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Henry Valladares, a brilliant, versatile, and disciplined percussionist
Our special guest this week is Henry Valladares, a brilliant, versatile, and disciplined percussionist, born on October 22nd in Barquisimeto, Lara State, to a mother from Caracas and a father from Yaracuyo.
Welcome Henry to Salsa Escrita, we would like to know how were your musical beginnings? Thank you Professor Carlos for your invitation to your well-read column. My interest in music began when I was 6 years old since I was very young I listened to salsa records by artists such as Héctor Lavoe, Willy Colón, Rubén Blades, Gran Combo, Sonora Ponceña, and all those acetate records of the time that arrived from Caracas, thanks to my mother who bought them, and in particular the record by José Mangual Jr. (Tribute to Chano Pozo) where at the end of the record there were some tracks where they taught the basic rhythms of salsa percussion (conga Milton Cardona, timbal Jimmy Sabater and the bongo José Mangual Jr.)
That would be my first influence in percussion. I remember that in those years there was a church very close to my house and I listened to the drums and bagpipe drums and I wanted to play and I built my own drum, I made it with a paint dipper and I put a piece of plastic with wick string (that was my first instrument hahaha).
Very good maestro Valladares and at what age did you begin to acquire musical knowledge in a formal way?
At the age of 8, I started my first percussion classes formally dictated at the CEPAS cultural center in San Jacinto, with professor Francisco Escalona in congas and for bongo with professor Wálter Yaguas, later I received training at the BIGOTT foundation (Afro-Venezuelan percussion) in the city of Caracas with professor Jesús Paiva and music and rhythmic reading classes with professor Jesús Blanco (Totoño), as well as different workshops and courses.
I remember one in particular dictated by the percussionist Wílmer Albornoz from Caracas and the percussionist, Pausides Jiménez, from Barquisimeto, there I learned a lot and in the Conservatory of Music Vicente Emilio Sojo of Barquisimeto with professor Tonny González, without forgetting the videos made for the years 1996, 1997 and 1998 by the teachers Giovanni Hidalgo and José Luis Quintana (Changuito), who raised my level of knowledge in the conga, timbal, and bongo.
Much of the training of a percussionist is by his own research and the training is never lost, you continue learning every day.
In what year did you start playing at the orchestral level?
Professor Carlos, in 1994 I started playing in nightclubs with regional groups, playing in groups such as Orquesta la Playa, Nino y su Orquesta, Orquesta Líder, and with most of the dance groups in the city.
Have you accompanied national artists?
Yes, friend Colmenárez, I have accompanied artists such as Billo Caracas Boys, Wladimir Lozano, Néstor Rivero (former teenagers), Betsy Núñez (bolerista), Eli Méndez, Rafa Galindo, Verónica Rey, Memo Morales, Édgar Rodríguez (El Abuelo), Wílmer Lozano, Rodrigo Mendoza, Benjamín Rausseo (Conde del Guacharo), Fabián Santa María, among others.
Have you recorded? I have recorded in different musical productions and artists of different genres.
Since 2003 to date I am a percussionist and assistant musical director of the Latinocaribeña orchestra, belonging to the Maestro Antonio Carrillo Concert Band, the heritage of the state of Lara (135 years old) making presentations in theaters and different places inside and outside the city.
I continue to study Afro-Caribbean instruments and teach in-person and online classes, also giving workshops.
In 2019 I celebrated my 25 years of a musical career, which I celebrated with a very special workshop held at the Conservatory of Music in Barquisimeto.
Henry, what are your next goals? To finish putting together my Latin jazz group.
Well Henry Valladares, for us it was an immense pleasure to have you in our salsa column praising your dedication and discipline in the Afro-Caribbean genre in the percussive part.
And on behalf of International Salsa Magazine www.salsagoogle.com, we congratulate you for your performance representing Barquisimeto.
Thank you very much Professor Carlos for the invitation, long live percussion, and keep on supporting musicians from Barquisimeto and Venezuela.
What are your social networks? Email: [email protected]; Facebook: Henry Valladares and Instagram: @valladarespercusion.
See you next time and let’s keep salseando!
Article of Interest: Cheo Valenzuela, “El Sonero de la Dulzura”
Sigo entre amigos de Luis “Perico” Ortiz
Ortiz features Tony Vega, Milly Quezada, Johnny Rivera, Gerardo Rivas, Henry Santiago, Yturvides Vílchez, Néstor Torres, Charlie Sepúlveda and Antonio Luis Orta.
