Search Results for: Cali

God & Salsa

An Independent Film With Great Contribution To Society

Javier Luna with a blue sweater in God and Salsa — The God & Salsa Script was ready after six years after conceiving the idea

If we name you a series of words consisting of Family, Divorce, Suicide, and God, would you associate them? Los Angeles-based filmmakers Jess and Anayancy Thomas did. They devised, produced, and directed the film God & Salsa, a feature film that addresses the Mental Health of a teenager after the divorce of his parents and increases the Faith of a Christian woman.

“We are independent filmmakers based here in Los Angeles who met 9 years ago at church. Our film project is a story that is very close to our hearts as it mainly deals with the devastating effects of broken families, which can lead to depression and sometimes even suicide.” Jess commented on a digital medium.

He further added that “working on the story and the script was cathartic for both of us. We had friends who experienced the loss of their son to suicide at that time.

Currently, the WHO (World Health Organization) revealed that more than 280 million people suffer from depression in the world, a common mental condition and one of the main causes of disability.

Image of the award for Best Narrative Feature Film for God and Salsa at the LAFA Awards — God & Salsa have garnered awards to date at LAFA and NYFA for Best Feature Film, Best Inspirational Feature Film, Best Director, Best Screenplay, Best Actor, Best Actress, Best Narrative Feature Film, and Best Original Story.

God & Salsa present a positive solution to this disease. This drama feature film with heartbreaking characters fulfills the promise of Ecclesiastes 3:4 and was made on a really low budget so some of the crew members had to play multiple roles. “…Pre-production was crucial. Many details had to be ironed out long before production began, which was a challenge as we both have full-time jobs. It was nothing short of a miracle…” Anayancy Thomas said for this international medium.

But, what is the plot of the story?

God & Salsa unfold in a wonderful emotional meeting between two people with generation gaps. On one side is Raquel, a divorced single mother (40 years old) and grieving therapist who partially loses faith over the loss of her daughter to suicide, while Shane (16 years old) is an unhappy teenager whose parents are in the midst of a battle of divorce. Both characters are looking for answers, both are angry and hurt.

Raquel and Shane are in different phases of their lives; however, their lives intersect creating a beautiful collision where each one makes a valuable contribution to the other’s life with the interventions of a pastor who will not give up, an instructor of wise but extravagant dance, a wise old nun, and a sermon.

According to Jess and Anayancy Thomas, God & Salsa is the embodiment of Ecclesiastes 3:4, “There is… a time to mourn and a time to dance.”

How did the story come about?

The story is based on statements by Jess Thomas to a local digital media outlet.

Rebeca and Shane together in an outdoor scene from God and Salsa — In the summer of 2018, they recorded a “Proof of Concept” and ran a crowdfunding campaign in the spring of 2019 reaching 90% of their goal.

“Anayancy and I met at an Entertainment Business Ministry event that our church at the time, Bel Air Presbyterian, was hosting. She expressed to me that from her personal experience, she had it in her heart for quite some time to write a book or make a documentary about the long-term negative impact that contentious divorce can have on both children and parents.

It immediately intrigued me because when I was a kid, my parents went through a horrible divorce and I was able to relate to it from a kid’s point of view. I remember as a preteen and teen I was really confused, depressed, and lost. I acted in many ways, anger, lethargy, drugs, and alcohol, and over the years I contemplated suicide on more than one occasion.

We met several times to follow up on the idea and both decided that a narrative feature film showing characters going through this would be a much more effective and impactful way to make the point.

We got to work on the plot and although the film is not autobiographical, numerous are things that both Anayancy and I experience: the sense of loss, depression, hopelessness, not to mention faith, and Salsa dancing.

But over time, something beautiful happened; we fell in love and got married. Now, nine years later, with the help of many talented people and organizations like Film Independent, we have a complete movie.”

Knowing A Little About The Cast

Javier Luna

Shane is played by Javier Luna. He is a young model, actor, and singer from Madrid known for his role as Felipe Díaz in Disney’s “Violetta”.

“I play a 16-year-old boy who is struggling a lot since his parents are divorced. He has a lot of pressure and starts to take drugs. It is a story about overcoming these struggles,” Luna told a European digital media outlet.

