Search Results for: Celia Cruz

Azúcar Latin Dance Company

North America / Canada / Ottawa

Ottawa’s premiere dance school specializing in Latin, Street and AfroCaribbean dances. Their mission is to bring the energy, passion and joy of dance to Ottawa and get you dancing to the music in your heart. Teachers expert and friendly instruction will get you dance floor-ready in record time, and the group outings and social events will introduce you to the amazing Ottawa dance community!

They take inspiration from the original Queen of salsa, Celia Cruz. She is famous for her sunny disposition, her warmth and passion, as well as her trademark of shouting “Azúcar!” (“Sugar” in Spanish) in her songs. They are inspired by her positive attitude towards life and her desire to share the joy of dance and music with as many people as possible

Meet The Team

Jeff Huang

Director is passionate about music and dances. He started dancing Latin street dances (salsa, bachata, merengue, and cha cha) in 2005 and has not stopped since – learning from many wonderful and talented instructors across Canada as well as across the globe.

This has made Jeff a well-rounded teacher with an eye for detail, while his easy going attitude makes everybody feels welcome at the studio. Jeff is extremely dedicated to his students, believing that they are the true heart of the company. He hopes to create a loving community where everyone can learn and laugh together, and share their love of dance. CONTACT JEFF [email protected]

Ana Gherasim

Director Ana is definitive proof that anyone can learn to dance. Discouraged from pursuing dance from a young age, she grew up convinced that she had two left feet. Thanks to Jeff’s infinite patience, she took up salsa in 2008 and is now one of our most enthusiastic teachers.

While Jeff is the (clave tempo-ed) heart of Azúcar! Ana is its brain, also dealing with the less artistic aspects of school management and administration. When she’s not teaching or running the studio, you’ll find her in most of our classes, lending a hand as well as honing her own style. CONTACT ANA [email protected]

Salsa Level 1, Instructors: Ana & Brian, Jeff & Ashvini

Take your first salsa steps! Discover the salsa rhythm, basic steps, left and right turns, crossbody leads, inside traveling turns, and simple combinations. You will also learn partnering technique and simple footwork to spice up your dancing! No partners needed!

Salsa Level 2 Instructors: Ana & Jeff

Go beyond the basics! Each 7-week session we introduce a combination of footwork and partnering moves based on common salsa patterns, including double-hand turns, hammerlock holds, wraps, traveling turn variations and more. We also introduce spin technique and body isolation exercises at this level. No partners needed!

Salsa Level 3 Instructors: Ana & Jeff

Once you have mastered ALL the moves we teach in Salsa Level 2, explore the endless combinations salsa has to offer while honing your technique and style. In this class we introduce more complex concepts (such as copas, 360s, multiple spins) and create new footwork and partnering combinations that will make you the star of the dance floor. No partners needed!

Salsa Shines Choreography Instructor: Ashvini

Ever feel like you’re not sure what to do when it comes to salsa shines? This class introduces and breaks down shines footwork, technique and styling through learning a piece of shines choreography. It’s perfect for those who would like to improve their shines repertoire and feel more confident on the social floor! As an added bonus – if you’ve ever been interested in exploring salsa performance, this is a great taster for what it’s like to learn and perfect a piece of choreography, without the pressure to actually perform (unless you really want to!). Open to all levels and genders.

Bachata Level 1 Instructors: Ana & Brian

Take your first Bachata steps! Our Level 1 course introduces you to the bachata rhythm, basic steps, turns and promenades that are the core of this fun and intimate dance, as well as basic styling elements to add sizzle to your dancing! Get dance floor-ready in 7 weeks! No partners needed!

Bachata Level 2 Instructors: Ana & Jeff

Once you are comfortable with the beginner moves covered in Bachata Level 1, this class takes it up a notch and introduces more complex moves. Mix things up with outside turns, cuddles and hammerlocks, fancy footwork, sensual body isolations and lots of turn patterns and combinations to take straight to the dance floor. No partners needed!

