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Opening of the 28th edition of…

Tempo Latino Social Club presents:

Ana Tijoux,

ANA Tijoux, emblematic figure of Latin rap, joins us at the opening of the festival! A strong and committed French-Chilean artist born in her native Lille to Chilean parents exiled by the dictatorship, ANA has bult her musical style on the fundamental rhythms of Rap and the Chilean folkloric colors of her origin.

Her background, influences and temperament give her an indomitable stage strength to tackle political issues wildly. From Europe to Latin America, singing in Spanish with humor and rebellion has led her to consolidate her presence in the international scene of the Latin Rap wave and win Grammys.

After opening for Iggy Pop, the iconic Stooges figure said that “she knows what she’s doing!”

The Tempo Latino Social Club welcomes her into their circle of shared values with proudly and respectfully.

Tempo Latino

The Conga sets the TEMPO!

Between psychedelic palm trees, tropical white sand and the first day’s frenzy, we’ll meet at 19h on the Conga stage to embark on the 28th edition.

Imagined in 2022… the Tempo Latino Social Club*, born from our associative, voluntary and committed structure, brings us together to share our values of cultural and musical mestizaje…

*This evening does not cover the pass for the Tempo Arena concert.

Tempo Latino

Immediate boarding for the Tempo Latino 2023 ¡El Único!

THANKS
Public… Artists… Technicians… Partners… Professionals…
Tempo VOLUNTEERS

XXXIX National Zalsa Day March 19, 2023 Hiram Bithorn Stadium in San Juan Puerto Rico

Celebrates 150 years of history with a posthumous tribute to Tito Puente, Típica 73 and Ismael Miranda

National Zalsa Day 2023

This year the privilege of conducting the Super Orchestra of the National Zalsa Day 2023 is for Maestro Isidro Infante, March 19 at the Hiram Bithorn Park in San Juan, Puerto Rico.

For many years the most important salsa event in Puerto Rico and internationally. Thanks to Z-93 and the entire SBS family. Mr. Alarcón, Víctor Roque, El Cacique and all the executives involved in such an important event.

We will also have Buho Loco and El Hachero, among others.

Celebra 150 años de historia con un póstumo homenaje a Tito Puente y Típica 73 e Ismael Miranda

The radio station Zeta93FM and its sister company, LaMusica.com, announce the thirty-ninth edition of the National Zalsa Day; an award-winning concert, which, on this occasion, will pay a special tribute to the 50th anniversary of one of the most recognized orchestras in the world, La Típica 73.

Known as the pioneers in performing the famous “Descargas musicales”, Adalberto Santiago, José Alberto “El Canario”, Tito Allen and Johnny “Dandy” Rodríguez, have already confirmed their participation and we are proud that the members of this legendary band, which left such a deep mark on the salsa genre, have decided to join us in this celebration.

XXXIX Día Nacional de la Zalsa 19 de Marzo 2023 Estadio Hiram Bithorn en San Juan Puerto Rico

On April 20, 2023, the 100th anniversary of the birth of legendary timbalero Tito Puente, his son.

Tito Puente Jr., along with great guest artists such as Orestes Vilato, Nicky Marrero, Endel Dueño, Frankie Figueroa, Frankie Morales, John “Dandy” Rodríguez and José Madera celebrarán playing on stage the greatest hits of the “King of Latin Music”, among which are: “Oye como va”, “Ran Kan Kan” and “Para los Rumberos”.

“Puente’s legacy of more than 50 years, known as ‘The King of the Timbal’, ‘The composer and musician of the eternal smile’ and ‘The godfather of Latin jazz and salsa’, will be exalted in front of more than 20,000 people at DNZ2023 and we are sure that all salseros will enjoy this presentation,” said announcer Marcos Rodríguez “El Cacique”.

In April 2000, the third Sunday of March was instituted as National Zalsa Day under Law #100 of the Senate of Puerto Rico.

History

National Zalsa Day was created in 1984 by Pedro Arroyo, Programming Director of Z-93, who always wanted to celebrate an event that would recognize the talent of popular salsa music, its composers and performers, to present it to the great public who love this tropical genre.

