Search Results for: Celia Cruz

From Peru and based in France we have Wálter Antonio Rebatta Hinostroza is a brand new and spectacular percussionist.

We are honored to present in this new release, one of the most outstanding figures of Latin music, representing the brother country of Peru, who has put the name of the musicians born in Inca lands very high in the world.

With you, directly from France, we have as a special guest Wálter Antonio Rebatta Hinostroza, a brand new and spectacular percussionist, who was born on September 14, 1973, in Bella Vista, Callao, Peru, being artistically known as “El Chato”.

Welcome Wálter to Salsa Escrita “La Columna Salsera de Barquisimeto, Venezuela”. It is a great pleasure to have you as a special guest in International Salsa Magazine, www.SalsaGoogle.com.

Thank you very much to you, my friend, Professor Carlos, for the invitation to your well read and recognized column and I take this opportunity to give a sincere greeting to all Venezuelans who are like my brothers.

How did you start in music? Well, teacher in my neighborhood called Ventanilla, in Peru, I grew up and since I was a child I breathed musical air, where at the age of 6 years old I was already playing “El Cajon”, traditional Peruvian Creole instrument, under the tutelage of my older brother Kike Rebatta, who took me later to learn other percussion instruments and prepare me with music theory, and then enter the music school of the renowned teacher Edelmi Chavez, and thus join the ranks of the most renowned orchestras in my country, such as: La Iniciativa, Orquesta la Grande, Banana Latin Jazz, among others.

Wálter, which international orchestras and artists have you accompanied? I have accompanied and worked with “Los Hermanos Colón” from Puerto Rico and among many groups, I have had the honor of being on stage with my Venezuelan brothers, Hildemaro “El Sonero del Amor”, with whom I have a great friendship, as well as with the master timbalero Alfredo Villamizar, from whom I have learned a lot and from whom I must thank through his column Salsa Escrita. “Chato”, you are currently based in the French city of Grenoble and we would like to know how is the salsa movement, especially in Europe. In fact, professor, in 1995, I came to Europe with the “Orquesta Salsa Perú” and I met Mr. Rodolfo Guerra, with whom a great friendship was born and I became part of the “Orquesta Sincopa Latina”, directed by him, being present in his productions: Salsa que te pasa, Demasiado corazón, Mi bachata, Puerto Rico, Todo, Escándalo, Mi silencio, Mi toque, Habla conmigo and Azafata. Wálter, I have heard that you have accompanied great salsa artists in their presentations, tell me who? I have had the honor of accompanying the late Tito Gómez, Willie González, Luisito Carrión and the great Venezuelan sonero Orlando José Castillo “Watussi”.

Also, let me tell you professor, that I have worked in the Italian television Media Set, in the very popular program “Notte Vola”, also in 2002, I participated in the Tour of the Queen of Salsa, Celia Cruz, along with the orchestra of the prestigious world famous violinist Alfredo de La Fe.

Likewise, my friend Carlos, in 2004, I performed in numerous events with Latin jazz groups, among them “El Royal Cuba”, of the Cuban musician and singer Eduardo Céspedes.

In 2007, I participated in the prestigious and famous festival of San Remo with the singer Daniele Silvestri, with whom I have recorded in his productions. In 2009, I participated in the Italian tour “Terromotati Dil Abruzzo”, conducted by the famous singer Laura Pausini and later that same year I participated again in a tour in the United States for charity with Pausini again.

Excellent Wálter, and what can you tell us about the orchestra you are currently working with and what are your future projects? Professor Carlos, at present I am an official musician of the renowned orchestra “Mercadonegro” and in relation to my projects, is to form my own group and perhaps dabble in bachata, but without leaving aside the salsa, since living in Europe I have met many bachateros. And something very important, my friend Colmenárez, I am also working on the project of my Venezuelan compadre, the musician Edwin Sanz, whom I would like you to interview at some point.

Very good Wálter, congratulations for your career, what are your contacts on digital platforms? My Facebook is: Wálter Antonio Rebatta Hinostroza and my whatsapp: +41 77 5122633.