For this leading character, the Spanish actor pointed out that he lost weight and was intensely involved. “It was a bit difficult to have that mindset at first, but I hope this movie can help a lot of people. As an actor, I tried to make it as authentic as possible… I’m excited about this movie. I gave it my all,” he added.

Jovanna Vidal

Raquel is the character played by Jovanna Vidal, an American film and television actress, presenter, producer, broadcaster, and businesswoman. She has ventured into shows like Disney Vacations and Girls Night Out, as well as representing Dr. Sánchez in TLC’s Evil Things and participates in the YouTube series Dahr Mann.

Enio Cordoba & Terryl Jones casual dress — Enio Cordoba & Terryl Jones

Enio Córdoba & Terryl Jones

Enio and Terryl are married and they are also partners on the dance floor. Both are professional dancers, have participated in numerous championships, and took part in Dance With Me (1998). Since then, Enio and Terryl have performed in more than 26 countries teaching Salsa around the world.

“My deepest congratulations to Jess and Anayancy for risking so much while trusting that this would be a hit. In the dance scenes, we had to show beginners learning. I told some of my old students to dance like they used to before taking lessons. Several scenes later they get to dance normally. OMG, they made me look like the world’s greatest dancer teacher”. Enio Córdoba expressed in his Facebook account for the award obtained for God & Salsa as the best narrative feature film at the Los Angeles Film Awards.

Carlos Navarro

Navarro performed and composed two of the original songs for God & Salsa. Carlos Navarro is the founder/singer/percussionist/producer of La Orquesta “Son y Clave”, which has been a part of the Salsa-Latin-Mambo dance genre in the United States for many years. This band is well known for being dancer-friendly from beginners to professionals with their tight, contagious rhythm and impeccable elegant presence. One of Hollywood’s best, this band has participated in many media events including, dance competitions, festivals, concerts, etc. They also featured in the film Almost A Woman which won two Imagen awards and one Peabody award. The Fragment was taken from the official website of Film Independent.

Jess Thomas

Jess is the Writer, Director, and Producer of God & Salsa. Jess Thomas studied Drama/film at San Francisco State University. In 2000, he wrote, directed, and edited a B-Action-Movie titled Checking the Gate, which was picked up for distribution by Echelon Entertainment. Since then, Jess decided to focus on more uplifting and inspirational films such as The Seeker (2004), a human interest story, which was his first documentary feature film. It won the award for Best American Documentary at the Rome International Film Festival. In 2007 he co-wrote, directed, and edited the short film Forever, which premiered at the Dances With Films Film Festival. That same year, the second documentary feature Beijing Girl: Made In China was an Official Selection at the Santa Fe Film Festival. Jed (2010) is his third documentary on opera singer Jess Thomas senior. In 2017, his short Love Always was nominated for five awards at the 168 Film Festival. The fragment was taken from the official God & Salsa website.

Anayancy Thomas

Anayancy was born in San Salvador (El Salvador) and is the writer/producer of God & Salsa. Anayancy went to Watterson College, a vocational school in Pasadena, California. She has worked in the healthcare field since 2001 at various organizations based in Los Angeles and currently works as a contract administrator. In 2007 she was certified as a domestic violence support group facilitator working with battered women. In 2011, Anayancy joined a mission trip to Mexico with the Bel Air Presbyterian Church, where she helped build a home for a family in need and served as a translator. Under the instruction of Enio Cordova and Terryl Jones, she participated in dance exhibitions and joined a salsa dance team trained by Enio and Terryl, the team won first place at the Aloha Ball in Kona, Hawaii. Anayancy Thomas produced Love Always in 2017. Part of the fragment was extracted from the official page of God & Salsa.

You Can Also Read: Sidney Poitier

Lino Roldán “Taino” and his amazing station Radio Brisa Tropical

How Radio Brisa Tropical Started

We meet today with Taino Roldan from the fabulous station Radio Brisa Tropical. Good morning Mr. Roldan, hope you are well.

Quite well, thanks to God. Warm greetings to you from our radio station Radio Brisa Tropical.

How did you start liking broadcasting and how did you know you wanted to get into this?