Since its first year, the great event took hold of an audience eager to enjoy this music live.

The support was total and it immediately positioned itself as the annual concert of the people of Puerto Rico and visitors from other countries.

From its beginnings, National Zalsa Day was dedicated to a figure of this genre, as a recognition of his talent and rootedness in the public.

1984 – Dedicated in life to Sonero Mayor, Ismael Rivera

1985 – Rafael Ithier of the Gran Combo de Puerto Rico

1986 – Tito Puente and Santitos Colón

1987 – Héctor Lavoe

1988 – Andy Montañez and Gilberto Santa Rosa

1989 – Celia Cruz and Sonora Ponceña

1990 – Willie Colón and Tite Curet Alonso

1991 – Bobby Valentín, Oscar D’León and composer Gloria González.

1992 – To the Best 5 trumpets of Puerto Rico: Elías Lopés, Charlie Sepúlveda, Juancito Torres, Mario Ortiz and Luis “Perico” Ortiz.

1993 – Celebration of the Tenth Anniversary of National Zalsa Day, dedicated to the Salsa People

1994 – Ray Barreto and Adalberto Santiago

1995 – “Duels at sunset”.

1996 – Dedicated to the reunions: Conjunto Clásico, Tito Nieves, Luis “Perico” Ortiz and Rafael De Jesús, El Gran Combo; Andy Montañez and

Roberto Rohena; Sonora Ponceña with Luigi Texidor and Yolanda Rivera.

1997 – To the salsa people

1998 – Jerry Masucci

1999 – Cheo Feliciano

2000 – Richie Ray and Bobby Cruz

2001 – Eddie Palmieri

2002 – Ruben Blades

2003 – Johnny Pacheco and Roberto Rohena

2004 – Quique Lucca, Papo Lucca and Willie Rosario

2005 – Tommy Olivencia and Roberto Angleró

2006 – Los Hermanos Lebrón and posthumous tribute to Charlie Palmieri, Tito Rodríguez and Ray Barretto

2007 – Ismael Miranda, Ramón Rodríguez, Raphy Leavitt and Sammy Marrero

2008 – Larry Harlow and Manny Oquendo

2009 – Celebration of the release of Tite Curet Alonso’s work on Puerto Rican radio. Dedicated to Louis Garcia.

2010 – Johnny Ortiz. Special recognition to Héctor Maisonave and Ángel Luis Córdova García “Paleco”.

2011 – Elvin Torres of Costa Brava, Luisito Ayala of Puerto Rican Power, Paquito Guzmán, Tito Allen and Luigi Texidor.

2012 – Posthumous tribute to Frankie Ruiz. Dedicated to Orquesta Zodiac and La Corporación Latina.

2013 – Posthumous tribute to Pedro Arroyo, former director of Z-93. Special recognition to Edwin Morales of La Mulenze, Pedro Brul, Pedro Conga of Orquesta Internacional and Cano Estremera.

2014 – El Gran Combo, Joe Rodríguez of La Terrífica, Justo Betancourt and Meñique.

2015 – Gilberto Santa Rosa receives the first National Zalsa Day Star Award. Dedicated to Sammy “Rolo” González, Mickey Cora, Nacho Sanabria.

2016 – Eddie Palmieri receives the second National Zalsa Day Star Award. Dedicated to Lalo Rodríguez and Tito Rojas.

2017 – Zeta 93 announced on the program of its director Néstor Galán, el Buho Loco, that the artists participating in the 34th edition of National Salsa Day are el Gran Combo, José Alberto el Canario, Andy Montañez, la India, Don Perignón y la Puertorriqueña, Grupo Niche, Víctor Manuelle, Luisito Carrión, Guillo Rivera, Camilo Azuquita, Raúl Marrero, Carlos D’ Castro, Juan Pablo Díaz, Orquesta DNZ2017 and Orquesta Canario.

2018 – Dedicated To The People Of Puerto Rico!

Domingo Quiñones, Maelo Ruiz, Chamaco Rivera, Pupy Cantor, Oscar de León, Orquesta Canela (Cali, Colombia), Tribute to Tito Nieves and Yolanda Rivera, La Orquesta del Día Nacional de La Salsa, Pete Pererignon y la Generación del Presente, El Maestro Sammy Velez with Nino Segarra, Héctor Tricoche y Simón Pérez, Víctor García y La Sonora San Juanera and Willie Otero y su Orquesta.

