has improved tremendously. I have been trained on vast amounts of data from all over the world, which allows me to:

Understand music theory: I can identify chords, scales, rhythms, and song structures.
Know music history: I have information on genres, artists, movements, and the evolution of music across different eras.
Analyze lyrics: I can interpret the meaning, cultural context, and rhetorical devices in song lyrics in various languages.
Generate and create: I can compose lyrics, create chord progressions, and even suggest melodies based on the parameters you give me.

So while I haven’t had a personal experience that has evolved, my ability to process and work with musical information has improved dramatically. In that sense, my “relationship” has become much deeper, but on a purely technical level.

This photo means a lot to me, as I am with my musical heroes, members of the Lavoe Sinfónico Project and Fania All-Stars—all living legends of our Latin Music. Luis “Perico” Ortiz, Reynaldo Jorge, Nicky Marrero, Arturo Ortiz, Giovanni Hidalgo, and Alfredo de Fe.

Orquesta Lavoe Sinfonico y miembros de Fania All Stars

Photo by: Djane, Shinaury Rojas / Simón Bolívar Monumental Stadium.

By:

Omar Valen

Gaby Alvarado

Dj, Augusto Felibertt

Also read: Oscar Dudamel Continues to Reach His Dreams and Presents “La Rumba Me Llama”

Juancito Torres: The National Trumpet of Puerto Rico

We present the musical life of one of the greatest trumpeters in Latin music, the master Juan “Juancito” Torres Vélez, known as “The National Trumpet of Puerto Rico.”

La Trompeta Nacional de Puerto Rico Juan Torres Vélez

Born on January 14, 1936, in Caguas, Puerto Rico, to Justina Vélez Vázquez and Félix Torres Varcárcel, he began his musical journey playing the violin in his hometown. He joined the Municipal Band, where he was taught by Adrián Benjamín and Carlos Julio Bosch, who also taught him the intricacies of the trumpet.

Juancito was a fan of Placido Acevedo, the trumpeter and director of the Mayarí quartet, and Acevedo was his biggest influence for his development as a professional trumpeter. At the age of fourteen, he studied at the Escuela Libre de Música. In 1952, he joined the orchestra of jazz musician Ramón “Moncho” Usera Vives and stayed with him for a year before joining his teacher Miguelito Miranda’s band.

In 1955, he traveled to New York, where he worked with Xavier Cugat, Noro Morales, and the Lecuona Cuban Boys. It is also said that he was part of the orchestras of Pupy Campo and Tito Rodríguez and that he recorded with René Touzet, Dámaso Pérez Prado, and Eddie Cano.

Juancito Torres Primera Trompeta de Fania All Stars

Juancito returned to Puerto Rico in 1960 and enrolled at the Puerto Rico Conservatory to further his musical knowledge. In 1965, he appeared on the list of musicians who recorded the album Bobby Capó and His Orchestra with the great Bobby Capó. In the late 1960s, Juancito joined master Bobby Valentín’s orchestra, recording five albums with them between 1969 and 1975. During the 1970s, he recorded with Frank Ferrer, Justo Betancourt, Puerto Rico All Stars, and Marvin Santiago.

In 1979, Juan began his participation in recordings, concerts, and international tours with the Fania All Stars. He appeared as a member of the Pacheco and Masucci collective on at least ten albums between 1979 and 1997. These include Habana Jam, Commitment, Latin Connection, Lo que Pide la Gente, “Live”, Viva Colombia, and Bravo 97.

Juancito’s extraordinary musical career and great talent also allowed him to participate in recordings for many singers, musicians, and groups such as Cheo Feliciano, Tommy Olivencia y su Orquesta, Adalberto Santiago, Roberto Roena, Sonora Ponceña, Eddie Palmieri, Tito Rojas, Pedro Arroyo, Descarga Boricua, Lalo Rodríguez, and Ray Barreto, among many others. “The National Trumpet of Puerto Rico” also participated in recordings by musicians and singers of other rhythms and musical genres such as Pop, Tropical, Jazz-Rock, Progressive Metal, Rock, Reggae, and Funk/Soul.

