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Do You Know In Which Country Rubén Blades Start his Tour?

The United States Will Be The First Country Where The Panamanian Artist Will Present Salswing Tour!

Rubén Blades with blue hat on stage — Rubén Blades will be recognized as “Person of the Year” at the Latin Grammys on November 17th in sin city, Las Vegas (Nevada)

The multifaceted artist and political activist, Rubén Blades, announced his return to the American stage with his friend and fellow countryman Roberto Delgado & Big Band, starting next November 20^th.

The Salsero icon announced the beginning of his tour through his official Facebook account: “We are very happy to be able to work and get in touch with our audience again, after almost two years without being able to do so. With the Roberto Delgado Big Band, an orchestra of 20 musicians that is sounding better, we are eager and want to share our latest album Salswing!, and the usual songs… Please, don’t stop getting vaccinated”.

There are eight cities that the living Salsa legend will visit in North America, starting on November 20^th in Oakland (CA), Los Angeles (CA), Atlanta (GA), Miami (FL), passing through Boston (MA), and New York (NY) on November 28^th and December 2^nd respectively, and having as a special guest the extraordinary American actress, singer, and wife of Blades, Luba Manson who will be showing the repertoire of her Jazz album Triangle released in October 2020.

Rubén Blades with black hat and Luba Mason with white shirt — Rubén Blades and Luba Manson have been married since 2006

Later, Salswing Tour! & the Roberto Delgado Big Band will present their penultimate concert this year on Friday, December 3^rd in Washington (DC), and will close this magnificent tour on Sunday, December 5^th on the southwest shore of Lake Michigan at the mighty Arena Arie Crown Theater in Chicago (IL).

Regarding this great 2021 tour, Nelson Albareda, CEO of Loud And Live, the company in charge of carrying out this series of concerts and those of Latin stars such as Carlos Vives, Juanes, Farruko, among many others, commented: “It is an honor for us working with a Latin icon, who has inspired generations through his salsa music and long artistic career. Rubén Blades is not only a great artist but also a great ambassador, and activist for our Latin community”.

The prestigious Panamanian songwriter will show for the first time the eleven songs of his most recent album “Salswing!” title that also gives the name to the tour.

Digital album cover Salswing! in red background and yellow letters — “Music is a universal gift, and from Panama, we renew our contribution with this album, SALSWING!”. Rubén Blades

Salswing! has 11 tracks including, Mambo Gil, Cobarde, Canto Niche, and Ya No Me Duele, the latter written by Jeremy Bosch and Rubén Blades with arrangement by Tom Kubis. Salswing! was recorded in collaboration with the record’s bassist and musical producer, Roberto Delgado, and his band made up of 20 talented Panamanian musicians, and it was released on the digital market on April 15^th, 2021.

“Although the connection between Jazz and Salsa has been historically documented, much remains to be described and recognized. The combinations and collaborations between musicians of these genres have been numerous over the years and include figures of the stature of Mario Bauza & Dizzy Gillespie, Machito & Charlie Parker, Luis Russell, and Louis Armstrong. With this record production, I try to continue that relationship, verifying that art does not have a nationality but rather represents a spirit that transcends races, geographies, and languages”. It is extracted from his official page.

Rubén Blades has been performing with Roberto Delgado & Bing Band for ten years in the most prestigious stages around the world. In these eight concerts, there will be a historical tour of recognition of the Latin origins of jazz as well as the influences of the son, Afro-Caribbean music, and swing. In addition to including the hits always chanted by the crowd in any corner of the planet.

You Can Keep Reading: Meet The Amazing Fasching Jazz Club In Sweden

Who Is Roberto Delgado?

Roberto Delgado dressed in black holding a Grammy in his hand — Roberto Delgado and his Orchestra along with Rubén Blades won a Grammy for Best Latin Tropical Album in 2018

Roberto Delgado was born in the capital of the Chiriquí province in western Panama on June 27^th, 1961. This prodigious artist has developed in the musical environment as a Producer, Singer, Bassist, and Arranger.

His upward career began with his studies at the prestigious Conservatory of Music of Fine Arts in Mexico City (Mexico) and later at the Golden West College of Huntington Beach California (United States).