2019 – Los Reencuentros will be

Conjunto Clásico with Tito Nieves, Luis Perico Ortiz with Roberto Lugo, Orquesta Mulenze with Pedro Brull, Don Perignon y la Puertorriqueña with Víctor Manuelle, Frankie Vázquez, Pedro Bermúdez Big Band, Charlie Aponte, Pichie Pérez, Yolanda Rivera, Pedro Arroyo, Conjuno Chaney, Pirulo y la Tribu, Manolito Rodríguez.

2020 – Oscar D’ León, Eddie Palmieri, La India, Tito Rojas, Lalo Rodríguez, La Sonora Ponceña, Ray de la Paz, Ismael Miranda, Tony Vega, Orq. Del Día Nacional (directed by Louis García).

2022 – The gathering was Richie Ray & Bobby Cruz, Víctor Manuelle, Willie Rosario, Bobby Valentín, La Sonora Ponceña, Andy Montañez, Apollo Sound, La Mulenze, from Panama come to Puerto Rico the winners of the contest in which hundreds of salsa orchestras competed, Luis Lugo y La Orquesta 507, the women’s orchestra Son Divas, La Tribu de Abrante and Luis Vázquez,” said Marcos Rodríguez,

Sunday, March 19, 2023 – 9:00am

Hiram Bithorn Stadium, San Juan

On stage:

– – José Alberto “El Canario”

– Adalberto Santiago

– Tito Allen & Johnny el Dandy Rodriguez

– Luis Figueroa

– Pirulo

– India

– Charlie Aponte

– Maelo Ruiz

– Yolanda Rivera

– Luigi Texidor

– Pichie Perez

– Isidoro Infante

– Alex D’ Castro

– Tributes to Tito Puente, Típica 73 and Ismael Miranda

Prices:

Early Bird : $10.00 + ivu & c.s (Limited quantities) SOLD OUT

Presale: $15.00 + ivu & c.s (Limited quantities) SOLD OUT

GENERAL – $20.00 + ivu & c.s

V.I.P. – $75.00 + ivu & c.s. (Includes numbered seat and preferred entrance)

PLATINUM – $225.00 + ivu & c.s. (Includes food, open bar, official t-shirt and preferential entrance)

Information and Tickets: 787-200-7110 or [email protected]

Ticket office open from 2 hours before the start of the event.

45 years of salsa career of ‘el más que canta’ was in style

On Sunday, February 5, 2023, at about 5:00 p.m. Puerto Rican time, the curtain of the Coca Cola Music Hall rose to give way to a radiant Domingo Quiñones.

El más que canta’ arrived ready to share his voice and his usual nostalgic smile with the audience.

The 45th anniversary party began, the melodic style of the saxophone in charge of Jorge Baez. A minute after the orchestra played the first notes, Domingo let out a loud war cry that sounded like: “Puerto Rico”. Immediately, the first two songs were played: Chica romántica & Poeta y guerrero.

After a brief greeting in which Domingo thanked his fans for their support, the most emblematic songs of his career were heard, such as: Tú cómo estás, Soy, Enséñame, El progreso, Busco un amor, Falco de valor, Salsumba, Cuando se necesitan más, Fuera de control, Río abajo, Deseo salvaje y Devórame otra vez, A que no te atreves, Se necesita un milagro, Pasarás al libro del recuerdo, Lo reconozco y No voy a dejarte ir.

Keeping the rhythmic base going, Charlie Padilla was in charge of the tumbadoras, in perfect sync with Javier Oquendo on the bongos and Pablo Padín on the timbales. It was clear that Domingo was backed by a luxurious orchestra, under the musical direction of pianist, music producer, arranger, composer, singer and dancer: Carlos García. Ricardo Lugo accompanied with his impeccable bass playing. Ramón Sánchez complemented the perfection of the stage behind the keyboard.