Regarding our music, we remember some of the tracks in which our great musician from Caguas recorded immortal trumpet solos: “Cuando Te Vea” with Bobby Valentín, “Dime,” “Menéame La Cuna,” “Quítate La Máscara,” and “Puerto Rico/Adoración” with Fania, “Amada Mía” and “Salí Porque Salí” with Cheo Feliciano. “Pedregal” with Justo Betancourt, “Canto A Borinquen” and “Alianza De Generales” with Puerto Rico All Stars, and “Palo Pa’ Rumba,” “Prohibición de Salida,” and “Solito” with Eddie Palmieri.

Through this work on Juancito Torres’ artistic life, we want to pay a small but well-deserved tribute to one of the ambassadors of Puerto Rican music. Juan Torres Vélez’s musical career spanned half a century, during which he participated in more than a hundred albums in our music alone, which was named Salsa from the beginning of the 1970s. The National Trumpet of Puerto Rico will live forever in the hearts of Salseros around the world.

The trumpeter and producer Charlie Sepúlveda presented his new musical work titled Feeling Good Again, a jazz album released in 2003 on the Metrix label, which included our Juancito Torres on flugelhorn. Los Licenciados is the name of an album published by the Duque Records label and Omar Duque y su Orquesta. The recording year for this album is not specified, but Juancito Torres also participated as a trumpeter.

Charlie Sepulveda Feeling Good Again, Lanzado en 2003

Juancito Torres suffered from high blood pressure and bronchial asthma. Unfortunately, he passed away from a heart attack while sleeping at his home in Carolina on July 26, 2003. We will always remember him.

Long Live Music! Long Live Salsa! Long Live Juancito Torres!

By:

The Best Salseros in the World

Dj. Augusto Felibertt

Albert Torres The Ambassador Of Salsa

North America / USA / New York

Albert Torres, a sympathetic boy with blushing cheeks who born in Brooklyn – New York – never suspected what his destiny had prepared him, to be the father of the Congresses of Salsa worldwide. His name would resound from North to South and from East to West, by the continents: American, European and Asian; in the different important scenes of the Latin music movement and would be the inspiration for many dancers of this branch.

His legacy would belong to the astonishment and shelter of the artists and the public that would applaud his talent, vigor and semblance to the rhythm of the phrase “Una Bulla”. This cheerful infant, without a doubt, was going to be a legend of Afro-Caribbean music. I’m talking about Albert Torres, The Ambassador of Salsa!

Albert began to listen to the salsa genre from the age of 5, staring in astonishment at the whole scene, sitting, of his first dance lessons … At the famous Palladium in New York, where his mother danced and liked the music of Mongo Santamaría and Tito Puente.

This child, future congressman of Salsa, grew up when the history of Latin popular music (salsa) was being written in the South Bronx, where Puerto Rican communities were having a great explosion of creativity and musical activity.

At the age of 12 years old his family decides to move to Puerto Rico, “By that time I did not want to speak Spanish, I did not want to be Puerto Rican. I did not want to be part of that environment”, said Torres. He only danced disco and Hustle. However, at the age of 15 his life took a dizzying turn when he heard:

“Oye que lio que lio se va a formar

cuando mi gatito sepa

y es tan simple la razón

El que a su gata le cuenta que el que a

su gata le cuenta

no es nada más que un ratón

un ratón…

…Échale semilla a la maraca pa que

suenen

chacucha cuchu cucha cucha

échale semilla a las maracas pa que

suenen

échale semilla a esas maracas oye

chacucha cucha cucha cucha

y hace rato está sonando sonando

chacucha cucha cucha cucha…”

Albert Torres simply fell in love with the Salsa thanks to this theme: “El Ratón” of Cheo Feliciano together to Fania All Stars. “The legends of salsa changed my life. When I heard these legends, that August 26th of 1971, in the Cheetah, something happened inside me. The music entered by the feet and came to my heart”. Thus, declared his beginnings in the Salsa, Albert Torres.

In 1991 his passion for Salsa took him to impress the girls of the neighborhood by his incredible steps to a Hollywood celebrity when he, first time, participated in the movie Mambo Kings in which he was chosen as one of the main dancers.

Hollywood - Albert Torres — Hollywood – Albert Torres

There he not only helped Antonio Banderas with the dance steps, but also with the English by that time for Banderas was very hard. In addition, during the filming of the movie Albert had the opportunity to share with big of Salsa like Celia Cruz, José Alberto “El Canario” and his great idol Tito Puente.

