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Influence of Latin Music in Europe and Vice Versa

 

European union 

 

When we refer to any Latin element that has been influential at the European continent or vice versa, it is almost inevitable that we think back to the Discovery of the Americas on the part of Christopher Columbus.

It was about this time when various instruments present in cumbia and salsa started to be used. No wonder we attach so much importance to this event, as this is how Spanish and the Portuguese arrived in the so-called New World. It is no coincidence that these languages are the protagonists of these rhythms at this time.

While it is true that Europe gave its languages to Latin music, we cannot fail to mention that the African slave trade played a major role in this context. Its beats and drums closely tied to religious ceremonies were inspirational for salsa, bachata and samba and African-American music, in which the famous Jazz may be included.

Neither can we leave out the fact that many pre-Colombian civilizations created many types of percussion music instruments, which are very present in Andean music and its very traditional flute-like sounds.

 What has led Latin American music to become so popular in recent times?

There is no denying that Latin music has achieved a tremendous global reach in recent years, but things were not always like this. In the past, it was ballads of love with heartbreaking lyrics that dominated this market and its primary target audience was female.

With the passing of years, this reality radically changed. We can see it in the emergence of an encouraging number of commercial songs and very simple to dance like La Macarena by Los Del Rio, Livin La Vida Loca by Ricky Martin, A Dios Le Pido by Juanes, among others. These pieces of theme music were the ones that broke the barrier of traditional radio in due course.

Later, hip hop and R&B gave origin to other urban rhythms that took hold of everyone’s attention

Bongos
Bongos

 

Latin music for some time now

That mode of nightclubs of Latin origin that have been inaugurated  the length and breadth of the old continent is nothing new. What is new though is the type of attendees received in these places in recent years. There’s a very large audience of all ages who show real interest in rhythms whose language they don’t even know, but they do not seem to care at all. In fact, this peculiarity seems to give an extra touch of excitement to the point. They see Latin music as an array of sounds and rhythms that may not understand, but that simply cannot stop dancing them.

When making a comparison of the monotonous pop style with this recent wave of Latino artists that have been conquering hearts throughout the world, it is evident that things are different now and did not seem to go back to the way they were. What is true is that traditional styles have been overthrown surprisingly.

It is not a secret that singers such as Shakira or Ricky Martin became immensely popular in the late nineties and the early 200All Posts0s, but now things go much further. We are saying that there is a very important number of musicians in these genres that have drawn the attention of all audiences of all ages and countries.

Further, there is a lot of Americans who have appropriated these styles and the Spanish language to give a lot of freshness to their musical projects. A telling example is the Canadian Justin Bieber who has worked with Luis Fonsi and other artists from Latin America, giving as a result a fan base that became interested in these genres and the Spanish language.

It looks like musical lyrics no longer need to be in English to reach all corners of the globe and make everyone dance. In fact, many people look for this type of music to enjoy it, even if they understand little to nothing about it.

Orchestra Latin music playing in the roads
Orchestra Latin music playing in the roads

What can we deduce from all this?

After having analysed all these data, we can say that Latin music is a very rich and intense mix of a cluster of cultures that were linked up between them until we find the heterogeneity that we see today. Undeniably, this whole process of miscegenation between so many rhythms would not have been possible under the influence of pre-Columbian, African and European culture. However, the same can be said in the opposite case.

Yes, this also occurs in the contrary case. Europeans’s musical tastes are no longer those of a few decades ago. Nowadays, there are many adults and young people who cannot stop dancing when they listen to certain salsa or merengue songs that have gone across all possible borders.

In short, we are talking about a continuous feedback loop between both cultures that keeps going until now. No musical rhythm is completely pure and Latin rhythms are the perfect example.

Image source 1: http://nuevacaravana.blogspot.com/2010/08/bongo.html

Image source 2: https://presencia.unah.edu.hn/noticias/los-origenes-de-la-musica-y-la-identidad-en-america-latina-4-de-4/

Image source 3: https://www.correo.ca/2015/07/willie-colon-la-clave-es-la-experimentacion/

Image source 4: https://www.youtube.com/watch?v=QH_3h43nGf4

 

Anya Katsevman: “You have the dream, I have the tools”

USA - New York - New York

When we refer to Anya Katsevman, the first word that comes to mind is: passion! And that is the only way we could explain that a woman has so much strength, dedication and dedication in different facets of her life.