We want to wish you the best on behalf of Salsa Escrita “La Columna Salsera de Barquisimeto” and that you continue to put the name of Peru on high in all the stages of the world.

Thank you a thousand times, Professor Carlos Colmenárez, for taking me into account and thus make my career known and offer my greetings, thanks and respect to all the salseros of the world through International Salsa Magazine, www.SalsaGoogle.com and long live salsa, Peru and Venezuela, united forever…!

The Tempo Latino Festival is Back

The major European festival of Latin and Afro-Cuban music will present Los Van Van, Pacific Mambo Orquestra, Interactivo, and Minyo Crusaders (H2)

The benchmark Festival of Latin and Afro-Cuban music in Europe, Tempo Latino, resumes its activities after the forced cessation of its activities for two years due to the Pandemic.

From Thursday, July 28^th to Sunday, July 31^st, on the main stage Les Arènes, the whole family, heterogeneous public, and inveterate traveler will enjoy the performances of Los Van Van, Pacific Mambo Orquestra, and Interactivo, as well as an exceptional set & exclusive presentation on Saturday, July 30^th at 11 PM of “Con Tumbao All Stars” with the winners of Best Traditional Tropical Album at the Latin Grammy 2021 for their album “Chachachá…Homenaje a lo Tradicional”, Issac Delgado and Alain Pérez, as well as Oscar Hernández, Robby Ameen, Tony Succar, and many more.

Minyo Crusaders rediscovered the songs associated with the working classes.

The festival to be held in Vic-Fezensac, the heart of the Gers de Gascony department (France), will open its doors on Thursday, July 28^th, with Tempo Latino Social Club on the stage of its satellite “Geo-rhythmic” Conga with a special performance by the Tokyo band, Minyo Crusaders.

This Cumbia band with a Japanese identity aims to make reversals between the traditional and foreign rhythms. Guitarist Katsumi Tanaka was in charge of bringing together the twelve musicians to perform these magnificent melodies with a fusion of the Caribbean (Reggae, Cumbia, and Cuban Salsa), Africa (Afro-Blues, Afro-Funk, Ethiopian rhythm), and Asia (Thai Pop) after of the Fukushima accident in 2011. The ticket for this show costs €15.80, and the opening is at 6 PM.

Pacific Mambo Orchestra is the only active Latin Big Band on the West Coast of the United States.

Continue on Friday, July 29^th with the concerts of the Pacific Mambo Orchestra and Los Van Van together with the Cuban trumpeter, composer, singer, and leader of the band Havana D’Primera, Alexander Abreu.

The first orchestra to perform at the festival in its twenty-eighth edition at 9 PM will be the Pacific Mambo Orchestra. This North American band, a winner of the Grammy Award in the category “Best Tropical Album” in 2014, is the revival of the Latin sound of the Big Bands of the 40s with the combination of Mambo, Pop, Cha Cha, Timba, and Bolero. Pacific Mambo Orchestra founded 12 years ago by the Mexican pianist Christian Tumalan and the German trumpeter Steffen Kuehn has collaborated with renowned artists such as Carlos Santana, Poncho Sánchez, Pete Escovedo, and Arturo Sandoval.

Currently, this Latin Big Band performs on the West Coast of the United States with elite musicians from the Bay Area, and their repertoire is in English and Spanish. Their third album “The III Side” (2020) fuses the traditions of the Mambo of the 50s with the musicality of the moment. This Latin Big Ban considered one of the best in the United States will also is at the prestigious San Francisco Annual Jazz Festival on Wednesday, June 8^th from 7:30 PM to 9 PM. Address: Miner Auditorium, 201 Franklin Street, San Francisco (EEUU).

“Legado” is an album in homage to the legacy left by maestro Samuel Formell.

The second orchestra is to take the stage on Friday at 11 PM and will be Los Van Van with their special guest Alexander Abreu. The emblematic Cuban music orchestra will celebrate its more than 5 decades of history.

