Search Results for: Celia Cruz

“Pandemia”, the Johnny Ray song about the pandemic

Pandemic

We all know that 2020 was a tough year for everyone, the reason is quite obvious, the pandemic. Although more than a whole year has passed since the disease began to reach the whole world, the repercussions of covid-19 continue to affect many people today, that is exactly what the new Ray’s song is about, it is called “pandemia” (pandemic) after all.

There are many artists who have taken the unfortunate health situation to create art out of it, in this particular case, a song, after all, inspiration can come from anywhere, something that great artists clearly know, and this is the case of Johnny Ray and this song.

In charge of the direction and the percussion of the song is Johnny Ray himself, while the person in charge of the composition of the song was Johnny Zamot. Sammy González Junior was chosen to sing the song, and after listening to his interpretation, we realize it was a good choice.

The song is relatively short if we compare it with the average genre’s songs, but it is enough to comprehend the message, plus, but with just over two minutes in length, we can enjoy the authenticity of the salsa’s sound at its best.

On the other hand, as everyone could imagine just by reading the song title, the lyrics focus on the changes that have arisen as a result of the crucial pandemic and the desire for it to finally end. If we translate the lyrics, these say “you can no longer hear the drum that makes you so happy, all this ended when the pandemic arrived”, these are the first lyrics we listen to after the song’s introduction. “I would give a to be able to cheer people up, beating my drums, watching people enjoy,” sings Sammy Gonzáles, making the message of the song clear in that phrase.

Johnny ray

Johnny Ray is not just another salsa artist, he is a veteran musician with almost forty years of experience, which makes him someone very recognized within the salsa industry. Together with his group called Salsa Con Clase (Class salsa), Ray has participated in countless events of different nature, from schools and universities to different fairs and many private events; Furthermore, they have been indifferent shows in more than a dozen countries, so his international journey has allowed him to gain a lot of experience.

From a very young age, Ray was a talented percussionist, and his interest in music would lead him down the road to success. As he grew and developed himself more as a musician, he would go from playing congas in different places in New York where salsa was constantly present, to sharing the stage with some of the most internationally recognized salsa (and other music genres) artists, such as: Marc Anthony, Rubén Blades, Celia Cruz, Oscar de León, Tito Nieves, Eddie Palmieri, Jerry Rivera and many more.

Despite such a memorable career, Johnny Ray continues to produce songs to this day, and will surely continue to do so for many years to come, as we see that even the pandemic is far from discouraging him, in fact, does the exact opposite, inspire him.

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Written Salsa, Barquisimeto’s Salsa Column presents Pamir Guánchez

By: Professor MSc. Carlos Colmenárez (Venezuela)

Pamir Guánchez, brilliant Venezuelan singer, flutist, saxophonist and arranger.

The special guest of this edition of Salsa Written is the brilliant Venezuelan singer, flutist, saxophonist and arranger Pamir Guánchez, born in Caracas, who began his artistic career at an early age.

Welcome Pamir to the Barquisimeto salsa column, we would like to know how were your musical beginnings? Thank you Professor Carlos for inviting me to your column, which has won praise both in my country and here in the United States of America. I received formal training in my beginnings at the National Conservatory of Music “Juan José Landaeta” in the city of Caracas, where I studied for 10 years, graduating as a flutist.

I studied theory and solfeggio, harmony and music history, I received saxophone lessons with Maestro Rolando Briceño in New York City for 5 years, I was also part of the Youth Symphony Orchestra with Maestro José Antonio Abreu and also in the Caracas Chamber Orchestra for 3 years.

Written Salsa, Barquisimeto's Salsa Column presents Pamir Guánchez — Pamir Guánchez, brilliant Venezuelan singer, flutist, saxophonist and arranger

Which orchestras have you belonged to? I belonged to different orchestras and tropical groups such as Orquesta La Bronko, Los Melódicos de Renato Capriles, Orquesta La Magnífica de Elio Pacheco, Tabaco y sus Metales, Orquesta Amistad de Chuito y Rodrigo, Orquesta Fascinación de Maracay.