With more than 40 years of experience, Roberto has been a member of ten Panamanian groups counting the Salsa singer orchestra, Roberto Blades (1992) and he is currently the director of his big band made up of 20 musicians and with whom he has shared the stage since 1996 together with the master Rubén Blades.

In the enormous list of famous artists that Delgado has accompanied in productions and tours in addition to the Blades brothers are Cheo Feliciano, Celia Cruz, Gilberto Santa Rosa, Ismael Miranda, Andy Montañez, Tito Nieves, La India, Víctor Manuelle, José Alberto “El Canario”, Luigie Texidor, Maelo Ruiz, Charlie Aponte, Joan Manuel Serrat, Carlos Vives, and many more.

The conductor together with Rubén Blades has performed on the major international stages, including Madison Square Garden (New York), Hollywood Bowl (Los Angeles), Shepherd’s Bush (London), Poble Espanyol de Barcelona (Spain), numerous Latin American auditoriums, and acclaimed festivals in Europe and the Caribbean.

Also, this duo has three Latin Grammys (2015, 2017) and two Grammys for Best Traditional Tropical Latin Album in 2016 and 2018.

Currently, Roberto Delgado (60 years old) and Rubén Blades (73 years old) continue to transgress the barriers that will be the first Latin artists touring Salswing! in the middle of the pandemic throughout the North American territory.

An important fact to attend the Rubén Blades and Roberto Delgado & Big Band concert series in Los Angeles County is mandatory to wear masks. At the moment, mandatory vaccination in the United States only applies to public employees and workers of large companies.

Eliel Rivero, “The Shaman of the Trombone”

The versatility, trajectory, and professionalism of this musician and composer, born in the capital of Venezuela, make him one of the most important and sought-after salsa bastions in the country.

This time comes to Salsa Escrita “La Columna Salsera de Barquisimeto”, the outstanding trombonist Eliel Rivero Rivas, who was born on April 3, 1961, and already has an artistic life with more than 40 years; for this and many reasons, we bring to our readers a complete review about “El Chamán del Trombón”, as he is jokingly nicknamed by his musical friends.

Eliel, welcome to the salsa column, which is currently dedicated to providing information on the happenings of Afro-Caribbean music and therefore also projects and makes known nationally and globally the musical talent here.

Thank you very much Professor Carlos Colmenárez, for giving me this opportunity to share with you and all the regular readers of your prestigious Salsa Escrita “La Columna Salsera de Barquisimeto”, and to spread my career.

To begin with, we want to know how were your beginnings in music? -My life was surrounded by music since I was a child since my grandfather Pablo Emilio Rivas was the first tuba player of the Symphonic Orchestra of Venezuela, besides that in the family gatherings we listened from symphonic music to the most emblematic Caribbean artists of the moment, and so on, until I lived in Los Frailes de Catia, Macapaya sector, there was “La Dimensión Latina” and I was captivated by a cover where the trombone was shown, I think it was Dimensión Latina 76, and since that time I said, I would like to learn to play that instrument, but I did not do it because it was so expensive to buy one. Until one day Rodrigo Mendoza, who had just joined Dimensión Latina and who lived in front of my house, heard me playing a trombone solo of the song “Yo tenía una mujer” by Roberto Roena in a meeting that we often had and he told me: start studying that instrument.

The versatility, trajectory and professionalism of this musician and composer, born in the capital of Venezuela, make him one of the most important and sought-after salsa bastions in the country. — Eliel Rivero, “The Shaman of the Trombone”

From then on my musical career began, I was able to buy a trombone and thus began this beautiful story that I enjoy to this day, thanks to the support of my family. I began to have contact with many musicians in the area, among them, Johán Muñoz, a brother sent to me by God, Antonio Acevedo “Toñito”, son of maestro Dugarte, trombonist of the Sinfónica Venezuela and Alberto Crespo, who also lived in Los Cuatro Vientos de los Frailes.

We all followed the trajectory of orchestras and musicians that rehearsed in the area such as “La Banda y su Salsa Joven”, “La Renovación”, we followed the steps of Alejandro Pérez Palma, Faustino González, Enrique Blanco “El Bachaco”, César Monjes “Albóndiga”, José Antonio Rojas “Rojitas”, Nené and Taíto Piñango and many more. From that moment I began to take my course as a trombonist with seriousness and professionalism until today.