Whilst resident in Italy, I began my career as a DJ there and in Germany. When I returned to the United States, I started going to all the local stations to have a salsa show. At first, they always replied that they were not interested and the doors were closed to me, but that never caused me a problem. I have always believed that if a door has closed, you have to find a way to enter that world, no matter what. At last, I started working at an AM station where I spent three years and then at a FM station for almost 10 years.

During this whole period, I was studying broadcasting at the local university and playing with the internet. It was by that time that streaming and webcasting, which was in 2005 if I got it right. A friend of mine who was a computer programmer told me that I could broadcast my shows in this manner. I asked him for help, given he was the expert, so we did this and connected. At that time, Facebook or any of those things did not yet exist, but MySpace did. Then we managed to webcast until the streaming service came out from the hand of YouTube and other platforms, and that’s when I opened my accounts in those social networks and created my website.

While I was on FM, we continued webcasting until 2012, which was when I officially left that station. I was on about four FM stations, but on different days in the area where I was. After I stopped working in those places, I decided to keep right here in my own studio and do my show solely and exclusively on the internet and it has been the case until today. It has been 31 years of happiness and here I am still standing.

Lino in his studio — Taino Roldán in his studio, where he webcasts his show Radio Brisa Tropical

We understand that this Radio Brisa Tropical project started in 1991. How was this idea conceived?

While I was on AM, my show was not called Brisa Tropical, but rather “¿Qué pasa?” There we included all kinds of music and gave cultural news about all countries, since I am in an area represented by all Latin American countries, the Caribbean Centre, South America and Spain. Having such a diverse audience, I decided to talk about all countries and not just mine, which is Puerto Rico. I talk about the important days of all the countries such as independence days and other historical events. I want to make content to entertain and educate the audience.

When I switched to FM, the station where I did my show is called “The Brise” and it played contemporary music in English. So, I sat with a friend who was helping me and it was there when I called my own program “Brisa Tropical”, as it is during that time that we included salsa, merengue, bachata, vallenato and much more.

Thank the Lord and the audience we have, we are more dedicated to salsa, and when I say “salsa”, I am including Cuban son and all these Afro-Cuban rhythms that were called salsa since the 70’s till present. However, we like to include all tropical music, classic as well as contemporary. So, it is at the point now where we have created an international audience, and that’s why it is so important to identify and mention the names of the artists, the orchestras, the composers, the arrangers, the members of the groups. Let us remember that there is plenty of time on the Internet. This is nothing like an AM or FM station that are commercial and you only have to reduce the amount of time. Here, I am the programmer and the announcer.

Radio Brisa Tropical is streamed exclusively on the Internet

You have already told us about the role played by the internet and social networks in implementing your project. So much so that networks have become the main transmission channels of the station. Is the internet the main broadcasting channel or are you still on the radio?

My show is streamed exclusively on the internet. Commercial broadcasters were my beginning, but I am absolutely sure that the future is the internet and I am not just talking about Facebook because this social network is not a music platform. I have my YouTube channel, my Facebook page and my Twitter account, but webcasting has opened the door to all musicians, performers and composers from anywhere in the world. The internet is the future of music. I am dedicated to salsa and Latin jazz, but I usually include other genres that listeners often ask me for, such as cumbia, tropical music, vallenato, etcetera.

In addition to salsa, your station plays other genres such as Latin jazz, vallenato, cumbia and plena. Why did you start this project with salsa as a base?

I grew up with salsa and developed myself as a DJ for many years both in Italy and Germany. Although I used to play everything, when I saw the love of Europeans for salsa on the dance floor, I always decided on it. Salsa has always been my life. I like all positive music, but I will always prefer to broadcast salsa and Latin jazz. Now, if a listener asks me to play a good song that does not have high-flown words or anything, I have no problem with it. Here I have been asked to play even rancheras because I have learned that you never say no to that loyal audience.

You currently broadcast live on YouTube, Facebook and your website. Do you know which transmission channel has a bigger audience?