The wind section was formed by Ángel Hernández and Jesús Alonso on trumpets, and Eliut Cintrón and Víctor Vázquez on trombones. In the choirs, the vocal forcefulness and precision of Jorge Yadiel, Nahyra Pérez and David Carrero was heard.

About an hour into the celebration, Domingo decided to do a conga solo, what a surprise we were in for! The conga solo was very well done.

An hour and a half into the concert, Gilberto Santa Rosa, Luisito Carrión and Carlos García sang with Domingo Quiñones the song En el mismo barco, composed by Domingo in the midst of the COVID-19 pandemic.

Domingo Quiñones Tributo a Lalo Rodriguez

The arrangement of the song allowed the wind instrumentalists to have their way with the big spoon before giving way to a very heavy rumba in the percussive corner.

A moment of great emotion was the one that gave way to the song Río abajo, with the accompaniment of Luis ‘Perico’ Ortiz in his impeccable trumpet solos, in addition to accompanying Domingo in the chorus.

Por todo lo alto fueron 45 años de trayectoria salsera de ‘el más que canta’

This intervention made clear the affection that Domingo and Perico have for each other. It must be because when Domingo decided to pursue his dream as a soloist, he was part of ‘Perico’s’ orchestra.

For this celebration, our Domingo Quiñones gave way to a repertoire that summarized very well those 45 years of career. More than singing, Domingo interpreted with that emotionality of his best times. The audience vibrated with his performance. His histrionic ability, his interpretative quality and the charisma with which he captures the audience’s attention, kept them captive for hours.

Photo credits: Félix Guayciba

Bella Martínez

Bella Martínez Writer, researcher of Afro-Caribbean music and author of Un conguero para la historia, Las memorias de Jimmie Morales.

787-424-8868

Tata Güines known as Manos de Oro, Cuban rumbero and percussionist

Known as Manos de Oro, he modernized the tumbadoras and played with the most important musicians of the island of Cuba.

He was born in Güines, Havana on June 30, 1930, in the bosom of a family of musicians, son of Joseíto “El tresero” and Niñita, who from a very young age used to play a boot-cleaning box in the corner of the Chapel of Santa Bárbara, in the legendary neighborhood of Leguina, where so many congas and bembés have been made and will continue to be enjoyed.

Artistic trajectory

Saying Federico Arístides Soto Alejo may not say anything to some music neophytes, but when you say Tata Güines, things change radically and everyone thinks: That is the tumbadora made soul and flavor.

Tata Güines conocido como Manos de Oro, modernizó las tumbadoras y tocó con los más relevantes músicos de la isla de Cuba

He became attached to percussion instruments, especially the tumbadora, which, as a Cuban, groaned under the effect of his prodigious hands. Under the influence of Chano Pozo, whose touches bewitched him and gave him the key to create his own style.

He was formed as a musician among the drums and the religious festivities of his neighborhood. He adopted his nickname as a child -el Tata-, and as a surname the name of the town where he grew up. Music was in his blood: his father and uncles made music with their hides.

He played double bass in the group Ases del Ritmo. He was part of the Partagás group, led by his uncle Dionisio Martínez, and later founded the Estrellas Nacientes orchestra and performed with the Swing Casino orchestra in Güines.

In 1946 he performed in his hometown with the Conjunto de Arsenio Rodríguez.

Tata Güines, rumbero y percusionista cubano

}In 1948 he moved to Havana, where he was a member of the orchestras La Nueva América, led by Pao Domini; La Habana Sport led by José Antonio Díaz, Unión, led by Orestes López, La Sensación led by Belisario López, and in 1952 he joined Fajardo y sus Estrellas, with which he traveled to New York in 1956.

He joined Los Jóvenes del Cayo, with which he appeared on the radio station La Voz del Aire; later he performed with the ensembles Camacho and Gloria Matancera.

He accompanied the trio Taicuba as a bongo player, and worked with Guillermo Portabales, Celina y Reutilio, and Ramón Veloz. He participated, along with Chano Pozo, in the comparsa Los Dandys de Belén; also, Los Mosqueteros del Rey, Los Mambises and Las Boyeras.