Eliel, where did you study music and with whom? My friend Carlos, I studied theory and solfeggio at the Musical Association of the Federal District with maestros Daniel Contramaestre and Daniel Milano.

I continued my training at the “Simón Bolívar” Conservatory of Music, directed by maestro José Antonio Abreu, and at the “José Ángel Lamas” music school, under the guidance of professors Ángelo Pagliuca, Tiero Pezutti, Antonio Estévez, Erick Colón, among others.

I continued my professional and work training with the “Simón Bolívar” Symphony Orchestra for 40 years, sharing with different masters of national and international music.

At the same time, I had the opportunity to participate as an active or guest musician in national and international orchestras of the salsa genre.

Now that you mention the salsa genre, with which orchestras and vocalists have you participated? Professor, at the national level, apart from the Simón Bolívar Symphony, Municipal Symphony, Venezuelan Symphony and Caracas Philharmonic, I have been on stage with: Bailatino, Oscar D’León, El Pavo Frank, Mariana, Marianella, Andy Durán, Cheo Navarro con Tributo, la Banda Sigilosa, Orlando Poleo, Hildemaro, Alfredo Naranjo y su Guajeo, Silva y Guerra, Saxomanía, Trina Medina, Orlando Watussi, Magia Caribeña, Moisés Daubaterre with Grupo Mango, Bacheo, Servando y Florentino, Naty y su Orquesta, La Negramenta, El Trabuco Venezolano, La Nueva Parranda, Canelita Medina, Javier Plaza, Guarará, among other participations to which I have been invited.

And as for international artists and groups, which ones have you worked with? My friend Carlos, I have had the honor of accompanying: Gilberto Santa Rosa, Celia Cruz, Justo Betancourt, Nino Segarra, Eddie Santiago, Willie González, Roberto Lugo, Ismael Miranda, Maelo Ruiz, Cheo Feliciano, Paquito de Rivera, Andy Montañez and in relation to artists outside the salsa genre: Rafael, Andrea Bocelli and José Luis Rodríguez “El Puma”.

Excellent and admirable career Eliel, now, what can you tell us about who you have recorded with? Indeed Carlos, I have made recordings with the Simon Bolivar Orchestra, Música Latinoamericana, Bailatino, El Pavo Frank, Naty y su Orquesta, Victor Quintana, Rumberos del Callejon, Bacheo, Un Solo Pueblo, Trina Medina, Saxomania, La Dimension Latina with Joseito Rodriguez, La Negramenta, Orlando Poleo, Carlos Julio “El Oso”, Juan Pablo Barrios, Víctor Cardona y su Máquina de la Salsa, Gilberto Santa Rosa con la Sinfónica Venezuela, Cheo Navarro y su Orquesta Tributo, Francisco Requena, Oscar Dudamel, Otilio Galíndez, Luisito Quintero, among others.

Eliel, what can you tell us about your facet as a composer? I started when I was 13 years old and I have written songs for the following artists: Orquesta Los Satélites de Cheché Mendoza with the song “Sufrí por ti” on the LP Di Corazón, I have also written compositions for the Sabadonga orchestra, Oscar Dudamel, Victor Quintana and most for the Bailatino group, of which the hit “Bailatino llegó” was versioned and recorded by the Hispanic Orchestra of Harlem (SHD) of New York under the name “Baila Latino” on the CD “Viva la Tradición”, Grammy award-winning album.

World Artistic Tours? I have performed in Italy, France, Spain, Japan, Germany, Argentina, Colombia, Chile, Switzerland, England, Holland, USA, Mexico, Australia, Cuba, Dominican Republic, and Peru.

Eliel Rivero is one of the most important and sought-after salsa bastions in the country.

At present, what do you do besides being with different orchestras?

Well, Professor Carlos, I am currently involved in pedagogical activities with the trombone, doing master classes and I am a frequent guest in the “Orquesta Nuevo Mundo” of Bogota, directed by Alejandro Orellana, covering symphonic salsa and permanently in the trombone and composer with the group Bailatino.