Most of my audience listens to me through the link to my server and website. Remember that the website has the links to the channel and the other social networks. Through TuneIn, I receive a lot of audience around the world. I also use Live365 because the station pays royalties and I have the license to broadcast legally. The problem is that this platform is not heard in some places in South America or Europe, which is precisely why I also use TuneIn. When I check my content every day, I realize that we have a lot of audience coming from the Caribbean, South America, Central America, Europe and the United States.

Taino Roldán holding a Wito Rodríguez album

Age ranges of Radio Brisa Tropical

Many would say that the genres played on your station are to the taste of an older audience that enjoyed the salsa of the 70’s, 80’s and 90’s. What is the age range of your station?

According to the demographic information and the comments I am getting, I have seen that we have people from 10 or 11 years old and up. Once, a lady sent me a comment saying that her 100-year-old dad stayed in bed listening to the station and even sent me a picture of him smiling. I’ve also received messages from young people. I would say my demographic ranges from 20 years old and up.

I include classic salsa because many of those performers and bands remain relevant with their legacy despite having passed away, but there are also many salseros from that golden era in the 70’s and 80’s who are still active like Willie Rosario or La Sonora Ponceña. I have a lot of Venezuelan and Colombian friends from Venezuela who always send me music.

I like to balance my way to program. I like to take people back to the 70’s and even beyond, bring them back to the present and explain the ins and outs of a song or album. One of the most important things a broadcaster must do is to mention the artist, the composer, the arranger, the musicians, among others. You have to talk about the piece that is playing and what is behind it.

Tarino next to Willie Rosario — Taino Roldán and Willie Rosario

What you are saying is very important because many times people only focus on the vocalist or leader of a group, but they do not wonder about all the behind-the-scenes work or even talk about the rest of the members, such as the guitarists, the pianists, the arrangers or the musical directors. In that sense, what do you do to disseminate all this information?

I like reading a lot. If I am going to talk about a specific artist, I will look for who he is, what his trajectory is, how his beginnings were, what he did, what he is doing now. Of course, I have never included any personal data. This is very important to me because this helps the artist to sell his stuff. When there were a lot of record sales, I had the habit of checking the back to read the liner notes of that artist. That information is very valuable to me because that is what I use to inform the audience unequivocally.

From what you have told me, you have been working exclusively on the Internet for many years. Did you do it before or after the pandemic?

I had already been webcasting my program on the Internet for many years. In fact, I have been doing it since 2012. Thank goodness, the pandemic has not affected me in any way. My wife and I have taken care of ourselves and followed the sanitary rules, but this situation has not affected our work. On the contrary, I am here before the microphone in my studio while I speak and play music every day in the morning. It may also happen that I bring my laptop to a remote location and air the show from there or through my cell phone. I have done a lot of interviews during all this time because I like it so much.

What other projects or shows are you carrying out?

I have discovered that I can do a show about music, but without playing music. Sometimes I do it, but this is not my usual due to the issue of copyright with Facebook. I have a show called “Hablando de Salsa” and I am proud of it because it has been very successful. I am doing this project with Eduardo Saya. The show is entirely about salsa and we broadcast it every Wednesday at 6 PM CST. There, we always choose a different subject to be tackled every day.

Taino Roldán and his wife Carmen Roldán

Link to the Facebook page of Taino Roldán: Taino Roldán

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”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos. — Sigo entre amigos de Luis “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.

Luis "Perico" Ortiz — Luis “Perico” Ortiz

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.

Facebook: Luis Perico Ortiz

Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

What’s Happening in London?

Five Salsa & Latin Jazz Events To Be Held In The UK Capital That You Can’t-Miss

The United Kingdom has removed essential restrictions against Covid-19 and its Omicron variant after battling weeks with the new wave of infections in the country since the end of last year.

The British executive has provided the relaxation of the restrictive measures due to the low numbers of infected people and deaths. This relaxation seeks to initiate the return to complete normality.

The new measures that are no longer mandatory are the use of masks (it will be at personal discretion, however, they must wear them if the site is crowded with unknown people or it is a closed space), and Covid passports are no longer a legal requirement to enter to the establishment.