The new production of the Puerto Rican trumpeter Luis “Perico” Ortiz, Sigo entre amigos comes to us with the same energy as always. We trust this is a foretaste of what is to come because as the genius of musical production, Julio Gunda Merced, says: “We must continue to create”.
Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos. The also masterful 1983 production featured Rafael Ithier, Rubén Blades, and Roberto Lugo, as well as the same Conjunto Quisqueya that for years dominated the danceable musical genre known as merengue. In this new arrival, Sigo entre amigos, “Perico” continues with his trumpet and the rumba is back to form. In this renewed Sigo entre amigos, cut that gives title to this impeccable production, we find the voices of: Tony Vega, Milly Quezada, Johnny Rivera, and Gerardo Rivas. The legendary backing vocalist Henry Santiago also stands out, with the vocal power to which we are accustomed.
Beginning in the third minute of what has become the promotional cut, the unmistakable trumpet of the usual Luis “Perico” Ortiz stars in the notes of the arrangement until he joins in calm and saucy harmony the melodic wind collective formed by Yturvides Vilchez, Antonio Luis Orta, Jesus Rafael “Rafy” Torres, Eliut Cintrón, Randy Román, Miguel Rivera and Danny Fuentes in a masterful closing.
The second cut of this production, De mi para ti, features the crystalline voice of Johnny Rivera. The song is a composition and arrangement by “Perico”.
The chorus that says: “Mi tributo es para ti, gracias al salón de baile” (My tribute is for you, thanks to the dance hall) enters in a tune that my ear associates to the style that stands out in the Orquesta Puertorriqueña del maestro Don Perignon. I’m not saying that’s the way it is, I just think that’s what my ear appreciates. I love it, by the way.
Johnny’s soneos bring nostalgia to the affair without abandoning the innovative touch of the arrangement. This dichotomy of keeping the foundation constantly evolving has been very well achieved, highlighting New York as “the supreme soul of the art”. Somewhat later in the song, the touting style that Johnny adds to “si tú quieres que yo cante, canto; y si tú quieres que yo baile, bailo” shows the malleability and mastery with which “Perico” manages to weave the classic with avant-garde expertise. Bravo!
After Johnny’s characteristic war cry in the fourth minute of the song, I recommend listening to what follows the “¡Vayaaa!” anticipating the forcefulness of Gadwin Vargas’ tumbadora. That, for the sake of highlighting my favorite special effect.
How can I say no, if it is a song inspired by the affection and respect that this avant-garde school obviously expresses for women. It is about a gentleman who “sees lights” for a lady who approaches him cautiously and without haste. Finally, the gentleman succeeds in making the lady fall in love and confesses to her that the wait was worth it, even though at first he did not even dare to ask her for a kiss. In short, this composition by “Perico” himself is far from the lyrics that some fire-eating feminists condemned as misogynistic, in that past that this team of artists led by “Perico” were never part of. In a way, this song repairs the damage caused by others.
In the vocal part, it distinguishes the duet between Gerardo Rivas, guest of this production, and “Perico” himself, who also interprets through the trumpet.
Musically, the arrangement of this song is easy to listen to, although I imagine that the arranger processed all the complication to make it simple for our inexperienced ears. The rhythmic changes within the salsa sound of this song have interesting transitions, the kind that make the dancer get active even if his dancing shoes are not well tied.
In the vocal part of Detente, the duet between Tony Vega, guest of this production, and “Perico” shines. Detente lightens the speed compared to the rest of the songs in the production, so the dancer must be in good shape before trying to dance to it. This fact shows us the versatility in the interpretative ability of Tony Vega whom we are used to hearing singing romantic and slower songs. It is, without a doubt, refreshing to see how the performer’s horizons can be expanded by way of these artistic combinations of seemingly simple variations. Of course, a pioneer of these effects is “Perico” and this invention that I attribute to “Perico” is due to him having the necessary experience to achieve exceptional results with the usual performers. At the 2 minutes and a half mark, the correspondence between the bass played by Jorge Rivera and the piano played by Carlos García; they reach a rhythmic transition, which makes this arrangement a remarkable one within the list of songs that compile this production. Almost entering the fourth minute, we reach the social message that the song delivers to the listener as a chorus: “Persigue lo bueno…”. The chorus and the pregones are framed within the tastiness of a trombone full of positivism. The fifth minute gives way to the conversation between the trumpet of “Perico” and the voice of Tony Vega, affirming a message of love and truth.