Bachata Level 3 Instructors: Ana & Jeff

Take your bachata to new heights! Once you have mastered Bachata Level 2, join this intermediate-level class. Learn how to get comfortable with your partner, develop great bachata leading and following technique, and make your dancing stand out from the crowd! No partners needed!

Salsaton Instructor: Emilie

Spice it up with Salsa & Reggaeton! This class is about adding spice to how you dance, whether you dance as your workout, to build up your confidence on the dance floor or just to have fun! Emilie will be giving lots of options for everyone to feel comfortable.

Dancehall Funk Instructor: Emilie

Dancehall is a Jamaican dance that includes elements of Reggae, African, Hip Hop, House and Latin. It’s all about confidence, creativity, expression, attitude, and FUN. Come learn a combination of hot moves and an energetic routine full of street smart choreography, dancing to the hottest music. Get ready for an energetic and challenging class!

Heels Instructor: Emilie

Strut your stuff! Celebrate creativity, individuality, uniqueness and fierceness! Dance styles such as Vogue, Sass and Jazz to get you moving to great music in heels. Learn a sexy routine and find new confidence on and off the dance floor! You won’t want to miss this class with Emilie!

Afro-Beats Level 1 Instructor: Natalie

Learn the basics of African dance and movement groove to great music, and get your sweat on with fun choreography! We’ll explore styles such as Azonto, Coupé Decalé, Afro House, and Dancehall. You will sweat and laugh, make new friends and improve your stamina as you learn fun combinations, technique and routines. Personal expression is encouraged!

Samba Instructor: Natalie

Join the carnival vibe! Experience the pulsating rhythms and energetic moves of Samba. Learn exhilarating dance combinations and routines as we travel across the floor and venture into some of the liveliest dances of Brazilian culture. This exciting class is certain to empower, energize, lift your spirits….and your booty too!

Sunday Workshop Series

Come explore a different dance, or aspect of dancing, the first and third Sunday of each month!

Don’t forget to know more about Azucar! in their website, so you can sing up and shop. Natalie http://www.azucarottawa.com/

Oscar D’León’s La Crítica was founded in Caracas in 1978

La Critica by Oscar D’León

We had just returned from New York when “Chiquitín,” Oscar D’León’s longtime secretary, called us at the office to let us know there was a commotion in the “Faraón de la Salsa’s” office.

Oscar D'León's La Crítica was founded in Caracas in 1978 — Oscar D’León’s La Crítica was founded in Caracas in 1978

It was about the defection of some musicians from the Orquesta La Salsa Mayor. Indeed, Leo Pacheco, Felipe Blanco, and other musicians had decided to leave for financial reasons.

The news caused a stir; Oscar had already achieved a very special sound. He had moved away from the trombones that characterized his style and had incorporated a brass section with trumpets that made a difference. Suddenly, he was without his powerful machinery. Leo and his group formed what was called Nuestra Orquesta La Salsa Mayor, and Oscar, without a second thought, reassembled his group alongside Enrique “Culebra” Iriarte.

La Crítica

No one should doubt that Oscar had a tough time, but the prestige he had gained and the popularity of the sonero allowed him to come out on top.

Paul González, the son of “El Guajiro” González, a veteran guarachero and who at the time served as manager for the now-called “Sonero del Mundo,” devised the orchestra known today as La Crítica to avoid future setbacks and to have an orchestra on hand to alternate in scheduled dances.

The project’s formation brought together pianist and arranger Mauricio Silva, percussionist Radamés Pimentel, and Teo Hernández, who would serve as vocalist.

Since 1978, La Crítica emerged as an exceptional group. The jazz influences infused by Mauricio Silva from the very beginning were crucial for the public to accept the band as a favorite. In that “beginning,” other significant names included “Cheo” Navarro and Gustavo Quinto, who were already known from their time with Grupo Mango.

It could be said that Teo Hernández was the newest to the scene, as he had only been “toiling” in the world of salsa for five years, although he already had a “summa cum laude” after recording with maestro Ray Pérez and his Dementes. A female voice would debut with the orchestra: Gladys Torres.

40 Years of La Crítica

There have been many setbacks and successes over 40 years.