For these reasons, we bring you a range of options in the Salsa & Latin Jazz genres in the country this month that you will be excited to see, and that you will not want to miss any detail. Here, we go…

latin woman with orange dress dancing in gabeto restaurant / bar — Gabeto offers Cuban, Colombian, and Puerto Rican Salsa style, classes

We open this poster of options with the Gabeto Camden Restaurant/Bar. This Cuban gem north of the city has two floors, a Latin atmosphere, and an outdoor terrace. They serve genuine Latin dishes, modern British drinks with Afro-Caribbean twists, and have a wide variety of nightly events throughout the week.

On Tuesdays, Wednesdays, Fridays, and Sundays you will live the Salsa experience with the instructor Ramiro Zapata (from Bolivia) with more than 20 years of experience in Salsa. Ramiro teaches his Cross Body style with a mix of Cuban, Colombian, and Puerto Rican Salsa, as well as a strong focus on Cali (Colombia) style footwork, male body movement, and female style. The cost of the lessons varies depending on the length of instruction; one hour is £10 while two hours cost £12. Lessons start at 7:30 PM and end at 9:30 PM except on Sundays with Rumba Pa’ Ti classes which are from 6:30 PM to 8:30 PM. The Cuban spirit is found in Gabeto, located at Camden Market, The Stables Market, Chalk Farm Road, a few minutes from Camden Town and Chalk Farm stations. Only people over 18 can attend and for more details, visit their website.

pink flyer with the event of San valentine in Salsa Temple Bar — Sundays at the Salsa Temple Bar are 9 continuous hours of Salsa

We continue with the Salsa Temple Bar. Every Sunday they are explosively Salseros. DJs Jorge Andre & DJ Jlatino mix the most recognized songs of yesterday and today from Timba, Salsa, Cubaton, and Bachata. Beginner Salsa Classes start at 6 PM, Bachata lessons at 7 PM, and Cuban Salsa instruction is at 8 PM. The cost for admission is £5 and on February 14^th, they will offer the Valentine’s Night Fuego event.

Starting this month Salsa Temple Bar with Rhythm & Vibes Dance Co and The Latin Collective will make Monday nights the biggest Afro-Latin party in the country appearing in the Latin Room (Second Room) Salsa, Bachata, and Reggaeton. In addition to this, there will be Salsa and Bachata classes for one session (1 hour) for £7 and two sessions (2 hours) for £10.

Bar Salsa Temple is located at Temple Station WC2R 2PH. Join and experience the Sabor in detail on its official website.

Roberto Plas playing the Timbal — Roberto Pla is the Colombian percussionist known as the “Father of Latin Music” in the UK

As a third option, we bring you the concert of Roberto Pla’s Latino ensemble on Friday, February 4^th at Pizza Express – Holborn. This Latin Jazz concert led by Colombian percussionist Roberto Pla is made up of a 12-piece band of saxophones, trumpets, trombones plus a powerful layered percussion section with Roberto on timbales and the powerful voice of Graciela Rodríguez.

The most recent presentations of the Latin Ensemble orchestra have been the Brecon Jazz Festival, Expo Festival Lisbon, Canada Square Festival, Under the Stars Festival, among many others.

Admission to enjoy this live performance is £25 and starts at 8:00 PM. The venue is Pizza Express Jazz Club located at 99 High Holborn since 2017. This Jazz Club is considered one of the best clubs of its kind in Britain with an international reputation. Performances by Grammy winners such as Gregory Porter and Amy Winehouse have been seen here.

Trumpeter with beige suit on Ronnie Scott's Jazz Club — The Ronnie Scott’s Jazz Club presents every Friday of the month “Viva Cuba Live”

We continue with the most important and historic jazz club in the world founded in 1959, Ronnie Scott’s. In addition to the main club, there is the bar known as Upstairs @ Ronnie’s, it is highly regarded as an elegant and luxurious venue recreating the atmosphere of the ’50s, ideal for spending the night in style.

As part of the new Jazz club policy, they are expanding their program of Latin events at Upstairs @ Ronnie’s. Below I detail the events that will be held on Fridays from 6 PM during this month.

Jesús Cutiño Band + DJ Gavin (February 4^th). Jesús Cutiño is a Cuban singer-songwriter recognized as one of the best Tres players in Europe (the Tres is the Cuban guitar that forms one of the pillars of the Cuban Son sound).