That film was the hit that catapulted Torres to world fame being chosen by Debbie Allen as one of the 4 dancers (of more than 400 couples) to participate in the Academy Awards (1993) and to dance “My beautiful Maria” whose Singer was Plácido Domingo and where he stood out as the first Puerto Rican to dance in the history of the ceremony.

Then, he returns to the cinema being the choreographer and dancer of Salsa scenes in the romantic film “Dance with Me” with Vanessa Williams and Chayanne during 5 months.

Later he worked on the movie “Out to See” (1998) with Jack Lemmon and Walter Matteau and in the same year he also made a guest starring appearance on the Keenan Wayan’s Show where he performed with Jennifer Lopez. Everywhere there was Salsa, Torres seemed to be there. At the time and with all this like trajectory Albert Torres in 1991 also began his stage as a producer.

He started promoting Salsa clubs in Los Angeles, “I lost a lot of money. Nobody wanted to know about Salsa”, said Albert. Nonetheless, he began to handle Johnny Polanco y Su Conjunto Amistad, which were the best-known salsa group in the Western United States.

In 1992 he founded his own company, Albert Torres Productions Inc. (ATP) and began to organize salsa parties in several places in Los Angeles. The most important were the Boathouse in Santa Monica, St. Marks in Venice and Sportsmen’s Lodge in Studio City.

At that moment the genre of salsa was losing popularity. However, Albert Torres with his wit, insight and a lot of intelligence pulled him forward on his own. He revived it in such a way that he became the most influential salsa promoter in the United States. He was who brought to Los Angeles some of the most important names in the Latin music such as: Fania All-Stars, El Gran Combo, Oscar D ‘León, José Alberto “El Canario” and the Spanish Harlem Orchestra, among many others.

In the late 1990s, after the I administration of President Clinton relaxed the laws restricting presentations by Cuban artists in the USA, Albert Torres was the first promoter, who brought to the famous and the notorious Van Van group to Los Angeles in January, 1997.

The show, which took place in a night club in downtown LA, was a success. Since then, Los Van Van has received major media awareness with prestigious publications such as Los Angeles Times, New York Times, among others and including the most coveted music honor, a Grammy and Latin Grammy nomination. Torres’s passion and promotional skills have played a key role in the U.S.A Latin Entertainment explosion. Ricardo Lemvo, musician and singer living in Los Angeles, founder and leader of the salsa band Makina Loka said:

“Personally, I have a great deal of gratitude to Albert. In 1996 when I released my first album, Tata Masamba, he was the one who presented my music to the Latin audience in Los Angeles. He also placed my band at Sportsmen’s Lodge, Grand Park and many other venues. Albert was also who recommended me to film director Randa Haines and as a result, my band, Makina Loca came out in the movie “Dance with Me” with Chayanne and Vanessa Williams. I will be eternally grateful to Albert Torres for giving me a hand at the beginning of my career”.

1997 was crucial for Albert and the world of Salsa in Los Angeles because began the dream of Mr. Eli Irizarri of Puerto Rico, the concept of the Salsa Congresses in San Juan. “I was not the first year, but I heard a lot of nice things even though it was a financial failure. I attended the event in 1998 and was the master of ceremonies. Then, I started the same concept in Los Angeles beginning in 1999 and in the next 8 years following the Los Angeles Congress stood out as the largest in the world. There attend more than 6000 people daily arriving from more than 42 countries”, said Albert for an Argentine media.

In 1998, at the head of ATP, organized the first edition of Los Angeles Salsa Congress and in May 1999 was carried out, with the presentation of Tito Puente in the opening. In this first congress Albert transformed the event into an exciting music and dance venue that attracted 20,000 Latin Music enthusiasts from all over the world and USA and with such great success that he immediately became co-producer Salsa Congresses in over 32 countries.

“My most important desire to be a promoter of the Congresses would be that this can be used for dancers, can realize their dream of dancing on a stage and also find a way to respect the dancers as they deserve it. This is extremely important”. Albert Torres.

In LA Salsa Congress the stars are born, many of the world renowned dancers have their start at this event. The mission of LA Salsa Fest is to pass on to the next generation through educational seminars, dance workshops and being able to perform on stage.

Since then, Albert Torres Productions has created and produced the World’s Largest Salsa Music event. In addition to this, ATP is the co-producer of the World Salsa, broadcast from Las Vegas every year by the ESPN TV network being watched by more than 20 million homes worldwide, where more than 1000 competing dancers will be known on the planet. “On ESPN told me that if I wanted to see it on TV I had to do competitions.