The musicality of this successful group is to be celebrated this Saturday, June 16, at the BOD Cultural Center. The event is at 5:00 in the afternoon, when the salsa public will gather en masse.

La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.

Jorge Collazo, who was Oscar D’León’s press chief and now is La Crítica’s on their return, tells us that a spectacular night is being prepared, “an evening to remember, a show that no salsero should miss.

The original singers will be there: the sonero Teo Hernández and Gladys Torres, who will take the stage accompanied by top-tier musicians and luxury guests to celebrate, dance, and sing the well-known hits of the moment, we are talking about ‘Se necesita rumbero,’ ‘Amada ven,’ ‘La merenguita,’ ‘Madre,’ ‘Rumba rumbero,’ ‘No lloraré,’ ‘A él,’ and ‘Cruel desilusión,’ among others.”

The prestige gained by La Crítica allowed it to accompany great international soneros such as Justo Betancourt, Héctor Lavoe, Ismael Miranda, Ray de la Paz, Daniel Santos, and the legendary Celia Cruz.

This is part of La Crítica.

Also Read: Cheo Linares is a Singer, Composer, Sonero, Poet and Caraqueño

This is Indiana composer, arranger, music teacher, and trumpet player David Hardiman

Our interviewee today is very special because of the talent and the enormous academic background he has, so we are very pleased to have been able to talk with him. We are talking about the arranger, composer, trumpeter, pianist and music teacher David Hardiman, whom we welcome to International Salsa Magazine.

This is David Hardiman — Music teacher and musician David Hardiman holding his trumpet

A little bit of David’s story

The artist from Indianapolis, Indiana, began his tale telling us a little bit about how he started getting interested in music, which was when he was in fourth grade. That is when he started learning to play the trumpet and piano, taking advantage of the fact that he had one at home.

Unlike other children and young people who find other interests and hobbies besides music, David never stopped and kept playing the trumpet until high school, during which time he played in the marching band, the orchestra, the jazz band and the concert band of the institution.

Years later, he attended Indiana University where he also played in the marching band and concert band. He received his bachelor of music education through which he obtained a lot of classical training that he would later apply to his artistic career, but he did not stop there, as he also began to participate in ensembles with which he played R&B and jazz.

When he returned to his hometown Indianapolis, he was hired by a band with which he started playing blues, tap and jazz at parties, weddings and other events of this type.

In addition to that, he also taught instrumental music for over 11 years at the elementary level. He also taught flute at the fourth grade level and prepared children of those ages to be introduced to instruments until their formation in high school, something very similar to his case when he got started in this world.

The young musician already wanted to expand his horizons and thought about leaving the nest and moving from his home state to try his luck elsewhere, but first he obtained his master’s degree in music education in 1970. This was the final step that would make him realize that he was ready to take flight farther away from home.

David playing the trumpet — David Hardiman playing the trumpet live

Berkeley

In 1971, David went to Berkeley, California, where he began to teach at King Junior High School, which he describes as an excellent experience that taught him a lot about music at the educational and practical level. His teaching specialized in the orchestral and symphonic part of classical-oriented music. At the same time, he spent much of his time playing for clubs and private parties with various orchestras and bands.

One of his fellow teachers at King Junior High School named Grey Gomez taught at the elementary level and was a trombone player. Gomez told David that he needed a trumpet player for a group called ‘’The Aliens’’, so he proposed him to join the band and play with him at The New Yorker club. This would be the first time the musician played Latin music, more specifically salsa.

Introduction to Latin music in San Francisco

By then, David was looking for new challenges, so he decided that he could not teach at low levels at King Junior High School for life, so he began working part-time at the City College of San Francisco. Parallel to this, he played with another band for various basketball and soccer games during breaks.

Soon after, the musician began directing the big band in the aforementioned institution and teaching at the middle college level outside of San Francisco. When he became a full-time professor at the City College, he was much more exposed to Latin music and genres, which was contrasted with his hometown, as Indiana is not known for its large number of Latin orchestras and musicians.