He recorded with Arturo O’Farrill (Chico) and with Cachao y su Ritmo Caliente, Frank Emilio, Guillermo Barreto, Gustavo Tamayo and others. He was part of the Quinteto Instrumental de Música Moderna (later Los Amigos), led by pianist Frank Emilio; Guillermo Barreto, timbal, Gustavo Tamayo, güiro, Israel López (Cachao) and Orlando Hernández (Papito), double bass.

In 1955 he travels to Caracas, Venezuela, to participate in the carnivals of that city. He traveled to New York with the Fajardo y sus Estrellas orchestra, with which he performed at the Palladium, where he coincided with Machito y sus Afro-Cubans and Benny Moré, whom he accompanied on the tumbadora; he also performed at the Waldorf Astoria Hotel, where he worked for the first time as a soloist.

He prepared a show and shared the stage with Josephine Baker, Frank Sinatra, Maynard Ferguson and Los Chavales de España, with whom he recorded the piece “No te puedo querer”.

In 1960 he returned to Cuba. Four years later he founded Los Tatagüinitos. He offered a concert with the National Symphony Orchestra, conducted by Manuel Duchesne Cuzán, with which he performed his work Perico no llores más. He accompanied the guitarist and composer Sergio Vitier in his work Ad Libitum, danced by Alicia Alonso and Antonio Gades.

International tours

He toured California, Chicago, Miami, Puerto Rico, Panama, Venezuela, Colombia, Mexico, Martinique, Monte Carlo, Switzerland, Bulgaria, Hungary, where he participated in the Jazz Festival; Soviet Union, Finland, Spain.

Musical Validity

Tata Güines was a master of masters of Cuban percussion. His death represents a notable loss for Cuban culture. Nobody like him in Cuba to make percussion an art.

In front of Tata Güines, the leather of the drum seemed the most delicate and expensive silk. He would place his agile hand on the tanned skin stretched by the fire, and with his fingernails he would achieve the saddest of laments as well as the most contagious smile.

Few knew him as Federico Arístides Soto Alejo, but everyone knew that he had modernized the tumbadoras, that he was a master at placing the “loose” beats in a song, as if “carelessly”, but that the piece could not survive if it lacked that imprint of someone who let himself be carried away by the rhythm of the claves, by his very fine ear and by the demands of a body accustomed, since he was almost a child, to music.

He died on February 4, 2008 in Güines, Havana.

Federico Arístides Soto Alejo Tata Güines

Awards and recognitions

National Music Award 2006

Félix Varela Order 2004

Alejo Carpentier Medal 2002

Tataguines Soto Martinez

No man is a prophet in his own land

“Cherry” Navarro, the Latin American Elvis Presley

As indicated the title of this material, no man is a prophet in his own land and one of the best proofs of that is Cherry Navarro, one of the greatest artists that Venezuela has given birth to, whose talent has not been matched despite the time elapsed.

Alexis Enrique Navarro Velásquez, artistically known as Cherry Navarro, was a Venezuelan singer and musician born in Caripito, Monagas State, on July 9, 1944 with the marriage of his parents Manuel de Jesús Navarro and María de Jesús Velázquez de Navarro. He had five other siblings whoe names were Manuel, Rene. Lelys, Audy and Carlos, the latter also being a great artist today.

After age 14, he moved with his family to the parish of El Valle, Caracas, where he would continue his studies and start his way in the world of music with some friends in his area. One of them was the world famous José Luis Rodríguez ”El Puma”, with whom Cherry shared his passion for music, a group called ”Canaima” and a close friendship.

Alexis Enrique Navarro Velásquez, whose artistic name was Cherry Navarro

Beginnings in music

By deciding that he wanted to dedicate himself professionally to music, he started training in various instruments and performing at small parties and meetings to gain fame and become known. It was not long before he was invited to participate in the TV show ”Show Del Twist”, which would represent a giant leap in the musical and public life of the young artist.

Some time later, he was spotted by Chelique Sarabia, who invited him to join his group and started a media tour that helped him gain even more popularity and fans all over the national territory.

In the 1960s, he met the woman who would become his wife and mother of his son Belkis Montero, a Cuban national, but it did not take long for them to divorce due to the artist’s busy schedule and professional commitments, which prevented him from spending enough time with his family. Their little boy was named José Enrique Navarro Montero.