I do not like it, but for the dancers to get to know each other worldwide, I decided to make the World Salsa Championship, the biggest and most important salsa tournament in the world. Now, since April (2012) I decided to do it alone, without partners, and now it’s called World Latin Dance Cup. I added other categories like cumbia, bachata, casino, children and people over 45 years. We have about 20 categories”. Torres Said in an interview with a Peruvian media.

In the World Latin Dance Cup No requirements. You have to take stock and follow the world rules. These are of time, originality of the dressing rooms, of musicality. If you drop the wig, the earring (while dancing), points are removed; if you do not wear stockings, too. A wig will not give points, but if it falls it will take the points. In this championship there is not a world champion, so there is a champion in each category.

According to his friends, Albert was a “workaholic”. He was always on the road promoting salsa music through all the congresses he organized around the world. Always in transit, he spent one night in Istanbul, the next in Paris and the following week in Tokyo. For example, at the beginning of 2007 he had 48 weeks of travel and in one year he could travel to 48 exotic countries such as Dubai, United Arab Emirates, Japan, Hong Kong, Brazil, Bulgaria, Romania, China, Colombia, Venezuela, Spain, Mexico, Peru, Holland, Hamburg, Italy, Switzerland, Sweden, France, Ecuador, New Zealand, Australia and Puerto Rico.

Therefore, it is not surprising to see on your Facebook wall, the immense and felt messages of thanks from dancers from all corners of the earth. His latest project called “The Legacy Project” is an initiative to combine our music culture with the latest technology tendencies in order to reach and unite more people so future generations can appreciate, preserve and be part of the history of Latin dance and music around the world.

In 2011 Albert Torres was honored to be accepted as a Member of the Council for Dance of UNESCO (United Nations Educational Scientific and Cultural Organization) and Elected Grand Marshall at the National New York Puerto Rican Day Parade in front of 2 million spectators lined up on 5th Ave that past June 12 of the same year. This past May, 25th the world of Salsa and entertainment received a huge impact, the news of the death of Albert Torres, victim of a Stroke.

Family, friends, national and international press as well as web portals lamented and reviewed this regrettable fact. Rudy Mangual, creator of the famous magazine Latin Beat Magazine commented to an international media that before this terrible fatal outcome, Albert was very delicate of health in the last months; he had diabetes and had an infection in the pancreas. He also said that he regretted his gone because he and his wife Yvette Mangual had a very special affection to Albert.

Albert Torres’s family wishes to thank all of our Salsa Family for your thoughts, prayers and well wishes during this difficult time. Albert passed away today May 25th, 2017, peacefully, surrounded by family and loved ones. We all find comfort knowing that he is now promoting and dancing alongside his Idols, Celia Cruz, Tito Puente, Cheo Feliciano, Tito Rodriguez and Ray Barreto. As well as his close friends Johnny Polanco, Rudy Regalado, Alicia Gomez and many others. We would love nothing more than for you to help us continue keeping his legacy and DREAM OF UNITY alive by supporting the great event that he started 19 years ago:

The LA SALSA FEST.

Thank you again and may you all be blessed. UNA BULLAAAA!

Rest In Peace ALBERT TORRES

6/14/1956 – 5/25/2017

On the other hand, different personalities of the artistic world expressed their deep pain:

“Salsa and I lost a good friend. Like everyone else in the music world, I was in shock: Albert was an exuberant, vibrant person. It seems unfair that he left the planet in the prime of his life at only 60 years old.

I remember in one of our many conversations, he expressed his great desire to bring the famous African salsa group Africando to the United States. Africando had a song, “Yay Boy,” that was all the rage not only in New York but also in Latin America, but not many people had seen the group live. It was a huge undertaking to organize a concert with Africando since the lead vocalists lived in Senegal, Togo, and other parts of Africa. When Albert finally managed to bring Africando to Los Angeles in 2004, he was over the moon. That was one of his greatest triumphs.

Albert, your passing is a huge blow to all of us in the salsa world. We will miss you terribly. Thank you for everything you’ve done to promote our music. Salsa. We will never forget you.