David at 12 years old — Young David Hardiman playing the trumpet at 12 years old

In the Bay Area, he began to have much more contact with people from other nationalities and cultures, especially Latinos, which made him listen to various Latin music groups and play with others. He even opened up for great artists such as Celia Cruz and the Fania All Stars.

He also played with the group Café Canela, whose genres are a very interesting combination of salsa, chá chá chá and many more.

San Francisco All Star Big Band

About 50 years ago, parallel to what he did with other orchestras, he created his own big band named San Francisco All Star Big Band, with which he has played for all kinds of events such as festivals, university parties, religious services, weddings, birthdays, charity balls, nightclubs, among others.

With this orchestra, he has a few albums which can be found on YouTube and other similar platforms and they are ‘’It’ll be alright’’, ‘’Portrait of David Hardiman’’, and ‘’Music Around The World’’.

Cover of the album ”Portrait of David Hardiman”

Oscar Dudamel continues to achieve dreams and presents “La Rumba Me Llama”

Legendary Venezuelan trombonist Oscar Dudamel expands his musical vision with a new single that fuses the essence of classic salsa with his unmistakable style, which is why he does not hesitate to express “La Rumba Me Llama”.

This song is part of his upcoming album “Sueño Alcanzado”, a production that will be released on May 30 and represents the culmination of years of musical research, fusing the classic salsa sound with jazz influences and the romantic tradition of boleros.

El legendario trombonista venezolano Oscar Dudamel

In “La Rumba Me Llama”, Dudamel brings his trombone to the forefront of a vibrant composition that captures the essence of the rumba as an inescapable call. With a musical structure that evokes the great salsa orchestras and an impeccable instrumentation.

The piece stands out for its meticulous arrangements, powerful brass and an irresistible cadence, faithful to the spirit with which Dudamel has approached his music. The track is an invitation to the dance floor and a testament to the rhythmic power that has defined his career.

The album Sueño Alcanzado not only takes its name from a personal concept of triumph, but also from one of his most significant pieces.

The title track was born in an intimate creative encounter in Caracas, Venezuela, with Maestro Alberto Crespo, composer Eliel Rivero and Solange Ramírez, mother of his son Gustavo Dudamel.

Dedicated to her son and with her special participation on violin, this piece encapsulates the spirit of a project that transcends the musical to become a testimony of life.

More than a nostalgic production, “Sueño Alcanzado”, of which the song “La Rumba Me Llama” is part, is the reflection of an evolution. The music that accompanied him since his childhood now takes a new form under his direction, in a creative process that has brought together talented musicians with whom he shares the same vision.

His orchestra, based in Madrid, has become the vehicle to continue taking his proposal to international stages, demonstrating that salsa is still alive in every note and every drum beat.

“La Rumba Me Llama” is now available on all digital platforms and is just a preview of ‘Sueño Alcanzado’, Oscar Dudamel’s new album, consolidating his legacy with authenticity and mastery.

Oscar Dudamel Virtuoso Musician, Trombonist and Orchestra Conductor.

Oscar Dudamel, a Venezuelan trombonist, discovered his passion for salsa as a child when he first heard “La Murga” by Willie Colón. Although his formal musical training began with Maestro Pablo Canela and later continued within El Sistema as a classical musician, that early experience left a profound mark on him, inspiring his dream of playing the trombone and solidifying his love for salsa as his ultimate passion.

Dudamel was born on January 14, 1961, in Barquisimeto, Venezuela. He grew up in a musical family where every gathering was celebrated with music, fostering his passion for the art from a young age. His parents purchased him a trombone, and he began his studies at the Yamaha Music Academy.

At the age of 7, he was enrolled in a music academy under the guidance of Maestro Pablo Canela, a composer and prominent figure in the music of the Lara State region of Venezuela.It was there that he started his training with the Cuatro, the traditional Venezuelan instrument, and the guitar, which became his first instruments.

In addition to his Cuatro training, Dudamel began studying and playing various percussion instruments, further broadening his musical repertoire.

His academic training took place at the Lara State Conservatory in Barquisimeto, and at the National System of Youth and Children’s Orchestras and Choirs of Venezuela, also known as El Sistema.