Los Van Van known by many as the “Rolling Stones of Salsa” was founded in 1969 by bassist and composer Juan Formell, a legend of Cuban music, who accompanied by José Luis Quintana, known as “Changuito” and César “Pupy ” Pedroso, invented the “Songo”, a Cuban rhythm predecessor of the “Timba” or “Salsa Cubana”, which generated the “Salsa – Son” with a Cuban sound that has made generations dance.

In 2018, they recorded their first record production “Legado” since the physical departure of Juan Formell in 2014. This tribute album has 14 songs with 3 new versions of the international singles Te extraño, Por qué lo haces y Amiga mía.

On the third day of the Festival, Saturday, July 30^th, the Latin sound will be awakened by the performances of the Interactivo group and the exclusive presentation of “Con Tumbao All Stars”. On Sunday, July 31^st, Tempo Latino will close its doors on the Les Arènes stage with London Afrobeat Collective and Alain Pérez & La Orquesta Bassiste.

Most of the members of Interactive are representatives of currents such as Nueva Trova, son, and Cuban jazz.

The avant-garde collective, Interactivo, is one of the most representative bands of the current Cuban generation and will take to the Tempo Latino stage at 9 PM.

This emerging orchestra of international stages brings together the most brilliant and eclectic composers and producers in Havana. Each member contributes their specialty: Timba, Funk, Jazz, Hip Hop, Rock, Rumba, traditional Cuban music, and Soul for a result of great richness, where individual originality, musical creativity, and avant-garde ideas enrich the group.

London Afrobeat Collective has hypnotic flashes and powerful percussive beats.

Similarly, the addictive London Afrobeat Collective has been offering festive music based on Jazz, Funk, Rock, Dumb, and African Vibes for ten years. Its international DNA made up of nine members from England, Italy, France, Congo, Argentina, and New Zealand with the powerful voice of the Congolese singer Juanita Euka has made its rhythm addictive music with powerful and committed messages. The London-based band will open the night of concerts on Sunday, July 31^st at 9 PM.

Alain Perez and the Bassiste Orchestra will offer a mixed show of Salsa, Son, Timba, and Latin Jazz

This musical evening ends with Alain Perez, bassist, singer, arranger, and who composes his orchestra of 13 young musicians on stage to offer a mixed show of contemporary Cuban Salsa, Timba, and Latin Jazz. His talent has given him wonderful experiences with internationally famous orchestras and musicians such as Los Van Van, Irakere, Issac Delgado, Paquito D’Rivera, and Celia Cruz. Always accompanied by his elephant-headed cane, in homage to Cuban musician Benny Moré, Alain has been influenced by flamenco through his work with Cuban artist Paco de Lucía.

The versatile artist born in Havana was twice-nominated for the Latin Grammy Awards in the category of Best Traditional Tropical Music Album with “El alma del Son, tribute to Matamoros” (2015) and “ADN” as Best Salsa Album. (2017).

El Cuento de la Buena Pipa (2020) is his most recent record production, and you can enjoy it on the main stage of the festival at 11 PM.

You can get the tickets for Tempo Latino 2022 on their official site http://www.tempo-latino.com/ for a four-beat tempo. The Tickets for the four nights of concerts are €86.70.

And while you wait for the Tempo Latino Festival (28th edition) you can enjoy its free predecessor event Clutcho at La Grainerie this May 4^th. This place is emblematic of the circus and itinerant disciplines that take place with a large space that involves a large open-air square, and a performance hall with a capacity for 230 people through an “interior street” that serves for creative studios and workshops.

La Sonora Ponceña Returns To Salsa County

The only performance with Yolanda Rivera & Mario “Mayito” Rivera will be at the Lehman Center

The name “La Sonora Ponceña” is in honor of the Cuban band La Sonora Matancera and its hometown (Ponce – Puerto Rico)

La Sonora Ponceña “National Treasure of Puerto Rico” together with its leader Enrique Arsenio “Papo” Lucca returns to Salsa County (The Bronx) with the special guests Yolanda Rivera and the Cuban singer Mario “Mayito” Rivera (former member of Los Van Van) onstage at one of New York’s leading non-profit performing arts centers, Lehman Center.