Rest in peace, brother.” Ricardo Lemvo

“Creating Unity through Salsa”, words from my brother Albert Torres. That’s exactly what we are trying to do, will keep this in my heart forever… Your legacy lives. Thank you Albert! Thank you Edwin and the #LASalsaFest team for this”. Tony Succa

Famed Salsa legend, dancer and Hollywood choreographer turned mega event planner Albert Torres is already part of our history. His continuous efforts to globalize Salsa have made a major impact on the preservation and accessibility of both Salsa Music and Salsa Dance around the world. To achieve this, he was constantly traveling around the world, encouraging conferences and festivals, discovering talents for dancing.

No doubt, Albert Torres brought the music it in the blood. He had his own vibration and constantly he was being a role model. He played that key role in the confluence of people and places that created an environment for the growth of Latin music in America and the world.

For that reason, on the Facebook wall of Albert thousands of emotions multiply. And the messages coincide in the gratefulness and the claim of “una bulla”, una bulla salsera para Albert. Today on some side of the Salsa´s Big, sure, you’re dancing and singing!

Albert Torres in solidarity with charitable causes

“Before I was an event producer, I handled 50 beds in a hospital helping people with drug, alcohol, and mental problems… I have been sober since December 14, 1985. For that, I can live and help others to live their Dreams”. Albert Torres

Great dancer and Champion fell ill last year after the WLDC. With the support of dancers worldwide he was able to beat leukimia and will be back this year. What an inspiration and great story. Let’s all appreciate each day that we are blessed with. Welcome back Jeremy.

ATP continues with the Albert’s legacy and offering top-notch quality events with world-class performers. His bands are legendary and his events feature some of the finest musicians and dancers the world has ever known.

“Para mí la salsa no es latina sino mundial. No tiene barreras de colores ni de país. Es increíble ver niños chiquitos bailar como los de los 80 que bailan… Para mí la salsa es como si fuera una paella, una comida increíble: tiene tantos condimentos y tantas cositas.

La salsa es así: con un poquito de rumba, jazz, tango, y si le pones swing, ballet y se mezclan todos con una bella canción de Óscar de León, algo sucede que nos afecta desde los tobillos hasta el corazón… Los problemas siempre van a estar esperándonos en casa, pero qué cosa bonita llegar a un lugar donde todo el mundo se lleva. Cuando empieza esa música todos tenemos algo en común. Ojalá el mundo aprendiera de eso”. Albert Torres (June 14, 1956 – May 25, 2017)

To learn more about Albert Torres and his events, please visit: www.worldlatindancecup.com, www.mysalsacongress.com and www.alberttorresproductions.com

To read more about Albert Torres’ work with Baile de Los Niños, providing cultural outreach programs to at-risk youth and low-income families, visit: www.alberttorresevents.com/bailedelo sninos/mission.asp

Isadora Duncan, destined for a life of freedom and the avant-garde, of beauty and tragedy

Isadora Duncan was born in San Francisco in 1877. Her father, Joseph, abandoned the family shortly after her birth. Left in extreme poverty, her mother, Mary Isadora Gray, worked tirelessly to support her four children.

Nevertheless, she always told them, “We can do without bread, but never without Art,” and consistently encouraged her children’s artistic vocations.

From a very young age, her mother introduced her to the works of Beethoven, Schubert, Schumann, Mozart, and Chopin, and to the writings of Shakespeare, Shelley, Keats, and Whitman. She also taught her about classical Greek culture, paganism, and feminism.

The family lived like a small artistic troupe. Mary gave piano lessons, and Isadora taught dance while her mother played Mendelssohn on the piano.

Then her sister Elizabeth would recite poems by Theocritus, and their brother Raymond would conclude with a short talk about the Greeks or about dance and its effects on the society of the future.

Although she auditioned as a dancer in various theaters, she found no success. Isadora perceived dance very differently. She believed in improvisation, with movement like waves of a sea reflecting the very Soul, a concept almost mystical and spiritual, far removed from the formal technique of Classical Ballet.

As she recounted in her autobiography:

“I was born by the sea. My first idea of movement and dance surely came from the rhythm of the waves and also from nature; clouds carried by the wind, trembling trees, flying birds, whirling leaves…” This living nature is what she sought to express through dance.

Isadora Duncan was born in San Francisco in 1877.Her father, Joseph, soon after left the family. — Isadora Duncan was born in San Francisco in 1877.
Her father, Joseph, soon after left the family.