By the way, how did Cheo Navarro ask you to be part of the staff of musicians of Bailatino y Tributo? In fact, my friend Carlos, that was one night when we were in block 6 of 23 de Enero in Caracas, we greeted each other and he told me that he wanted to make a band to cure us playing the salsa that fed our lives, such as Palmieri, Libre, Mon Rivera, Típica 73, Bobby Rodríguez and others.

And I told him to count on me and since at that time I was playing with Johán Muñoz with Ajoporro of Grupo Mango in private parties, Cheo told me: “Tell Johán if he wants to participate in this project” and the affirmation was not long in coming. As for “Tributo”, the same thing happened, Cheo wanted to record emblematic songs that nurtured his career, and of course, we gave him our support since those of us who recorded in that project are from “Bailatino”.

Eliel Rivero performing pedagogical activities with the trombone.

Finally, what are your social networks? My social networks are Eliel Bailatino on Facebook and eliel_bailatino on Instagram. Concluding, we want to know why that nickname “El Chamán”. Ha, ha, ha, ha, my friend Carlos, that epithet was given to me by my great friends of the “Negramenta” Orchestra. Let me tell you Eliel that for me and for “Salsa Escrita” it was a privilege to have you as a special guest in this issue and from “International Salsa Magazine”, we wish you the best of the best and of course, keep on giving it up with pure tastiness…!

Thank you very much Professor Carlos Colmenárez for this opportunity that you give me and I take this opportunity to send my greetings to the great number of salseros in the city of Barquisimeto and congratulate you for this praiseworthy work of supporting and projecting the musical talent of Venezuela and the world.

Remember not to leave your house…! Until next time and let’s keep on salsing!

Article of Interest: Written Salsa, Barquisimeto’s Salsa Column presents Pamir Guánchez

Photos: courtesy Lisbeth Weffe

Vicente “Little Johnny” Rivero Conguero, Percussionist, Producer, Composer and Band Leader

“Tell me your name in leather, Little Johnny, Little Johnny” Hard Strike.

Conguero, percussionist, producer, composer, and conductor, Little Johnny Rivero has performed throughout the United States, Canada, Europe, Africa, Asia, the Caribbean, and the South Pacific.

Born in New York City to Puerto Rican parents, Rivero was attracted to Latin jazz and the sounds and rhythms of the New York area rumberos as a child.

At age 10, Johnny began practicing percussion and joined his school band.

Conguero, percussionist, producer, composer and bandleader, Little Johnny Rivero has performed throughout the United States, Canada, Europe, Africa, Asia, the Caribbean and the South Pacific. — “Tell me your name in leather, Little Johnny, Little Johnny.”

Shortly thereafter, he took dance lessons, which eventually led him to stage performances with the bands of the time at such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.

At age 14, Rivero joined Orquesta Colón, the youngest Latin band in New York City, and recorded two albums with them.

Shortly thereafter, he took dance classes, which eventually led him to perform on stage with the bands of the time in such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.

In 1973, Rivero moved to Puerto Rico with his parents and joined Sonora Ponceña in 1974.

After playing bongos with them for a year and a half, he switched to congas, which rekindled the love he had for the instrument as a child.

Rivero attributes the rhythms and professional direction he learned from Quique Lucca and his son, Papo Lucca, as qualities that have made him what he is today.

During the 16 years that Rivero played with La Sonora Ponceña, he traveled all over the world and made 18 highly respected albums with them.

Rivero has recorded with producers such as Eddie Palmieri, Brian Lynch, and Dr. Lonnie Smith.

In May 1997, Rivero shared the stage with his inspiration and idol, José Mangual. Rivero’s credits also include work with Charlie Palmieri, Dave Valentín, Rubén Blades, Cheo Feliciano, Andy Montanez, Ismael Miranda, Celia Cruz, Giovanni Hidalgo, Ray Barretto, Patato Valdez, Changito, Tata Guines, John Santos, Sergio George, Bebo Valdes, Paquito D’Rivera, Tito Puente, and many other artists.

Rivero’s first solo effort, “Pasos Gigantes,” was well-received by critics and music fans.

He wrote and produced all the songs on that CD, showing off his skills as an arranger and musician.