During his teenage years, he became a member of the Youth Orchestra of Lara State (El Sistema Lara) and the Liceo Mario Briceño Iragorry Band, where he had the opportunity to expand his musical knowledge and explore various genres.

Dudamel entered a new phase of his life when he enrolled at the Vicente Emilio Sojo Music Conservatory to study theory and solfège, continuing his trombone studies under the guidance of his maestro, Óscar Vivenes.

Over the years, he became a member of the Lara Youth Symphony Orchestra of Lara, part of the national network of Venezuela’s El Sistema orchestras, actively participating in classical music.

However, his fascination with the Caribbean rhythms of salsa never disappeared. Thus, he combined his classical training with his passion for salsa, performing with renowned artist and sharing the stage with legends of the genre, such as Héctor Lavoe, Ismael Rivera, Ismael Miranda, Celia Cruz, Justo Betancourt, Marvin Santiago, and other great artists.

In Caracas, Venezuela, he founded his own orchestra, with which he had the opportunity to share the stage with notable figures such as Rubén Blades, Gilbert Santa Rosa, Luis Enrique, Guaco, Oscar D’ León, and many others.

Dudamel’s surname is synonymous with music. He is the father of Gustavo Dudamel, one of the most acclaimed classical music conductors in the world. Gustavo’s well-known fondness for salsa stems from his father, who recently fulfilled his lifelong dream of releasing a solo album titled Sueño Alcanzado, dedicated to his son.

Dudamel currently resides in Madrid, Spain, where he leads his ensemble, Oscar Dudamel y su Orquesta, performing salsa alongside his Venezuelan musician friends and colleagues at Café Berlín Madrid.

‍Research Sources:

Contact: Katie Baloian of Radio Notas (Compartiendo Ideas)

Alberto Crespo (Pianist and Arranger)

Dj. Augusto Felibertt

Café Berlin in Madrid

Also Read: Mariana “The Sonera of Venezuela and for the world”

The multifaceted Aymée Nuviola delivers her ‘Corazón Sonero’ to Puerto Rico, at the historic Tapia Theater in Old San Juan

Pete Perignon’s orchestra kicked off Aymée Nuviola’s concert, entitled Corazón Sonero, with a powerful Latin jazz introduction. During the first minute, the instrumental melody settled into a salsa key, giving way to the voices of Lorna Marcano and Ricely Colón, who chanted: “Yo te invito a bailar y a gozar con Aymée, la sonera del mundo” (I invite you to dance and enjoy with Aymée, the sonera of the world). The chorus duo of Marcano and Colón prepared the theater for the triumphant entrance of the voice of La Sonera del Mundo.

La multifacética Aymée Nuviola Imágenes Conrado Pastrano

As the curtain rose at the historic Alejandro Tapia y Rivera Theater in Old San Juan, the stage design by José “Quenepo” Ramos Vega, which revealed two transparent fabric borders held in the middle by an imposing white star, caught the attention of the audience. The red of the triangle of the Cuban flag was represented by the pendant unfurled to the left of the star, while the cloth representing the Puerto Rican flag was held on the right hand side of the same star. The inspiration of the design demonstrates that the Cuban and Puerto Rican flags are fraternal twins.

The opening lyric that resounded in the theater, which was filled to capacity, with the vocal power of Aymée Nuviola read: “A little bit of good salsa, a little bit of pure salsa, so that new people, get to know our culture”. From then on, the music obeyed Nuviola’s command, singing: “Let the clave get into your body, let the conga and the bongo move the floor”. Sure enough, three hours later we were still letting the stage delivery of the musical team continue to move the floor. Pete masterfully directed: Jean Carlos Camuñas on tumbadoras, Carlos Pagán on bongó, campana, güiro and maracas, Miguel Camilo on piano, Jorge Rivera on bass, Pedro Marcano and Víctor Ambert on trumpets, César Ayala and Léster Pérez on trombones and Saviel Cartagena on tenor and soprano saxophones.