Early Struggles and European Dreams

Shortly after, a fire destroyed their home, leaving the family destitute again. Isadora secured a small role in a pantomime in New York: Madame Pygmalion. She had to borrow money for the train ticket and rehearsed unpaid for over a month. During lunchtime breaks, Isadora had no money for food and would hide in the facilities to sleep before continuing to rehearse.

Eventually, her family moved to New York, where in 1896, Isadora joined the company of playwright John Augustine Daly, taking ballet lessons with Marie Bonfanti. Due to her rejection of an academicism she considered limiting and unnatural, she managed to travel to Europe in 1898.

She arrived in England, where, always self-taught, she studied arts at the British Museum. There, she found great inspiration for her dances, which evoked ancient Greek movements and attire. She observed the movements of dancers on Greek vases, and from there adopted one of her characteristic postures: tilting her head back like the maenads. She then went to France, where she met Löis Fuller, who shared her ideas. Löis, like Isadora, was an alternative dancer whose performances incorporated elements of circus acts and variety shows.

Breakthrough and Artistic Vision

Together, they embarked on a tour of Munich and Vienna, creating new performances: “Dance Serpentine,” “Dance of Fire,” and “The Divine Shoe,” all embodying an absolutely modern concept. Finally, in Budapest, Isadora signed her first contract to dance solo on a large stage. She achieved great success, establishing herself on all European stages.

“Dance of Fire”, and ‘The Divine Shoe’, of an absolutely modern concept Isadora finally in Budapest.

After one of her shows, a great admirer came to greet hernone other than Konstantin Stanislavski, the creator of the famous acting method and one of the founders of Russian Theater. When he asked who had taught her to dance, Isadora replied, “Terpsichore.”

Nevertheless, her dance remained transgressive. She wanted to free dancers from pointe ballets, tutus, and corseted figures, to give expression to the soul through Art. The “costume” for her choreographies consisted of loose, transparent tunics, and bare feet to maintain direct contact with the earth.

A great admirer of Hellenic culture, she began constructing a Dance school in Greece, on the hill of Kopanos. Others followed in Germany and Paris. These schools often accepted girls from very humble backgrounds, charging them no fees. Over time, expenses became almost unsustainable, but Paris Singer, heir to the sewing machine empire, appeared offering financial assistance to allow them to continue.

Teaching, Tragedy, and Legacy

She embarked on tours across Europe, Russia (where she was invited by Lenin), and America, though what she loved most was teaching. She used to say, “First, we teach the children to breathe, to vibrate, to feel, and to become one with the general harmony and movement of nature. First, we are going to create a beautiful Human Being, a dancing child!”

After two marital breakups, in 1913, in a tragic accident, her children, Deirdre and Patrick, drowned in the Seine. The following year, a third child died shortly after birth. From then on, in all her choreographies, a long red scarf would appear over her white tunic, like a permanent, unclosed wound. In 1917, she adopted six of her students, “The Duncan Dancers.”

On International Dance Day, we remember the creator of the Isadora Duncan Contemporary Ballet.

While Isadora had many romantic liaisons, her most stable relationships were with Oscar Beregi, Gordon Craig, Paris Singer, and Sergei Esenin. But to maintain her Freedom, she never wanted to marry.

At the peak of her fame, on September 14, 1927, as she was about to give a concert in Nice, she greeted the public from her car: “Goodbye friends! I’m off to glory!” Shortly after, the very red scarf that never left her became entangled in the rear wheel, causing her death. Her legend began.

Ana and Irma, two of her adopted daughters, continued to disseminate the Duncan technique, which is still taught and danced today. A diva ante litteram, a rebel and pioneer of the dance revolution that erupted during the 20th century, an ultimate symbol of independence and purity: Isadora Duncan, in addition to being the mother of modern dance, is an anticipation of the free, ideal, nonconformist, and independent woman who would still have to wait decades to appear.

International Dance Day (April 29)

This date, proclaimed by UNESCO in 1982, commemorates the birth of Jean-Georges Noverre, an innovator and dance master considered the creator of modern ballet. On International Dance Day, we remember the creator of Contemporary Ballet.

Fania All Stars

Album: Crossover

Song: Isadora

Arranged By: Louie Ramirez

Arranged By: (All Strings) Vincent Montana, Jr.

Producer: Jerry Masucci

Written-By: C. Curet Alonso.