He is currently working on his next CD, “Music in Me”, his first Latin Jazz album, which will include musicians, Brian Lynch on trumpet, Zaccai Curtis on piano and keyboards, Luques Curtis on bass, Louis Founche on saxophone, Andrei Matorin on violin, Ludwig Alfonso on drums, and Anthony Carrillo on bongo and bata drums.

Currently, Rivero is traveling internationally with Grammy Award winner Eddie Palmieri.

He also continues to record in-studio sessions and perform with many of the most respected acts in Latin music, including his own band.

Percussionist Johnny Rivero presents the album "Golpe Duro", with his band El Cartel de Nueva York. — Percussionist Johnny Rivero presents the album “Golpe Duro”, with his band El Cartel de Nueva York.

Legendary conguero, percussionist, producer, composer and bandleader Little Johnny Rivero is proud to present his latest album, Golpe Duro, with Anthony Almonte.

From New York and after moving to Puerto Rico, he spent sixteen years with the Sonora Ponceña band and recorded eighteen highly respected albums.

He has played with many of the biggest and most respected names in Latin music, including nine-time Grammy Award winner Eddie Palmieri.

During that same time, Little Johnny formed his salsa band and his Latin jazz band and continued to teach percussion at Kennedy High School in the Bronx, NY. It was there that Anthony Almonte, a high school student at the time, would become one of his music students.

Little Johnny has always had a passion for writing music and over the course of four years since his last album, he was inspired to write once again. He set out to create a danceable album that would highlight the roots of Son Montuno, Guaracha Mambo, and Latin jazz.

The only thing missing was a singer. In a rehearsal, his friend and colleague Jeffery Lopez mentioned that there was a talented “new guy” on the block. He came down, and here he was, Anthony Almonte from Kennedy HS. As they say “the rest is history” and the result of their collaboration is Little Johnny’s latest album, Golpe Duro.

Website: Little Johnny Rivero

Article of Interest: Eddie Palmieri: A Memorable Career

Larry Harlow ¨El Judío Maravilloso¨ Salsa Legend

He is a traditional and important figure in Latin music.

Pianist, Multi-Instrumentalist, Arranger, Composer, Producer and Musical Director Lawrence Ira Khan “Larry Harlow el Judío Maravilloso” was born on March 20, 1939, in Brooklyn, New York, USA.

He traveled to Cuba in the ’50s, at which time he established his residence and began to study Afro-Cuban music. After gaining experience, he returned to New York to develop his own style and created his group “The Harlow Orchestra”.

Later, he participated in “The Fania All Stars”. During his years with Fania, Harlow recorded 35 albums as the leader of his own orchestra and another 20 as a member of Fania.

Harlow ha participado activamente en giras internacionales y en las principales ciudades de Estados Unidos. Actualmente, además de tocar con su banda, Harlow graba y dirige videos para artistas líderes en Estados Unidos y Europa. — Larry Harlow, creator and innovator of salsa.

He also produced more than 200 recordings for other artists, created and composed the first salsa opera, “Hommy”, which he orchestrated, directed and performed in New York and Puerto Rico.

Harlow stays active on international tours as well as in the main cities of the United States. In the present day, in addition to playing with his band, Harlow records and directs videos for standout artists from the United States and Europe.

Larry Harlow, a salsa composer.

The Latin music iconic pianist’s career in 10 recordings that marked an era and the history.

Heavy Smokin’ (1966)

Impresionado con la forma de tocar de la orquesta, Masucci se acercó a su líder, un joven pianista de origen judío llamado Larry Harlow, y le ofreció un contrato discográfico. Harlow sería el primer artista firmado con el nuevo sello Fania Records. Grabado con el cantante cubano Felo Brito, este primer LP incluye "La juventud", además de "Chez José", un homenaje al conjunto donde todo comenzó. — Heavy Smokin (1966)

In 1964, future salsa impresario Jerry Masucci went to the Chez José club to go dancing with his girlfriend in Manhattan. Impressed with the orchestra playing, Masucci approached its leader, a young pianist of Jewish origin named Larry Harlow, and offered him a record contract. Harlow would be the first artist signed by the newly-opened label of Fania Records. Recorded with Cuban singer Felo Brito, this first LP includes “La juventud”, as well as “Chez José”, which was a tribute to the club where it all started.