In 1964, he recorded his first album with Velvet de Venezuela and named it ”Pavísimo” which would contain some of his best known pieces such as ”Hoy”, ”Amor Goajiro” and ”Confidente”. Around the same time, he had a cameo appearance in the movie ”Soltero En Apuros”, in which his song ”Hoy” was part of the soundtrack.

In Mexico, one of the first countries to receive him with open arms, he recorded a long-playing album called ”Me Conformo” and some of his most important songs were ”Me Conformo”, ”Norma” and ”Si Dios Me Quita La Vida”.

Cherry Navarro and his girlfriend María de las Casas Mcgrill

Time in Europe

In 1966, he permanently separated from Montero and started a romantic relationship with former beauty queen María de Las Casas McGill, who would become his public relationist and be a fundamental piece in the internationalization of Cherry as one of the greatest artists of the time. the first steps in that direction were the preparation of Navarro in languages and the Maria’s completion of diplomacy studies.

Thanks to the efforts made by the new love of the singer, both were able to travel to Spain, a country that would be key in the exponential growth in the singer’s popularity. It is in that territory where the young woman got the necessary connections in order to get Cherry to record with the label Polidor, which meant an enormous prestige for a Venezuelan at that time. Not any Latin could record with such an important label in the European country.

Thanks to all the gains made in Europe, he was received in Venezuela with distinction. Finally, the humble young man from Caripito had delivered his dreams and was at the peak of his popularity. Both Cherry and Felipe Pirela were the most played artists of the moment and all the TV shows of that time were fighting to have their performances in their studios. One of those was the show hosted by the unforgettable Renny Ottolina, who received him with all honors despite his short career.

In 1967, while in Madrid, the city chosen by the singer as his work base in the Old Continent, he had the great idea to use the song ”Aleluya” written by Luis Eduardo Aute, make his own version and add to it his particular touch. The result could not have been better. Cherry’s version became a national and international sales success that established the Venezuelan as one of the greatest ones in Latin America. It continues to be listened to in the main radio stations of the country in spite of the decades that have passed.

Cover of the album ''Aleluya'' — Cover of the album ”Aleluya”

Death

In the aforesaid year, he had an intense international tour in which he had to travel to Colombia, Mexico and the Antilles. In the middle of the tour, he noticed some signs that something could be wrong with his health, such as the lack of wound healing while shaving, nosebleeds and extreme pallor. Seeing he had a lot of professional commitments, he preferred to ignore these symptoms and move forward with his responsibilities. However, there were so many discomforts that he could no longer ignore them.

In fact, he was once forbidden to travel to Spain where she had a series of performances that could not be postponed, but Cherry refused to cancel his trip and disappoint his fans. His doctor’s advice came after he found some bruises on his stomach and legs.

Soon after, he was diagnosed with bone marrow aplasia and refused a bone marrow transplant with one of his brothers in a desperate attempt to save his life. Unfortunately it was all in vain and the talented Venezuelan finally lost his life on September 28, 1967 at only 23 years of age.

For the Venezuelan society of that day, the artist’s departure was an extremely strong blow and thousands of fans were felt from the very moment that the news announced his death. At 10 am on September 29, the funeral cortege began to scort the body of the singer from the Vallés funeral home to the headquarters of the Asociación Venezolana de Artistas de la Escena (EVADE) and then to Radio Caracas Televisión, a channel with which the artist had an exclusive contract.

TV hosts Guillermo ''Fantástico'' González and Renny Ottolina at Cherry Navarro's funeral — TV hosts Guillermo ”Fantástico” González and Renny Ottolina at Cherry Navarro’s funeral

Alng the way, there were all kinds of intense reactions from many women who admired Cherry in life, such as tears, faints, screams and wailings. It was even reported that 17-year-old Melba Elena Contreras took her own life at the news of Navarro’s death.

During those days, numerous Venezuelan and foreign media outlets reported the news with pictures of the crowd that accompanied this young promise to his final resting place, showing the love that Venezuelan people felt for this musical icon since he became known until his last breath.