This unique presentation, long-awaited by its fans, will be on Saturday, May 14^th at 8 PM at the Lehman Center for the Performing Arts located at 250 Bedford Park Blvd West, Bronx, New York 10468 and the online price per ticket ranges from between $45 – $100. https://www.lehmancenter.org/sonora-poncena

La Sonora Ponceña gained popularity in 1960 during its trip to New York City to give a series of presentations and established itself as one of the most demanded orchestras among Hispanics.

The legendary band, for more than 65 years, has made uninterrupted performances and has been recognized as one of the best Salsa orchestras for its fusion of traditional Cuban sounds with the modern style of Latin Jazz.

In 1967, under the direction of Papo Lucca, they released the first LP Hachero Pa’ Un Palo with the Inca label (a subsidiary of Fania). This album was an overwhelming success in New York as well as its second record production Fuego en el 23 (1969). The famous band from Puerto Rico recorded 29 more albums for this record label, including eight with the singer Yolanda Rivera, La Ceiba with Cuban singer Celia Cruz (1979), and in 1980 New Heights from which they began to establish the internationalization of the orchestra.

Musical Hegemony consists of 8 tracks including Caminando Con Mi Padre, Nadie Toca Como Yo, and Borrachera

This last year (2021), during the pandemic period, La Sonora Ponceña launched two new record productions: Hegemonía Musical (June 2021) and Christmas Star (November 2021).

The last one is the fourth Christmas-themed album in his career. “Thirteen years after our last Christmas production, we seek to present a record work that is a true reflection of the sound and musical quality that we always want to offer our audience”, Papo Lucca told digital media.

While “Salsa Que Cura To” is the first single taken from their most recent album Hegemonía Musical and whose authorship and interpretation is by Jorge Nicolai Avilés (vocalist of the band) with musical arrangements by Papo. Musical Hegemony, nominated in the Tropical Album of the Year category at the Billboard 2021 awards, was made with great dedication and professionalism as indicated on its official social media. “…We thank the public for the support they have been giving to this latest album that was worked with much love and dedication to the memory of our always remembered Enrique “Quique” Lucca Caraballo (RIP) and all our dear followers… And we will continue working as we have been doing for 67 years to place in your consideration what best of our music, soul, perseverance, and professionalism that seek to bring joy and enjoyment to all our dancers… Thank you very much!”

The song “Borinquen” (1980) with Sonora Ponceña becomes her a famous Salsa star

Yolanda Rivera will also perform at this event. She was born in Ponce (Puerto Rico) and moved to New York City with her family during her childhood. Her first opportunity as a singer was in 1969 in Willie Rosario’s band. In 1975 she returned to Puerto Rico and performed in several orchestras, including Joe Rodríguez’s La Terrifica. Her career reached its peak when she joined La Sonora Ponceña in 1977. The song “Borinquen” from the album Unchained Forcede (1980), a musical tribute to her native country (Puerto Rico), made her a Salsa star. Yolanda Rivera is considered one of the main and most famous singers of La Sonora Ponceña with songs like “Rumba en el Patio” and “Madrugador”. Her repertoire includes Salsa, Plena, Bolero, Guaguancó, Son Montuno, and Guaracha.

Mario “Mayito” Rivera (El Poeta de La Rumba)

The second special guest tonight will be Mario “Mayito” Rivera. His vocal skill and masterful interpretation of Cuban music in modern and traditional styles earned him the nickname “El Poeta de La Rumba”. Mayito was born in Pinar del Río (Cuba) and has training degrees from the National School of Art and the Higher Institute of Art. After his educational training in Cuba, he joined the band of the Cuban singer Albita Rodríguez and played bass in the Moncada group. From 1992 to 2011, Mayito was the lead voice and face of the successful Cuban band, Los Van Van, earning a Latin GRAMMY® and two nominations with them.