Presenta a Ismael Miranda (1969)

Aunque sus personalidades son completamente distintas, Harlow y Miranda graban una serie de LP explosivos con ritmos afrocubanos. Esta es su segunda colaboración y presenta algunas canciones de boogaloo, que estaba de moda en el momento. El bajista es Bobby Valentin, quien aporta tres temas, entre ellos el swing letal de "La Contraria". — Presenta a Ismael Miranda (1969)

In the late 1960s, Harlow found the singer who would bring his group to the aristocracy of salsa: a young Puerto Rican boy named Ismael Miranda. Although their personalities are completely different, Harlow and Miranda record a series of explosive LPs with Afro-Cuban rhythms. This is their second collaboration and features some boogaloo songs, which was the fashion of the moment. The bassist is Bobby Valentin, who contributes three songs, including the lethal swing of “La Contraria”.

Abran Paso! (1971)

Su sonido de trombón y trompeta alcanza un paroxismo de sabor en Abran paso !, anclado en tan maravillosas composiciones de Ismael Miranda como "Abandonada fue", "Donde llevas el son" y "Dolor y amor". El cantante aporta su sensibilidad puertorriqueña, mientras que las orquestaciones de Harlow se nutren de la tradición del son cubano. Una combinación de electrizante éxito artístico y comercial. — Abran paso! (1971)

While collaborating with the legendary Fania All Stars as a keyboard player, Harlow feverishly records, taking advantage of the explosion of salsa as a cultural phenomenon. His trombone and trumpet sound reaches a paroxysm of flavor on Abran paso!, anchored in such wonderful compositions made by Ismael Miranda as “Abandonada fue”, “Donde llevas el son” and “Dolor y amor”. The singer brings his Puerto Rican sensibility, while the orchestrations of Harlow are nurtured in the tradition of Cuban son. An combination of electrifying artistic and commercial success.

Homenaje a Arsenio Rodríguez (1971)

Junto a Miranda, compuso la canción "Arsenio", una salsa fuerte con sabor cubano y un clima de melancolía desgarradora. El resto del LP, que fue grabado en una sesión de ocho horas, está dedicado al repertorio de Rodríguez, con versiones extraordinarias de "Tumba y bongo", "No me llores" y "El terror", entre otros. Indispensable. — Tribute to Arsenio Rodríguez (1971)

When Arsenio Rodriguez (musical genius, blind, and pioneer of Cuban son passed away in Los Angeles in December 1970) Harlow quickly decided to record an LP dedicated to his work. Along with Miranda, he wrote the song “Arsenio”, a strong salsa with Cuban flavour and a climate of heartbreaking melancholy. The rest of the LP, which was recorded in an eight-hour session, is dedicated to Rodríguez’s repertoire, with extraordinary versions of “Tumba y bongo”, “No me llores” and “El terror”, among others. Indispensable.

Hommy A Latin Opera (1973)

Inspirado en la ópera rock Tommy del grupo inglés The Who, grabó Hommy, con la participación de Cheo Feliciano y Pete "El Conde" Rodríguez, entre otros. Harlow le pidió a Celia Cruz, que estaba desatendida por la industria de la música en ese momento, que cantara "Gracia Divina", que resucitó su carrera. — Hommy A Latin Opera (1973)

In the early 70s, Ismael Miranda decided to leave the orchestra of Harlow and pursue a solo career, which would cause animosity between them for a long time. Harlow began developing ambitious projects. Inspired by the rock opera Tommy by the English group The Who, he recorded Hommy, with the participation of Cheo Feliciano and Pete “El Conde” Rodríguez, among others. Harlow asked Celia Cruz, who was neglected by the music industry at that time, to sing “Gracia Divina”, which resurrected her career.