Days after listening to the track, I can still hear Henry Santiago’s voice echoing, “chase the good…”
The intro of the track Solo tuya seré features “Perico’s” trumpet playing what appears to be a fragment of the Puerto Rican national anthem. “Perico” demonstrates masterful mastery in the harmony of the aforementioned notes conjugating them with the vocal entrance of Milly Quezada. The song’s lyrics are sweet and romantic with lots of melody and rhyme. However, this does not limit the arrangement to a simple one. On the contrary, it is one of those arrangements that conquers by its complexity and fluidity.
Before reaching the 2 minute mark, the leather beats come in, anticipating Milly’s proclamation, confirming in multiple ways the chorus that says: “solo tuyo siempre yo seré” (only yours I will always be). The mambo goes on, while Milly continues to splash the feeling summarized in the confession she makes while singing in her characteristic color: “eres mi mejor canción, eres tú mi melodía” (you are my best song, you are my melody). By 3:33, the arrangement returns to the undisputed sound of “Perico”. This composition, also by “Perico” pays homage to patient love, good love that swears: “te amaré toda la vida” (I will love you all my life). As you can see, it is possible to coordinate romance with a musical arrangement that is at once melodic, danceable and heavy. Now, the question I have to ask myself is: Did “Perico”‘s return to his homeland after living in New York for about two decades inspire his pen? Is that the reason for the intro with the overlapping resemblance to the national anthem? That is the question that leads me to: “Eres tú lo que soñé, eras tú mi fantasía” (You are what I dreamed of, you were my fantasy).
On Señores que se sepa, Henry Santiago’s unmistakable voice stands out again in the coros, backing up “Perico’s” vocal performance. Shortly after 2:30 minutes, the trumpet leads the melodic development of the winds. Well into the third minute, the association of bass and piano precede Jorge David Marcano’s timbal until the trombone and tumbadora begin to dominate by the fourth minute. In the fifth minute, a trumpet-led mozambique takes over. When the mozambique goes down, the piano seems to embrace the trumpet. As can be seen, the development of the theme is one with modern overtones of undeniable Afro-descendence, without departing from the classic fundamental sound.
On Tres grandes amigos, Henry Santiago sings with his usual strength. The melody benefits from a sound that I imagine was inspired by Puente, Rodríguez and Machito, since the saxophones stand out in that typical playfulness of the three Palladium greats. It would seem that the composition and arrangement -both by “Perico”- are in tune with the upcoming reunion of those whom I affectionately call “Los herederos del Mambo” (The heirs of the Mambo). I associate it, since on March 5, 2022 begins the reunion tour of Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. in the concert: The Big 3 Palladium Orchestra. The reunion will be held at the Lehman Center for the Performing Arts in New York, under the concept called “The Big 3”; this time titled Palladium in the New Millennium. On the other hand, on June 19, 2022, Tito Rodríguez, Jr. will be at the Centro de Bellas Artes de Puerto Rico performing as a tribute to “El Inolvidable”: his father, Tito Rodríguez.
Without wanting to compete with the theme performed live with the three timbaleros heirs of the Mambo: Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. backing the voices of Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román, I invite us to take a closer look at the presentation I am referring to, within the 6th Jazz Festival in Carolina, Puerto Rico. The performance of this song closed the aforementioned festival and is on YouTube for the delight of those who could not make it there. Click on the link, https://youtu.be/4jZLEnpaRCo you won’t regret it. It gave me a more complete perspective of the song and its interpretation. The arrangement of the song performed that night in Carolina is by Luis “Perico” Ortiz himself. Highlights of the August 2010 performance included: Carolina Mayor José Carlos Aponte Dalmau, Mario Grillo, Tito Rodríguez, Jr., Tito Puente, Jr. and Luis “Perico” Ortiz. On the vocal front, Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román stood out. Of course, I can’t leave out Sammy Velez on baritone saxophone.
It is true that: “We are fortunate to have had three great teachers, three great friends…” and it is also true that Henry Santiago ate it. What a hurricane, that voice that sweeps! Now what we have left is the appetite to enjoy this year’s concerts. It’s coming, we are waiting for it.