Cuban singer Daymé Arocena and her pride of being Afrocuban

This is our conversation

Here we are with Cuban artist Daymé Arocena who lives now in Canada. How are you, Daymé? Nice to meet you and great to have you here today.

Hello, nice to meet you. Thank you very much for the invitation. It is my pleasure to be here talking to you.

I understand that your musical career started at the age of eight. What made you start walking this path? What was the experience that made you make that decision?

I never made the decision to become a musician. I think it was part of the package. I never said that this is what I wanted to do because I’ve always done it. From the age of eight, my parents began taking me to music lessons and preparing me to came to the art and music school and the conservatory of music. I started singing with the choir in the community of 10 de octubre, where I came from. That’s how I started performing and getting up on stage as a soloist of a choir.

Daymé Arocena was born in Havana, Cuba

Considering that you come from a musical family and that music was always present at home, I imagine that also influenced your interest in making a career of it.

My family is profoundly musical, but they are not professional musicians. My dad is a music lover, but he is not a musician. My mother is a health care worker, qualified as a child cardiovascular surgeon. Actually, these are people who have a very nice sensibility for music, but they are not professionally dedicated to it.

I grew up in an intense environment. My house had many people; when I was born, there were already 22 people living at home, but some of them found more comfortable spaces to move and we became a family of 14. I was born in the 90’s, which was when the big crisis occurred and big power cuts were more frequent. There were electricitiy for very few moments during the day, so we couldn’t listen to the radio or TV. Then, my uncles and cousins kept singing, so I grew up watching the family sing and dance. In fact, several of my cousins today are folk musicians who went on to play in various traditional musical groups. It was a deeply spontaneous issue. I saw people enjoying and trying to alleviate the sufferings and shortages they were experiencing.

I imagine that musical and artistical growth in this context was very difficult. What challenges did you face in Cuba in becoming the artist you are today?

The mere fact of being born in Cuba is a challenge, but I had to face things beyond the fact that I was born on an island ruled by a dictatorial regime and all that that means. There was a lot of deep racism and a way to slyly to deal with social classes. For all these years, I have tried to purge my energy of resentment and pain caused by the situation and turn all these feelings into light and creativity. In my case, A lot of things happened like feeling uncomfortable in my own skin and not knowing how to deal with my skin color, my hair and my race. Today, I am deeply proud of my blackness and defend it to the death, but I went through a very hard and aggressive process before that.

The young and not so young prople have to know that you can make art and music through your own essence without having to please the eyes of a few.

So you would say that those things that were an obstacle are now part of your cover letter.

Totally. And proudly, too.

Daymé is deeply proud of her blackness

After leaving Cuba

When you left Cuba, what kind of support did you receive? What was the hardest moment?

Although I’ve spent years touring and working for years, I made the decision to leave Cuba a couple of years ago. I received a lot of international support that made my music visible, but it started playing long before I left my country. In Cuba, there is a control mechanism for artists consisting on a permit issued by the minister of culture to be able to practice that profession.

You can graduate from art school with full honors in the world, but that’s irrelevant because you graduate to be a music teacher, not a musician as such. In order to go on stage and get paid for your work, you need a permit issued by the Minister of Culture himself. To get it, you have to go through a lot of bureaucratic barriers such as commissions, auditions, among others. I didn’t have that permit to sing and profit from my singing when I met the record label that launched me as an artist. One day, I was singing in a deeply underground space without anyone’s permission. When I started to sneak into those spaces, my mom always told me to sing with energy because I never knew who was going to listen to me.

One day of those, a person named François Renié was watching me from the audience. This man was the creative director of the Havana Cultura platform. At that moment, they asked me to make a record with international DJs and singers. They invited me to do a casting, I showed up there, was selected and recorded the album despite not having permission to sing. When I was invited to the realease of the record in England, I showed them the music I Wrote and they offered me to sign with them officially.