Salsa (1974)

Bajo el sencillo título Salsa, rinde homenaje a las raíces cubanas de la música tropical, combinando el sonido del trombón y la trompeta con dos violines que evocan la estética charanga de grupos como la Orquesta Aragón. Con "La cartera", una versión de una canción de Arsenio Rodríguez, Harlow logró su mayor éxito. Gracias a los cantantes Adalberto Santiago y Junior González surgió el sobrenombre de "El Judío Maravilloso" — Salsa (1974)

Harlow recorded one of his most significant albums in just two days. Under the simple title Salsa, it paid tribute to the Cuban roots of tropical music, combining the trombone and trumpet sound with two violins that evoke the aesthetics charanga made by groups like Orquesta Aragón. With “La cartera”, a cover version of a song by Arsenio Rodriguez, Harlow achieved his biggest hit. Thanks to singers Adalberto Santiago and Junior González, the nickname “El Judío Maravilloso” came about.

El Judío Maravilloso (1975)

Este LP del año 1975 sigue explotando un sonido épico con marcada influencia cubana. El tema de apertura, "El dolorcito de mi china", de Arsenio Rodríguez, tiene una duración de 10 minutos e incluye un solo de piano lleno de virtuosismo y expresividad. El auge de la carrera del tecladista no mostró signos de desvanecimiento, como lo demuestran sus versiones de "Buenavista guaguancó" y "El negrito ñéngere", así como el instrumental psicodélico "Latin Roots", compuesto por el propio Harlow. — El judío Maravilloso (1975)

Harlow continued to record prodigious albums, now with Junior Gonzalez as lead vocalist. This LP of the year 1975 continues to exploit an epic sound with a amarked Cuban influence. The opening track, “El dolorcito de mi china”, by Arsenio Rodriguez, lasts 10 minutes and includes a piano solo full of virtuosity and expressiveness. The peak of keyboard player’s carrer showed no signs of fading, as demonstrated by his versions of “Buenavista guaguancó” and “El negrito ñéngere”, as well as the psychedelic instrumental “Latin Roots”, composed by Harlow himself.

La Raza Latina (1977)

Harlow participó de esta tendencia con un musical, A Salsa Suite, que describe la evolución del género tropical desde África hasta el Caribe, pasando por Nueva York de los años 50 y 60 y culminando con una canción dedicada al futuro. Harlow contrató a Rubén Blades para que fuera su vocalista, aunque este no es su mejor momento. Un disco fallido y breve, pero fascinante en su ambición conceptual. — La Raza Latina (1977)

At the end of the 70s, salsa is fertile ground for grandiloquent experiments of a symphonic character. Harlow participated in this trend with a musical, A Salsa Suite, which describes the evolution of the tropical genre from Africa to the Caribbean, passing through New York of the 50s and 60s and culminating in a song dedicated to the future. Harlow hired Rubén Blades to be his vocalist, although this is not his prime. A failed and brief album, but fascinating in its conceptual ambition.

Larry Harlow presents Latin Fever (1978)

A fines de la década de 1990, cuando el interés por la salsa clásica había ido en aumento, formó la banda Latin Legends con el conguero Ray Barretto y el cantante Adalberto Santiago. Este primer disco cuenta con la participación de Pete "El Conde" Rodríguez (unos años antes de su muerte) e Ismael Miranda. El sonido es cálido y orgánico, enfatizando el conocimiento musical de estos veteranos. Según Harlow, era su banda favorita para tocar en vivo. — Banda de leyendas latinas de Larry Harlow (1998)

Harlow always showed the eclectic trends of a cosmopolitan musician. In 1970, for example, he recorded a rock record in the style of Chicago band with the group Ambergris. In 1978, he produced this fascinating LP by Latin Fever, a group consisting of 14 female singers and instrumentalists. These include percussionist Susan Hadjopoulos, who would become famous with English Joe Jackson, and the singer Ada Chabrier, who also collaborated with Ray Barretto and Willie Colón. A rarity that is worth discovering.

Larry Harlow’s Latin Legends Band (1998)

Harlow continued to record high-quality LPs in the 1980s. In the late 1990s, when the interest in classic salsa had been increasing, he formed the band Latin Legends with conguero Ray Barretto and singer Adalberto Santiago. This first album includes the participation of Pete “El Conde” Rodríguez (a few years before his death) and Ismael Miranda. The sound is warm and organic, emphasizing the musical knowledge of these veterans. According to Harlow, it was his favorite band to play live.