Anya Katsevman is not only a dancer and choreographer, but also a motivational coach and dream builder. In addition, it has its own line of dance dresses and costumes. An unstoppable woman!

Anya Katsevman by Franklin Liranzo
Anya Katsevman Courtesy of Franklin Liranzo

A native of Kiev, Ukraine, Anya and her family immigrated to the United States when she was 8 years old. She is the younger sister of award-winning Latin dancer Eugene Katsevman. She lives in New York.

She also holds numerous titles in salsa. Among them, she is a two-time World Champion as well as the San Francisco International Salsa Congress and New York Salsa Congress Champion.

Anya Katsevman dancing
Anya Katsevman dancing

Anya Katsevman is a maker of champions

This is precisely the distinctive mark of Anya Katsevman , that ability to make each dancer, each artist, each dreamer discover in himself his potential to succeed, his style and make the most of his abilities.

She believes that “the art of dance requires much physical ability, exposure and practice. The art of dance is also developing your own voice and getting to know the artist behind the athlete that makes the dancer”

A wonderful career

“Queen of Salsa” Anya Katsevman is a two-time World Salsa Champion, coach and choreographer to more than a dozen world champions, noted costume designer, respected salsa congress circuit judge and advocate for international Latin dance who has transformed the sport during her more than 25-year career.

Anya Katsevman
Anya Katsevman

Renowned for her unique coaching methods, Anya’s style blends multiple cultures and dance forms: her eastern European upbringing and the appreciation for Latin dance culture that she developed in the United States; and her ballroom and salsa backgrounds. She demands rigor, discipline and excellence, and uses her understanding of anatomy, physiology and movement while encouraging freedom of expression to turn her students into the top dancers in the world.

Anya trains and choreographs for “Dancing with the Stars Costa Rica” principal dancer Lucia Jimenez (2020 World Bachata, Chacha and Salsa Champion), “America’s Got Talent” stars Harold Rancano and Regan Hirose (9-time World Bachata Champions), the Huracan Dance Company (2019 World Team Salsa Champions), the stars of Quebec’s 
Revolucion Adriano Leropoli and Samantha Scali (2017 World Salsa Champions), principal dancers in Carmen to Havana and Back Isabelle Freiberger and Hunter Houde and the USA World Games Olympic salsa team.

Always successful and sharing her knowledge

As a competitor and performer, Anya has won more than 20 world titles including the 2009 and 2010 Salsa World Championships. She is also the 2008 North American Salsa Champion, a two-time San Francisco Open Salsa Champion, two-time New York Congress Salsa Champion, Puerto Rico Open Salsa Champion and La Classique Du Quebec Champion. Anya has starred in touring shows “Burn the Floor ” on Broadway and ABC’s “Dancing with the Stars, in addition to numerous other television productions, stage shows, movies, and showcases in the U.S. She has performed with El Gran Combo, Gilberto Santa Rosa and “The Mambo King” Eddie Torres, and for President Barack Obama.

Anya Katsevman - dancers
Anya Katsevman – dancers

Anya is an ambassador for salsa, helping to expand its popularity worldwide. She believes connection is one of the most important aspects of the human experience, and dance is the best medium to explore how we connect with each other and ourselves. Anya has expanded her dance instruction to include GoDeeper, which she co-founded in 2019 to provide monthly movement classes, individual coaching sessions, and group workshops to promote professional growth and self discovery.

Meet this talented woman

International Salsa Magazine had the pleasure of interviewing Anya recently and invites you to learn a little more about this magnificent artist.

International Salsa Magazine (ISM): How did you discover your passion for Latin Dance?

Anya Katsevman (AK): My brother is a professional ballroom dancer

I started to dance ballroom in 1995 following his footsteps  I competed in the international Latin category world wide  in 2007 I was teaching in a dance studio in Manhattan and they did a lot of salsa  that’s where I was introduced to social dancing  I fell in love with the idea that dance is accessible to all people and doesn’t have to be competitive  from there my love for salsa turned in to a career choice  I decided to study Latin social dance and became a two time world salsa champion  for me it was a passion to spread the beauty of dance through teaching as much as performing that did the trick.

ISM: Have you had any obstacle in your professional life? How could you overcome them?

AK: I think when your career is long enough you will probably have many obstacles to overcome  and your passion for your craft and the reason you do it is usually stronger than the obstacle in front of you that gives you the drive to overcome it  it is hard to narrow specifics down because I’ve had so many  my competitive dance partner lived 3000 miles away from me when we won the worlds in 2010 and I just made the commitment to work hard and travel pick up the slack where needed and get the job done regardless I think that was the formula in every struggle.