Excellent Pamir, by the way, how did you join the orchestra of the Sonero del Mundo? In 1989, while I was with the Fascinación Orchestra, I was discovered by maestro Oscar D’León, who recognized my talent and opened the doors of his orchestra for me to enter as a flutist and saxophonist. I was there permanently for 15 years, where I was able to travel the world and experience some of the most important moments of my career, such as playing at the famous Carnegie Hall and Madison Square Garden in New York City. Guanchez thanks to his preparation, experience and artistic career with Oscar D’Leon, went on to join one of the iconic orchestras of salsa, as is the Orchestra of the Queen of Salsa Celia Cruz, where he remained for 2 consecutive years, performing as a flutist and baritone saxophonist, experience that marked his artistic career, to live very emotional moments next to the “Guarachera de Cuba“.

Pamir, I understand that you also participated with maestro Tito Puente Jr? Indeed professor, I was also a flutist and saxophonist, making myself known during my time with the orchestra of Tito Puente Jr., with whom I recorded his penultimate musical production “Siguiendo los pasos de mi padre” alongside Latin Jazz stars such as the sax master Mario Rivera and I also accompanied him in his presentations around the world.

In terms of recordings, what can you tell us? In 2004 I began recording my first musical production entitled “Pamir con alma de protón“, which with the song “La Charanga de Pamir” won the Estrella award, an award given to local artists with international projection, the CD was signed by the company Protel and was distributed by Universal Latino, with this CD I begin another facet of my career and it is as a singer.

In 2006, seeking to attract and enter the Anglo-Saxon market, I recorded my second CD called "Via Miami", completely instrumental and with the Latin jazz cut, a production that has had great acceptance among jazz lovers. — Pamir Guánchez brilliant Venezuelan singer, flautist, saxophonist and arranger

In 2006, looking to attract and enter the Anglo-Saxon market I recorded my second CD called “Via Miami“, completely instrumental and with the Latin jazz cut, a production that has had great acceptance among jazz lovers.

In 2009 I recorded my third musical production entitled “Pamir inconfundible“, with the promotional number “El soñador“, lyrics, music and composition by Oscar D’León, and also with the participation of former Fania All Stars bassist Salvador Cuevas in a tribute to Jhonny Pacheco, director and flautist of Fania, This CD was on the list for the Latin Grammy nominees, I also counted with the participation of the musicians of the Oscar D’León Orchestra with whom I have a magnificent relationship both professionally and as a friend.

Professor Carlos, I also had the honor of recording with José Alberto “El Canario”, the song “El canario y la flauta”.

Also, with Oscar D’León the song “Baila apretao“, both compositions of the maestro Víctor Gámez.

Pamir has received certification of participation in the 11th annual Latin Grammy Awards, for his participation as a musician in the winning recording, “Tesoros de la música venezolana” (Treasures of Venezuelan music), as he accompanied Ilan Chester.

I was part of the Youth Symphony Orchestra with Maestro José Antonio Abreu. — Pamir Guánchez, born in Caracas, began his artistic career at a very early age.

He has appeared on numerous television programs such as “Despierta America” on Univision, Azteca TV, America TV, interviews on different radio stations in Venezuela, USA, Colombia, Peru, Europe, where they have given him the opportunity to make himself known and continue advancing in his artistic career. Recently he was promoting his fourth musical production called “Se pega“, which has its promotional video. With this production Pamir & La Pachanguísima has won for two consecutive years the 3rd Annual Legends Award and 4th Annual Award as best flutist, at the same time when he is requested by maestro Oscar D’León he accompanies him on stage.

Congratulations Pamir for your extraordinary artistic career and from International Salsa Magazine and from www.salsagoogle.com and from this server Carlos Colmenárez, we wish you to continue reaping success, putting the name of Venezuela on high. Thank you very much Professor Carlos for giving me the opportunity to make contact with my country through your column and I hope to be with you again, blessings, a hug in the distance.

Pamir Guánchez, brilliant Venezuelan singer, flutist, saxophonist and arranger.

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Let us remember the Puerto Rican Catalino Curet Alonso.