Sarabanda + DJ Rico (February 11^th). With this band, you will listen to arrangements of classic and contemporary Cuban songs.

Son Yambu + DJ Jim (February 18^th). This group plays the authentic Cuban Son that originated in the streets of eastern Cuba at the beginning of the last century and later gave rise to modern Salsa. Most of the members come from Cuba and have the experience of a lifetime playing the genre, as well as being passionate about maintaining the traditions of Cuban Son.

Havana Latin Fun + DJ Alex (February 25^th). This five-piece band led by piano/vocals René Álvarez presents Cuban melodies with amazing rhythms.

Ronnie Scott’s Jazz Club is located at 47 Frith St, London W1D 4HT, and you can find out more by clicking here.

Bishopsgate institute with green flag — The Latin and Ballroom Dance course for beginners will be held in person

We close this list of Latin events in London with the Latin and ballroom dance lessons for beginners next Saturday, February 12^th. With this one-day course, you will learn how to perform the basic steps, footwork and move around the floor with the correct dance line. The hours will be between 11 AM and 4 PM, and the price is £25. The maximum limit is 30 students. The venue is the Bishopsgate Institute located at 230 Bishopsgate EC2M 4QH. An institution was erected for the benefit of the public in 1894 with the motto “I never stop learning”.

You Can Also Read: 6 Clubs To Dance Salsa In London

Junito Albino and his collaborations with many orchestras

How Junito Albino began his career

Junito Albino is one of those artists who has been influenced by some of the greatest artists in Latin music and that has led him to become what he is today. Julio Junito Albino was born in New York in 1962 and got curious about the same music at the age of 11, after which he joined the school band of San Germán until he graduated from high school. When he was still a teenager, he began to play timbales with the first group to which he belonged, whose name was Orquesta La Crítica and belonged to director and trumpeter Fernando Vega.

When he attained the proper age, he began to study music education at the Interamerican University of Puerto Rico in 1980, when he would be a part of the Orquesta Kachende de Mayaguez whose direction was by Gilberto Gili Toro. With this group of musicians, he released his first record production. By that time, he met singer-songwriter Antony Martínez, with whom he would have a great friendship.

Julio Albino — Renowed timbalero Julio *Junito* Albino

In 1983, he went to live in New York City and began collaborating with the Orquesta de Los Hermanos Colón, with whom he wasted no time in returning to the Island of Enchantment to do some live performances. With this same group, he recorded his second album Ámame Un Poquito Más, which was directed by Sergio George.

Some of the orchestras with which Albino worked

Another of the most important society that Albino achieved realizing during his career was with Joe Quijano’s orchestra and his Conjunto Cachana, with whom he had the opportunity to share the stage with La Guarachera de Cuba Celia Cruz, The King of Timbales Tito Puente, Latin Grammy winner Ray Santos, talented pianist Charlie Palmieri and many others.

In 1986, he was fortunate to accompany some of the greatest artists from Latin genres such as Paquito Guzman, Marvin Santiago, Hector Tricoche and many more. One of the greatest unions that he would give tangible shape to would be with Moncho Santana’s Orchestra, former vocalist of Grupo Niche, with whom he chalked up enormous successes and demonstrated all his talent. However, collaborations would not stop there.

Junito also came to be part of the orchestra of Tito Nieves and that of Ramon Rodriguez. The latter was directed by pianist Gilberto Colón, Jorge González (bongo) and Willie Romero (conga). With all his accumulated experience at this point in his life, it was not difficult for him to find a place in the Orquesta Tártaro led by Franke Ruíz.

When he moved back to Puerto Rico, he was also in other orchestras in the country such as Puerto Rican Power, Jorge Carrión, Luisito Escobar and many more. In addition to the foregoing, he has managed to work as a producer and musician in a large number of independent groups collaborating with percussion, timbales, bongo and other instruments.

After a successful career in other groups, he decided to create his own orchestra, Secreto A Voces, in which genres such as salsa and Latin jazz stand out. His first album was called Báilalo and contained songs of his own that were big hits in some European countries such as Italy. His second album was entitled Haciendo Ruido and included the participation of artists such as Nino Segarra, Jaime Rivero, among others.