ISM: What is the achievement that has made you most proud?

AK: I am most proud of all of my students accomplishments  I am of course extremely proud and honored to be a world champion but for me the pleasure of having developed other world champion’s especially those who started learning from me from scratch makes me extremely proud beyond all measures I am also very proud of how individual and independent all of my students are  the variety and diversity of their dancing makes me really happy.

ISM: In the path of entrepreneurship, how did you manage to find the strategy to grow your business? What are the skills you consider an entrepreneur must have to achieve success?

AK: Honestly I believe success comes from genuine passion and desire  it is easy for us to study a successful person after the fact and say which moves appeared strategic but I believe who ever is on their way working toward that goal should do it because they are passionate about each step not because of the end result  my business grows because I am committed to my craft and doing it at my best capacity.

I am genuinely passionate about my dance quality  my students growth and the subjects I am teaching  I study the Industry I watch for what’s missing I ask what contribution would be of most value this doesn’t feel like hard work to me  it is my passion my genuine interest and the rest flows  when I feel I am doing something strategic or because it’s good for my brand or etc it doesn’t flow the same way feels forced and isn’t as successful so I try to only go with my own flow current interest and most passionate desires.

ISM: Could you give us some advice to maintain discipline, even in complex situations?

AK: Absolutely  discipline is hard for anyone when it feels needed and forced so I always try to flip the mindset  if I have to do something I’m bored of or am avoiding because it’s hard or tedious I always find something to be excited about instead whether it is dreaming of what the task will do for me  or adding something Sensory I enjoy to the task like my favorite sounds smells or visuals or including a friend in the process.

If you focus on what you do like about it it’s much easier to do it. Also discipline is really only hard at first pretty quickly it becomes a habit so if you put more disciplined things in to practice it will all feel like a habitual part of your day and you’ll start to enjoy it and feeling accomplished.

ISM: What would you say to all those young dancers who want to achieve a dream?

AK: They do come true!!!!!

Dream more!!!! Everything is possible  want it bad enough to work for it but don’t be afraid to dream those wild dreams if it wasn’t possible you wouldn’t have had the dream in the first place.

Interesting conversation with vocal coach and YouTuber Ceci Dover

Who is Ceci Dover and what she has done

Ceci Dover is a professional vocal coach and singer of Argentinean origin residing in Spain, where she has been dedicated to voice, music and technological advances that have emerged out in this world over the past few years. All this accumulated experience has made her worthy of sharing the stage with several of the most important Spanish-speaking artists such as Coro Kennedy and Alejandro Lerner.

Ceci Dover working in her studio
Ceci Dover working in her studio

In her talent and knowledge, we can notice that she has received a very solid training in the issues she always touches and two very important teaching centers in her academic life were the Manuel de Falla Conservatory and the singing academy Valeria Lynch, both of which contributed greatly to make Ceci the professional voice teacher she is today. Another important detail to highlight from her route is the Still Voice Training academy in the United States in 2020, which would complete her studies as a coach and professional singer.

Currently, Ceci is dedicated to perform vocal diagnosis for those who request it and she works as a content creator through YouTube, a platform on which she offers her analysis to well-known voices in the entertainment world so that the public can know a professional opinion on their quality or the absence of it.

In view of Ceci’s great career in the world of music, we wanted to talk to her and learn a little more about her career and experience from her own mouth.

How did your interest in music and vocal technique begin?

After thanking us for the space we gave her, Ceci went on to explain that it all started when she was in high school, which she combined with singing studies at a particular level since she turned 13 years old. Once she finished school, she enrolled in a conservatory and began studying lyrical singing full time for about 12 year until she chose to specialize in folk singing in order to achieve a change of range.

Throughout this process, she discovered that she enjoyed singing and teaching, although she would be dedicated exclusively to the latter.   

Major references and inspirations

Her most significant influences are Whitney Houston, Aretha Franklin, Mariah Carrey, Celine Dion, Barbra Streisand, Freddy Marcury, Michael Jackson, among others. Ceci said to belong to old school because of her tastes, but it took a few years for her to start paying more attention to music in Spanish. It was in 2020 that she started paying attention to Latin voices such as Juan Gabriel, who has gone on to become one of her favorite artists worldwide. Although she has discovered a lot of talent in music in Spanish, she has been really fascinated by Mexican culture, which has given birth to several of the songs that did not have faces during her childhood.