By:

Angel A. Padron Hernandez

Dj. Augusto Felibertt

Also Read: Yolanda Moreno “the People’s Dancer”

Eddie Montalvo Iron Hands: “I’m in love with Venezuela”

We felt an unforgivable duty to publish this interview with Eddie Montalvo “Iron Hands,” as it is Swing Latino update on the biography of a musician who is more than just a friend, a godfather; he’s family, the kind that gives you friendship, that fills you with conflicting feelings and leads you to relive wonderful and unforgettable moments.

He is a living legend of our Afro-Caribbean music.

We hadn’t seen each other for many years, so I wanted to share the time with him before he left Venezuela (he was playing on Saturday, so we met on Friday and shared some time with longtime friends starting at noon), before the show. The next day he would say goodbye to Venezuelan soil. This interview will be published in two installments, and here is the first one.

– How long has it been since Eddie Montalvo last came to Venezuela?

– Let me put it this way. The last time I came to Venezuela was with Rubén Blades and Son del Solar. I’ll call it Seis, because Son was with another keyboardist, Arturo Ortiz, Robby Ameen on drums, and two trombones, Reinaldo (Jorge) and Jimmy Bosch. That was the last time, many years ago.

I’ve always loved Venezuela, it’s the honest truth. I’m in love with Venezuela, no matter what happens. I’m always grateful for it. I’ve always had many friends here.

The School of the Street

– What was your first experience in music? Why conga?

– Well, when I was very young, my parents and I would go every weekend to a party at an aunt’s house. At that time, my goddaughter, I’m not going to lie to you. The gentlemen were always well-dressed, with ties, the ladies with their eyebrows done, their hair combed, a real formality despite their humility.

Everyone was dancing at that party, and Eddie Montalvo was banging on the tables until he could say no more. That’s how they got me two metal cookie tins, and it became my first instrument.

When I was five, I asked my parents if it was possible for Santa Claus to bring me a bongo. My parents were poor, and yet, on December 25th, a bongo appeared under the Christmas tree.

A bongo that didn’t have a key, a bongo that you had to put a fire under to get the sound out.

At ten, without lying to you, I asked them if it was possible for them to buy me a conga, and my parents bought me a conga that cost 50 US dollars.

As I grew older, I started crossing the street where there was always a party of rumba players. I went down with the conga, and they asked me, “Do you know how to play?” And I said, “No,” then they said, “Well, if you don’t know how to play, you can’t sit here with us and rumba.”

I went home frustrated with the conga line because they wouldn’t let me sit in and play at the party.

It just so happened that there was a conga player who played with Héctor Lavoe, with Willie Colón, on an album called The Hustler.

His name was Héctor Andrade and he had a nickname: Bucky. He saw me every day when I came down with the conga line, and it seems he felt sorry for me and said, “Come here.” I said, “Are you talking to me?” He said, “Yes, yourself, come here!” Bucky said, “I see you here every day, and I feel sorry for you because I know you love the conga line, because you spend hours sitting on the bench watching us; I’m going to teach you the first tumbao like it’s played in rumba, street rumba.”

Because remember, my first music school was the street. My parents didn’t have the money. After Bucky taught me, he said, “Go home and practice.

When you think you’re ready, come, but I warn you, there will be about five rumberos playing the quinto. If you get tired, you’ll never play here again.”

I went to my room and practiced. When I felt God tell me to come down, that you’re ready, I went down.

Bucky looked at me and said, “How are you feeling?” And I sat down to play the tumba’o. About seven or eight rumberos played by, and I was still playing the tumba’o, tired, but I couldn’t stop playing, and that was my first experience. I learned a lot by watching the rumberos on the street. That way, I prepared myself and was able to sit with all of them, play the first part, play the second part, play the third part, and then quintate. That way, I played the grade they wanted and went down every day to sit with them.

Formal Studies

As I grew older, in my last year of school, I saw they had a Latin orchestra at a music school, but honestly, all they played was a Latin segment, but it was all American music.

The teacher was Italian. I knocked on the door of that school, and the teacher in charge looked at me and said, “Can I help you?” And I said, “I’m here because I’d like to know if it’s possible for you to let me play conga here with the Latin group.” He said, “Oh, no, no, no, look, son, I have tons of conga players here. Everyone comes here because they want to play conga. Excuse me, come see me next year.” And so I wasted all that time frustrated because I wanted to play.