The Jewish Salsa Pianist, Innovative and Irreverent

This day 20 / 8 /2021 and after 32 days hospitalized “El Judío Maravilloso” Larry dies in New York at 12:30 a.m. from complications as a kidney patient that weakened his already weary heart.

Words of his wife Maria Del Carmen Harlow-Kahn

“Mi Amore, you are already free to play your music in the celestial orchestra. Thank you for the honor of accompanying you and loving you till the end of your life.

You will live forever in my heart and in the hearts of all who love your music and your huge legacy, fly high my Wonderful Jew and rest in peace.”

Sources:

Ernesto Lechner de AAPR

Artículo de interés: La voz de Markolino Dimond y su irreverente piano en Funk / Soul & Funk-Disco “The Alexander Review

Johnny Vega Musical legend Composer and Vocalist

Born in Santurce, Puerto Rico, veteran songwriter, and singer Johnny Vega grew up surrounded by music and relatives with the same natural talent he discovered in himself at an early age.

It wasn’t long before his obvious gift of writing accompanied by strong vocals was in demand.

Many salsa greats highlighted Johnny Vega, as a songwriter and vocalist at an early age New York was the vanguard of his success.

Relocating as a teenager, with his family, he mastered his craft in both Spanish and English being one of the first Puerto Rican musicians to compose and sing a bilingual hit, singing with Cortijo for the legendary band “Cortijo y su Combo” in the early 70s.

His musical career as described here gave him the notoriety that follows today, currently involved in multiple projects, Johnny continues to write and often performs at sold-out venues in his hometown.

It wasn't long before his obvious gift of writing accompanied by strong vocals was in demand. Many great salseros highlighted Johnny Vega, as a songwriter and vocalist at an early age New York was the vanguard of his success. — Johnny Vega veteran Puerto Rican singer and songwriter Born in Santurce, Puerto Rico

Johnny Vega has participated with a myriad of orchestras to name a few:

Trio Las 3 Voces

Jóvenes Del Ritmo

Gil Suarez Y Su Orquesta Latin Highs

Sonora Casino

Cortijo Y Su Combo

Kako And His Trabuco

Conjunto Los Imposibles

Orquesta Sabor

Conjunto Antonetti

Orquesta La Muralla

Conjunto La Villa Arecibo

Paquito Guzman Y Su Orquesta

Conjunto Santurce

Los 7 Gatos

Renovación 90

Hermanos Gonzalez (Help Yourselves 2015)

Noel Quintana & Latin Crew Popeye Y La Flaca 2016

Soloist Tribute To Celia

From this era of inspiration, Johnny gives the master Tommy Olivencia the song "Pancuco", especially for Frankie Ruiz. — Johnny Vega has participated with countless orchestras.

Some of his compositions:

Popeye – Ay Caray – Adalberto Santiago

Pancuco – Frankie Ruiz

Tú y tu novela – Pasado, presenté y futuro – Mike Cora

Avísale – Clown – incredulous – La Muralla

I’m dying inside – Rafi Marrero

Volver- Tito Rodriguez Jr. Singing Gilberto Santa Rosa

My Salsa is my Cura- Josean Rivera

Hermano Cortijo- Josean Rivera

Sueño de un Borincano- Willie Morales “El Piloto de la Salsa”.

Que le Pasa al Cielo- Chevy El Pitirre de la Salsa

Aquí Mando Yo- Chevy El Pitirre de la Salsa

From that moment on Johnny began to write and share his compositions with local bands so that they could establish their own musical identity.

From that era of inspiration, Johnny gave the maestro Tommy Olivencia the song “Pancuco”, especially for Frankie Ruiz.

Also “Ay Caray” & “Popeye el Marino” for Adalberto Santiago. Many of the musicians who grew up under the supervision of maestro Johnny Vega initially, went on to form part of the orchestras of Celia Cruz, Sonora Ponceña, Héctor Lavoe and many other high caliber bands.

In Rochester, Johnny sang with Orquesta Sabor, Antonetti, and Mike Rosario’s Muralla with whom he formed a solid partnership which included great productions, one of them being “Avísale” a collector’s item for which royalties are still being paid three decades later.