You have been compared to Celia Cruz, Nina Simone and other artists of this stature because of your style, what do you have to say?

I had no idea who Celia Cruz was and it’s something I’m ashamed of. When I was compared with Celia Cruz, I wondered who she was. I think I really knew her following those comparisons.

Daymé thinks new generations have to know who Celia Cruz was

I think it has to do with that idea of homogenizing Cuban music into one thing. It was when I was compared with Celia that I started to find out about her and knew that she was the most universal of Cuban artists. She had a phenomenal way of petforming, transmitting, impacting and being as authentic. Musicians who do have access to Celia must do their utmost to let the new generations know who she was. If they can’t listen to her on the radio or TV, they can go online to listen to her and find out who La Guarachera de Cuba was.

How do you think Canadians perceive your music?

I have done very few concerts in Canada as a soloist. In fact, I’m not even there at the moment, but in Puerto Rico. I can’t provide an overview of how Canadians perceive me, but I do think that they are super friendly, docile and open to all kinds of music. They appreciate, dance and enjoy whatever you play. I must thank my ancestors for the expansion of my music beyond the Canadian framework, so I don’t rely on that market for a living.

Do you plan to stay in Puerto Rico permanently?

I came to Puerto Rico to record my next album. I’m super happy and honored to be able to do it on this island so similar to mine because it has so much culture and colorful art. Here, I found the industrialization and visibility that Cuba doesn’t have. I still don’t know if I’m going to stay here for the rest of my life, since Canada enters into my plans in some way, but this is the stage I must live now.

Daymé Arocena is now living in Puerto Rico and recording her new album

Néstor Sánchez “El Albino Divino”. With the Greatest Elegance the Golden Voice of Salsa

Néstor Sánchez “Maestro de Soneros¨.

Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique.

Néstor Sánchez “El Albino Divino”.

In 1968 he began his musical career at the age of 19 in New York with the orchestra of Ray Rodriguez, Ray was the brother of the late Bobby Rodriguez, the recording was entitled “Introducing Ray Rodriguez and his Orchestra”, he was also with the Tonny Pabon Orchestra, and the Conjunto Candela.

1976 Nestor Sanchez joined the orchestra of the wonderful Jew, Larry Harlow, replacing Junior Gonzalez as lead vocalist and became a member of the Fania label stars, at that time,

Harlow was recording the album “La Raza Latina” for which Sanchez performed one song and the rest was in charge of the Panamanian Ruben Blades where he musically created the history of Nuestra Raza, from the Amerindians, the Spanish conquest, and the arrival of the black African slave.

The album, “El Albino Divino”, was one of his official presentations with the orchestra, with the Harlow Orchestra he spent almost ten years and recorded seven albums, among these: Rumbambola, Dulce aroma del éxito, Soy Latino.

1979 Harlow disbanded his orchestra, Sanchez also recorded with Tito Puente’s orchestra the song “Bonito y Sabroso” in the LP “Homenaje a Beny Moré” which won a Grammy award for Puente.

In 1984 he recorded the production Julio Castro y La Masacre, in 1990 he was released as a soloist in the romantic wave with the album Como Nunca.

Nestor Sanchez "El Albino Divino". With the Greatest Elegance the Golden Voice of Salsa — Néstor Sánchez “Maestro de Soneros¨

In the year 2000 he was invited by the King of Bass Mr. Bobby Valentin to participate in the album La Gran Reunión, and in all the recordings where he participated as the first voice in the chorus.

This talented man, whom we consider one of the most outstanding voices in our music, and sonero of soneros, never had the recognition he truly deserved. As a tribute and vindication, the February 2017 Salsero of our page is dedicated to him in a heartfelt and sincere way.

As a singer, Néstor Sánchez loved Cuban music and considered himself an admirer of Abelardo Barroso, Beny Moré and Miguelito Cuni, and from La Isla del Encanto his favorites were Tito Rodríguez and Ismael Rivera, in whom he was most likely inspired to create his own style.