Ten minutes into the music under the direction of the leader of the generation of the present, as timbalero Pete Perignon is known on Puerto Rican soil, Aymée greeted the audience with a heartfelt, “¡Buenas noches, Puerto Rico!” She thanked the attendees in a candid manner for joining her, while making jokes about how heavy her dress was as she elegantly adjusted the flounce and wings of her sleeves. She also commented on the design of the theater, inaugurated in 1832.

Gilberto SantaRosa y Aymée Nuviola Imágenes Conrado Pastrano

That first conversation with the audience served to connect with a: “we are survivors”, in clear reference to the COVID-19 pandemic, shortly before quoting Celia Cruz saying: “As Celia said so well: ‘Thank you Puerto Rico, for lending me your flag’. She also recognized actor Willy Denton, who played Pedro Knight when Aymée impersonated Celia Cruz in the soap opera Celia and who was among those present.

Nuviola boasted of having reached the fifth floor, as she recounted that she was going to record her version of ‘El ratón’ with Cheo Feliciano, whose unexpected death thwarted the long-awaited collaboration. However, Aymée decided to record it anyway, in order to pay tribute to Señor Sentimiento. The evening’s repertoire included: ‘Un poco de salsa’, ‘Salsa con timba’, ‘Yo sé que es mentira’, ‘El ratón’, ‘La tierra del olvido’ and ‘La gota fría’.

Many remember Aymée for her character of Celia Cruz in an acting performance that marked “a before and after” in the singer’s career. This was acknowledged by the actress, shortly before paying tribute to Celia, with her versions of ‘Cúcala’ and ‘Quimbara’, in addition to performing a medley of some of the songs with which Celia was crowned the Queen of Salsa. The medley included ‘Toro mata’ and ‘Bemba colorá’, among others.

The concert included a bohemian part during which Aymée accompanied herself on the classical piano to share with us her passion for the filin. The selected repertoire was: ‘Obsesión’, ‘Bésame mucho’, ‘Me faltabas tú’, ‘Perfidia’ and ‘Lágrimas negras’.

Before performing ‘El espacio’, of her own composition, and accompanied by Miguel Camilo on piano, Aymée said that the song was inspired by “someone else’s skeleton”, as the composer described it. Aymée emphasized that ‘El espacio’ is not dedicated to her husband. Between jokes and laughter, the sonera shared with those present her love story with Paulo Simeón, while acknowledging the presence of Fabio Díaz Vilela, who was the owner of the place where the couple met more than 14 years ago. Aymée expressed her gratitude to Fabio, for also having been a great support for the career of the producer, “from day one”.

The climax of the concert came as the sonera took off ‘El cuarto de Tula’, Gilberto Santa Rosa -who was among the attendees- went up on stage to duet with Aymée, between each soneo to describe the scope of the talent of the Cuban who gave her sonero heart to Puerto Rico. El Caballero de la Salsa was also able to tell La Sonera del Mundo the fascination that the Puerto Rican public has for her. For their part, Aymée’s soneos expressed to Gilberto the admiration she has for him for being “a great maestro”.

The repertoire of this last section included the songs ‘Fiesta’ and ‘El manisero’, which incorporated correspondences between the singer and the pianist. The coda of ‘El manisero’ coincided with the closing of the curtain, while the audience shouted “another, another, another”. The ñapa corresponded to ‘Chan chan’, a song included in the album that won Nuviola a Grammy for his production A Journey through Cuban Music. The interpretation was sprinkled with the strength brought by the trumpets of Pedro Marcano and Víctor Ambert, along with the trombones of César Javier Ayala and Léster Pérez. Chan Chan’ announced the farewell with which Aymée Nuviola’s energetic “God bless Puerto Rico” resounded as the curtain came down on her first solo concert on Puerto Rican soil. For my part, I reciprocate: “God bless Aymée Nuviola and her team (including Paulo Simeón and Luis Solís)”.

Here in the Island of Enchantment we are pleased to know that Corazón Sonero has consolidated this high-end artist, whom we already consider our own.

Images: Conrado Pastrano

Also Read: Mel Martinez I come from Puerto Rico and Puerto Rico is Salsero