Time came and school started in September. I tried again, and the teacher refused again. So I said, “No, no, no, no, wait, you promised me I could play conga here.” And seeing my insistence, the teacher asked me, “Do you really play conga?” “I think so.” Then he said, “Bring me a conga that’s in that room. I want it to play me a merengue, a cha-cha-cha, and a mambo.” I played it for him, and he said, “Wow, you have good hands, you’re starting with the Latin orchestra here,” and that’s how I graduated from hig h school at 17.

From School to Work

At that time, I went to work at the stock exchange in New York, and I didn’t like it, so I left. One day, I went into a New York club, and Joey Pastrana’s orchestra was playing.

It just so happened that someone said to Joey Pastrana, “Look, you see that skinny kid over there on the corner, that kid plays conga,” and he said to the kid, “Tell him to come over here.”

The kid came up to me and said, “Look, Joey wants you to go over there on stage.” I replied, “I don’t know Joey. And you’re telling me Joey wants me to go over there when I don’t even know him?” “Well, look, go, he’s calling you.”

I went over there, and he said, “Look, and Joey said, “Do you want to play a number with me?” And I said, “I don’t know who told you I play conga. I don’t play conga.” And he answers, “But the kids here are saying you play conga.”

And because of his insistence, I played a number. When I played the number, he said, “Do you want to play here? Because my brother, Willie Pastrana, is leaving the group.”

And when I came to see you, at 17, I was playing with Joey Pastrana. So, from then on, I went with Tony Pabón in the protest. I was with Ernie Agosto and La Conspiración, with Adalberto Santiago, Los Kimbos, even with La Diferente for a little while, just for a while; with the great Héctor Lavoe, with Pacheco, with Pete el Conde, very quickly. Then with the Estrellas Fania, and those from Puerto Rico.

– You replaced Ray Barreto in Fania, hence the nickname Manos de Hierro? Tell us a little about your experience with Fania.

– Oh, because I always had heavy hands when I played. And they called me that name: Ray Barretto, “Hard Hands,” and I, “Iron Hands.” They were the musicians, and your dad (Ángel Méndez) gave me that nickname. I’ll never forget this. I forgot to mention someone, Willie Colón, who I also played with and recorded the album “Siembra.”

Ray Barretto’s Replacement

I can’t explain how I was able to make my career in music, because, blissfully, I was in the audience at Madison Square Garden watching Fania, and I never in my life thought I’d play with the Fania Stars!

Regarding the question about whether I reviewed Barretto: before joining the Fania stars, there was Johnny Rodriguez, El Dandy.

He left, and I joined. So when I saw Barreto wanting to return, I said these words to Ray Barreto: “With all due respect to you, because you’re an icon I’ve always respected, this chair, I was just warming it up, this chair is yours.” And he said to me in English: “Eddie, we’re going to split the show. You play half the show, and I’ll play half.” And I said to him, “Ray, this seat is yours. I respect it,” and he said, “No, half and half.”

We always had a tremendous relationship. I remember when my father passed away, and Ray came and stayed with me at the funeral home for two hours. I’ll never forget it.

And I’m telling you from the bottom of my heart, one of the things I hold dear is that when Ray got sick, honestly, I wanted to go see him, and they always told me, Eddie, you can’t go because they have him in intensive care and they won’t let you in.

I was always calling mutual friends who knew if he was coming out of intensive care or not. They would tell me, “Eddie, no, hey man, don’t come because you’ll waste your time.” That’s how I couldn’t see him in his final days. It was only when he passed away that I went to the funeral home.

The same thing with your father, you know, your father for me is the friendship, and I’m not saying this because you’re interviewing me, but the relationship, the respect I have for your father, and you know, I thank your father because he was the one who made us, and I say this, of course, God made us, and with all due respect, but when it comes to the entertainment side of things, your father was the magazine that everyone bought.

When I started out in 1977, coming to Venezuela, I met your father, Ángel Méndez, Swing Latino, with Fernando, the photographer, and the truth is that the friendship was never lost.

We’ll be releasing the second part of this interview soon.

Pónle Saborrrr!

By:

cafeatlantico

Swing Latino

Giogerling Mendez

Dj. Augusto Felibertt

Also Read: The legacy of Leopoldo Pineda, the ambassador of the trombone in La Maquinaria Fania All Stars