His musical career began at the age of 19 in New York in 1968 with Ray Rodríguez’s orchestra. His first recording was the same year and was entitled Introducing Ray Rodriguez and his Orchestra; the second, in 1969 and with this same orchestra, was called Delusion, these two musical works were made for Al Santiago’s label “Alegre Records”.

In 1970, Néstor Sánchez joined Tony Pabón’s orchestra with which he recorded six albums in LP format, these musical productions are: in 1970, Tony Pabon And His All-Stars and La Protesta With Tony Pabón: Free; in 1972, On The Right Track; in 1973, Introducing Néstor Sánchez; in 1974, Tony Pabón & La Protesta Featuring Néstor Sánchez – El Capitán; and in 1976, Tony Pabón Y La Nueva Protesta – Fango – Pura Salsa, Puro Disco.

After his time with La Protesta, El Albino Divino joined Conjunto Candela, with whom he produced an LP entitled Conjunto Candela.

In 1976, he joined the orchestra of “El Judío Maravilloso” Larry Harlow as lead vocalist, replacing the Puerto Rican singer Junior González. With that, he became one of the stars of the Fania label. Between 1977 and 1984 he recorded the albums La Raza Latina – A Salsa Suite, El Albino Divino, Rumbambola; Larry Harlow & Junior González – Our Latin Feeling / Nuestro Sentimiento Latino; El dulce aroma del éxito; Larry Harlow, Canta: Gary Carrión / Así Soy Yo; Larry Harlow – Yo Soy Latino and Larry Harlow / Señor Salsa, featuring the young singer Ray Pérez.

Between 1968 and 1984, Néstor Sánchez was not only part of the orchestras of Ray Rodríguez, Tony Pabón, Conjunto Candela and Larry Harlow. He also recorded with King Nando, Orchestra Colon, Los Hermanos López, Yambú, Andy Harlow, Adalberto Santiago, Charlie Palmieri, Ismael Rivera, Tito Puente, Willie Colón, El Conjunto Libre, Azuquita y Su Melao, Fania All Stars and Louie Ramírez.

Throughout the eighties, Néstor Sánchez’s career had a second stage, in which he participated in musical works as a singer and backing vocalist for other great stars of our musical firmament, such as Héctor Lavoe, Típica 73, Ray Barretto, Julio Castro y La Masacre, Rubén Blades y Seis del Solar, Cheo Feliciano, Ismael Miranda, Oscar D’ León, Celia Cruz and Bobby Valentín.

It is presumed that in his more than three decades of music he participated in some two hundred musical works, about half of which are presented in our “Discography” section, available on our web page. Her voice was also recorded in many musical works of the so-called salsa romántica.

Among the songs that the beautiful voice of our great Albino Divino left us, we highlight numbers such as: “Amor pa’ qué”, “Averigua”, “Bobo tú te quedarás”, “Bonito y sabroso”, “Compay, póngase Duro”, “Con la mayor elegancia”, “El bobito”, “El diablo viene”, “Madre”, “Mentiroso”, “Quasimodo”, “Suena La Quija”, “Va llover”, “Guaguancó para los soneros” and “Vamos a gozar”. Our great sonero also recorded some songs in English.

Finally, we repeat that the present investigative work on the musical life of the great singer, chorister, arranger and composer Néstor Sánchez, “El Albino Divino”, is a tribute to his musical legacy with which the section “El salsero del mes” of our web page www.latinastereo.com wants to remember and keep all his work in force. Néstor Sánchez will remain forever in the hearts of the salseros of the world.

On September 2, 2003, Néstor Sánchez passed away at the age of 54 at his home in Bronx County, New York, after losing a battle with lung cancer.

Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique. Nestor Sanchez "El Albino Divino". — Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique.
Nestor Sanchez “El Albino Divino”.

Main source:

By: Sergio A. Rendón Ángel

To: www.latinastereo.com

Medellín, Colombia

Article of Interest: Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929