Italian singer Laura Pausini and Ceci Dover
Italian singer Laura Pausini and Ceci Dover

One of the things that has caught her attention the most about rancheras and boleros is that they allow artists to show all their talent and vocal ability. In addition, he says that these genres come from times when singers ”sang for real, excellence was demanded of them and had to be good in order to succeed”.

The industry dies not require artists to offer quality because it only focuses on creating characters and products carefully designed to make shows,” said the professional singer on this subject.

Importance of lyrics in culture

Ceci has been highly critical of everything related to the kind of lyrics that have been used in modern genres such as reggaeton and considers that so much vulgarity is not necessary to express what is wanted. In fact, he considers that these lyrical resources are an involution and a total reversal in music. Ensures that trap and reggaeton do not bother her, but she believes that explicitness, offenses and vexations used by many of its exponents do not send any positive message to the youth.

For the artist, this issue becomes even more serious and delicate when talking about young children as well, who are the primary audience of this musical content. She comments that her own son learns these lyrics at school and comes home singing them, something that makes her very angry and leads her to do everything possible to reverse the negative effects that this may have on his upbringing.

Peruvian composer and singer Eva Ayllón with Ceci Dover
Peruvian composer and singer Eva Ayllón with Ceci Dover

It is possible to talk about heartbreak without being vulgar and degrading. I understand that this is what many young people like nowadays, but I think it is not a generational thing, but a matter of education. I have very young students who also disagree with that way of expressing music”, she added.

In that sense, he also points out that parents should instill other musical references and listen to other music so that their children get to know other voices and styles. Few people know Freddy Mercury or Michael Jackson, but everyone knows Bizarrap, Rosalia and Quevedo. That has to change” said the performer.

Vocal diagnosis and training

When Ceci was asked if a person without natural vocal talent could develop it, her answer was yes, although with several points to consider. A person without natural singing talent can develop his full potential and educate his voice. I know singers who don’t have good voice, but they strive to make good songs, write good lyrics and convey the listening audience special things” Ceci replied.

”I encourage everyone to educate their voice, even if they weren’t born with the natural talent that can make that process a little easier. I think we all can work on our voice and offer quality singing, but within our means. You can’t promise people that they are going to sing like Celine Dion in a year if they don’t have the conditions to do that. There are borders we simply cannot cross, but we can look for the best version of ourselves” she added.

Ceci working in one of her videos
Ceci working in one of her videos

Scenography and details unrelated to voice

Just as voice is a very important part of the analysis, there are other aspects that can distract Ceci from her analysis, such as lyrics, costumes and choreography. In that sense, she mentions the recent case of Shakira, whose story of heartbreak attracts much more attention than the technical details involved.

He also mentioned the case of K-Pop groups, whose choreographies, pirouettes and costumes stand out much more than their members’ voices. ”Before, the technical aspects related to voice were what stood out on stage, but now the visual part of the show is much more important than before,” said the artist. ”I was very much against backing tracks, but I have realized that K-Pop groups cannot achieve a perfect voice with such demanding dances and aerobics,” she concluded on this issue.

Salsa exponents

Although Ceci has focused on analyzing rancheras, boleros, pop and reggaeton, she thinks it is time to dedicate some of her material to analyze other more tropical genres such as salsa or merengue. In this part of the conversation, she expressed her admiration for stars such as Juan Luis Guerra, Marc Anthony, Celia Cruz and many more. There have been many followers who have asked her to react to voices of this genre, so she is considering making an exclusive special for tropical rhythms such as these and thereby appeasing the part of her audience that enjoys these styles.

Read also: Mexican announcer Jesse ‘‘Chuy’’ Varela and the radio today

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
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
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
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

Read also: Carlos “Patato” Valdés one of the best percussionists in the history of Latin Jazz

Henry Benavides surprises with “Por Cuenta Propia,” his new project

Henry Benavides, arranger, composer, pianist and producer of tropical music with emphasis on Salsa, was born in Barrancabermeja, Santander, Colombia.

In York, NY March 31, 2023 ‘Por Cuenta Propia’ is the name of Henry Benavides’ new project, with which he wishes to elevate his musical career. The Colombian composer, pianist, arranger, and producer of tropical music pays homage to great artists of the industry with his new album.

“The production is inspired by the great salseros who influenced my musical beginnings, such as Richie Ray and Papo Lucca.