In Yturvides & Perico, the characteristic speed of the other songs contained in the production is changed and the tempo of classic Jazz with the Latin touch that characterizes the master Luis “Perico” Ortiz stands out. At minute 3:30, the arrangement is skipped for approximately thirty seconds to return to a soft minute of the undisputed Soñando con Puerto Rico. The slow tempo is skipped again until the end of the song. This arrangement is for connoisseurs only. You know, those who know, know, and those who don’t, learn. The last minute is pure trumpet accompanied by an orchestra that does not get in the way. The percussion is complementary and sends the children to school.
As promised on the compact disc’s laminated cover, this song is a fusion of Osvaldo Farrés’ Tres palabras and Bobby Capó’s Soñando con Puerto Rico in a masterful arrangement by “Perico” that accommodates an exceptional performance by Yturvides Vílchez. Simply exceptional.
In the song Warming Up, which closes this production, stand out: Charlie Sepúlveda, Néstor Torres and Antonio Luis Orta. The instrumental segment sounds like a big band, as it is. The piano dominates and seems to direct the saxophones from the first minute, besides conversing in constant playfulness with the bongo played by Richard Carrasco. The trumpets have a leading role entering and leaving in orderly shifts with the coros. Distinguished among the coros is one of my favorite voices; not only for his vocal power but also because he can subtly balance that power with his unequaled melodic command. That’s Henry Santiago, but that’s my preference.
Anyway, I love this production. If you don’t have it, get it. If you do, enjoy it.
Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero
By: Bella Martinez “The Irreverent Salsa Writer”
Puerto Rico
From Zurich-Switzerland MERCADONEGRO Orchestra presents its latest song titled “Que Ironia”
Since Friday, January 21, 2022, is available on Youtube the new video clip from the Mercadonegro.
Mercadonegro was Created at the end of 2000 with influences from Salsa Dura thanks to their experiences working with artists such as Celia Cruz, Alfredo de la Fe, Cheo Feliciano, Tito Nieves, and many more.
Orquesta Mercadonegro titled “Que Ironia” song that is part of the production SOMOS DEL BARRIO, returning to the radio waves and digital platforms, a song that had been on hold, but now takes off from this group of Latinos based in Europe.
SOMOS DEL BARRIO is the 4th production, of which stand out songs like: Triste y Solo, Quien a Hierro Mata, Rumba Negrito and also this current song “Que Ironía”, as always the boys of Mercadonegro highlight their work by the mixture of different cultures and Latin roots that enrich their musical style.
“Que Ironía” was born from the inspiration and ideas of Rodrigo Rodriguez Puerta & Eddie Villanueva Chininin, which relates the daily experiences of human beings, in their day to day nonconformity, and as the same lyrics say
“Nobody knows what he has until he loses it”.
This time it is Oscar “Chucky” Cordero who is in charge of the musical arrangements and even participates in the trumpet solo.
Mercadonegro, based in Switzerland, was founded on November 15, 2002, since then they have participated in the biggest Latin/Salsa and Jazz Festivals in Europe, and they have toured China (Asia), Colombia and Mexico (Latin America).
Its Directors : Armando Miranda ” El Moro ” was born in Havana – Cuba, with studies in the conservatory and participation with different Cuban artists. He is the lead singer of the orchestra and composer of some songs.
Rodrigo Rodriguez Puerta, born in Cartagena, Colombia, since he was a child he awakened his interest in music, percussionist, chorister, singer, composer and music producer.
In this most recent title “Que Ironía” participate the following musicians: Authors: Rodrigo Rodriguez Puerta / Eddie Villanueva Chininin
Arranger: Oscar ” Chucky ” Cordero
Piano: Oscar Ivan Lozano ((Oilo)) Bass: Dimitris Christopoulos
Full Percussion: Rodrigo Rodriguez Trombones: Johan Escalante Trumpets: Oscar ” Chucky ” Cordero Baritone Sax : Gills Grivola
Backing Vocals : Roberto Marcano ” El Chamo ” & Rodrigo Rodríguez Vocals : Rodrigo Rodríguez Puerta
Sound and Mix Engineer : Jose Mendoza
Pasterization : Fernando Álvarez at 440 Mastering, Madrid-Spain Recorded at GO STUDIO Zurich-Switzerland.