The songs I chose marked my childhood, and in my new album I seek to give it a modern and different touch with my arrangements,” shares Benavides.

Henry Benavides sorprende con “Por Cuenta Propia,” su nuevo proyecto
Henry Benavides sorprende con “Por Cuenta Propia,” su nuevo proyecto

It is worth noting that the album is musically diverse. Despite being known for revolutionizing the tropical industry, Benavides shows us that even playing boleros, he is capable of transforming and creating new stories.

‘Por Cuenta Propia’ will be available through all digital platforms starting April 21, 2023, and you can already pre-order it through Spotify.

This project symbolizes the convergence of past stories and new rhythms. At the same time, Benavides is preparing for his upcoming Latin American tour this summer.

About Henry Benavides

“Henry Benavides is a Colombian tropical music composer, pianist, arranger and producer whose focus is on modernizing great salsa songs and giving them a new style. Benavides has had the opportunity to work with the ‘Discos Fuentes’ record label in Medellin, Colombia, where he collaborated with internationally recognized artists. As a member of the new generation, his mission is to modernize the salsa genre and share with his style, a new way of making salsa”.

Henry Benavides, arreglista, compositor, pianista y productor
Henry Benavides, arreglista, compositor, pianista y productor

Henry Benavides, arranger, composer, pianist and producer of tropical music with emphasis on Salsa, was born in Barrancabermeja, Santander.

He inherited from his grandparents the taste for music, at the age of 12 he began to play the drums induced by his father.

He graduated as a high school graduate from the industrial technical institute in the year 2000, and by then he already had clear what would be his life project, to live for music.

He decided to travel in 2002 to Pamplona, Norte de Santander, where he settled and enrolled in the university of this same city in the Faculty of Music to formalize his musical studies.

Shortly after entering the school he stood out among his classmates for his great talent. He was a member of the Big Band Oriol Rangel of this institution, being in his seventh semester, his teachers tell him that the knowledge he has acquired so far is the necessary, and that he really has nothing to do there, with the great talent he has, and they suggest him to go out to the arena! What prompted this Barranqueño to undertake his audacity in 2005 and decided to seek opportunities in the city of Medellin.

There he began working with Jhon Jairo Betancur making tracks and karaokes of salsa, merengues, ballads and vallenato, for Discos Fuentes recording pianos and then produced them, being in charge of everything for 2 and a half years, time that was enough to make known his talent which gave him the opportunity to work with the master Alberto Barros in the musical direction of the tribute to the Colombian salsa, and zone three, and to make a production for Panamanian singer Gabi Gabi Gabi.

production for the Panamanian singer Gabino Pampini, Sonora Carruseles, among others.

In 2009, he was invited to record in the city of Cali, an opportunity that he did not miss to seek new alternatives in his career and decided to seek the maestro Alexis Lozano, director of the orchestra Guayacán, to show him his work done during all these years.

He was lucky enough to meet him, and show his talent, which led to an exchange of knowledge and great musical connection between the two and immediately Alexis made it concrete and proposed him to produce music immediately.

Henry Benavides
Henry Benavides

In 2012 he directs and produces for Sony music in Mexico, the DVD “La Salsa de los Grandes”, a tribute to the Fania All Stars, with the participation of the best singers and musicians of the world salsa. Considered this work as the most representative of his career for having obtained GOLD and PLATINUM DISC, becoming the only Santandereano to obtain historically this recognition.

In addition to this, he was the author, composer and producer of songs such as YO SOY BARRANQUEÑO, where he pays tribute to his hometown, and EL HINCHA NÚMERO UNO, a song dedicated to his alma team, Alianza Petrolera.

She currently has a music production company, where she makes local, national and international productions, and at the same time has formed her orchestra, with musicians representative of her city, with which she has had the honor of being the only one to accompany an international artist, this being another historic achievement.

In this year 2020 he will launch his new production, entitled “Mi Vida”, which contains 10 unpublished songs of composition, arrangement and production, a dream that began 10 years ago and will close a very important cycle in the life of this young and talented artist.

Among other projects, he is the Musical Director of #salsagang, a project to promote new talents that is currently focused on the Mexican market, as it is one of the most important places for tropical music.

Henry Benavides through his extensive experience and professionalism, has positioned himself as one of the best salsa musicians and producers in the country.

All the productions mentioned above, can be found on the web and social networks.

Contact us:

Yoly Terán

610.348.9700

[email protected]

Henry Benavides

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.