Site: Mercadonegro
Article of Interest: Mercadonegro Orchestra of Switzerland
“International Salsa Magazine is SalsaGoogle.com“.
We are an organization that from the hand of its Founder, Director and Editor Eduardo Guillarte, in force since 2007 that has been working non-profit helping to promote: Orchestras, Singers, DJs, Clubs, Plastic Artists in North America, Europe and Latin America and Asia and with the contribution of volunteers in various parts of the world, which at the same time invite and recommend all lovers, dancers of our Latin music to follow La Orquesta MercadoNegro from Zurich-Switzerland.
Long live music and its only and great protagonist, La Salsa.
Enjoy 4 Latin Events In Prague
The capital of the Czech Republic becomes the most Salsera in Europe during the month of love and friendship
Every month Prague becomes the center of the Salsero movement in the country. Latin music clubs are currently open, a traditional festival is scheduled to take place at the end of February, and a piano concert with a Venezuelan artist will take place on Monday 21st. So, continue reading this article created especially for you and find out about the details of each event related to Latin music.
La Bodeguita Del Medio
The most emblematic Restaurant / Bar in Havana (Cuba) located in “The City of One Hundred Towers” for two decades keeps its doors open and its hours this month.
La Bodeguita del Medio is designed in the colonial style of 20th century Havana and at the bar, in addition to the mojitos, you can also try more than 150 types of short and long drinks. Regarding the menu (in Spanish) you will find the typical Havana specialties, as well as seafood, fish, vegetables, and a variety of meat. Also, you can attend every day at noon and enjoy the European international menu.
This Restaurant/Bar features a live Cuban band (usually trios) and performances by Latin dancers every night. La Bodeguita del Medio is located at Kaprova 19, 1 10 00 in the Old Town, Prague.
La Macumba
Every day (except Sundays) is a day of continuous festivities lasting eleven hours, and the cost of entry is around five euros.
Saturday nights are more crowded, so it is recommended to go before 11:00 PM to dance on the dance floor with a large space. Also, to order your favorite cocktail you don’t need to know the national language because the waiters are Cuban and speak Spanish.
To attend La Macumba it is recommended to dress casually and not to carry excess belongings. The recommended minimum limit to have fun inside the bar is two hours due to a large number of activities, the best DJs in Prague mixing the greatest hits of Latin music (DJ Alejandro, DJ Chocolino, DJ Lázaro, DJ Mário, and others), Theme parties with programs and demonstrations several times a week, and various instructors who teach fans and enthusiasts to move to the rhythm of Salsa. This bar is located at Štefánikova 230/7 150 00 Prague 5-Anděl, Czech Republic. So, enjoy La Macumba in the month of love and friendship.
Prague Bachata Festival 2022
Prague Bachata Festival was created together with Bachata Souls (Pavel & Eli), two professional dancers who stand out in this Dominican rhythm. This Latin festival will take place from Friday, February 25th to Sunday, February 27th after a two-year break due to the pandemic. Here you will have the opportunity to enter the international dance scene in the Czech Republic, as well as meet new friends and gain progress in the current level of dance.
Prague Bachata Festival 2022 will take place at the Olympik Hotel, and the Full Pass is around 142 euros. There will be five international couples that will show their execution and perfect mastery of dance in shows and workshops with the combination of DJ Alejandro (Spain), DJ Husky (Israel), and DJ Dim5nsions (United Kingdom) doing their best mixes. Prague Bachata Festival 2022 is preparing this event for you.
Gabriela Montero In Concert
Venezuelan pianist Gabriela Montero is one of the most virtuous Latin women of classical piano. This exceptional artist has great improvisational skills and has performed with the world’s leading orchestras including New York, Los Angeles, Royal Liverpool, Rotterdam, Oslo Philharmonic Orchestras, the Canadian National Center for the Arts Orchestra, and many more.
This famous pianist released her most recent album “Latino” in the fall of 2019, and also she got the Latin Grammy for Best Classical Music Album for her first orchestral composition “Ex Patria”.
Gabriela Montero will offer a classical piano concert this Monday, February 21st at 7:30 PM, and you have the opportunity to enjoy it at the Rudolfinum located in Alšovo nábř. 12, 110 00 Josefov. This cultural center dates back to the 19th century and has concert halls, an art gallery, and exhibition spaces.