Biography

By: Héctor Valor Fernández correspondent from Caracas, Venezuela

Catalino “Tite” Curet Alonso was born in the town of Guayama, Puerto Rico on February 12, 1926, the son of an orchestra musician and a seamstress. He was just two years old when his parents separated; his mother and sister moved to Barrio Obrero, Santurce, with his grandmother, who was responsible for his upbringing. He also received his primary and secondary education.

Photo of the Puerto Rican composer Catalino Curet Alonso

Life in the neighborhood and his experiences there influenced his music. He studied music theory and solfeggio with professor Jorge Rubián, at the same time as growing up with other Latin music great legends such as Rafael Cortijo, Ismael Rivera, and Daniel Santos.

After graduating from high school, he began studying journalism and sociology at the University of Puerto Rico. For more than 20 he worked for the U.S. Postal Service and, at the same time, he was composing songs. In 1960 he moved to New York City, where he worked for the newspaper “La Prensa” as a sports journalist.

In 1965, Alonso met percussionist and salsa singer Joe Quijano, who committed one of his compositions entitled “Efectivamente” to record for the first time. In 1968 and 1969 he composed songs expressly for La Lupe such as “Carcajada final”, “Puro teatro”, and “La Tirana”.

In the early 1970s, “Tite” got into the salsa movement led by the label of Fania Records in which he became the composer of the greatest classics of the genre.

Alonso composed more than two thousand songs, such as “Anacaona”, “Periódico de ayer”, “Lamento de Concepción”, “Las Caras lindas”, “Juan Albañil”, “Mi triste problema”, “Tiemblas”, “Plantación Adentro”, “De todas maneras rosas”, “Marejada feliz”, among many others.

Alonso’s compositions were interpreted by the greatest singers and groups in the Latin American music industry: Joe Quijano, Cheo Feliciano, Celia Cruz, La Lupe, Willie Colón, Tito Rodríguez, Héctor Lavoe, Ray Barretto, Tito Puente, Ismael Miranda, Roberto Roena, Bobby Valentin, Marvin Santiago, Justo Betancourt, Willie Rosario, Pete “Conde” Rodríguez, Andy Montañez, Rafael Cortijo, Tommy Olivencia, Frankie Ruiz, Rubén Blades, among others. Tite” Curet Alonso is considered the most important composer of salsa music in his country and Latin America of the 20th century.

Catalino Curet Alonso left a son, Eduardo, and a daughter, Ilda, as well as several grandchildren. He maintained a fruitful loving relationship with Norma Salazar, an excellent Puerto Rican exponent dedicated to working with children, literary work, craftsmanship, and dance with traditional Puerto Rican rhythms.

She knew quite a lot about Tite’s efforts because she knew full well that beneath that face, that unbreakable smile, and that ever-present hat, there was a man permeated by great emotions, a loving discourse with a political edge, and she kept vigil with a man responsible for his work.

Catalino Curet Alonso died in Baltimore, Maryland, U.S., on August 5, 2003, at the age of 77, as a consequence of respiratory involvement which caused him a heart attack.

His remains rest in the Santa María Magdalena cementery of La Perla in Viejo San Juan. “La Perla, where patriots are buried”. His tomb is close to those of Rafael Hernández, Pedro Flores, and Daniel Santos.

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Professor MSc. Carlos Colmenárez and his “WRITTEN SALSA”

By: Professor MSc. Carlos Colmenárez (Barquisimeto, Venezuela)

Hello there, regular Salsa Escrita readers, here is your ever friend, Professor Carlos Colmenárez MSc, greets you from Barquisimeto, the musical city of Venezuela. In this edition, we are introduing three vocalists and an orchestra with a great trajectory at a national and international level, who have done a great job on behalf of Latin music and we want to continue projecting them worldwide on these pages.

Among these names are: Jorge Luis Suárez, Cheo Valenzuela, Gustavo Gerardo and the orchestra “Negramenta”, si I certainly hope the written interaction between you and us is to your liking.

Salsa Escrita, in charge of this server, your friend of always, professor MSc. Carlos Colmenárez — Professor MSc. Carlos Colmenárez (Venezuela)

Jorge Luis Suárez, “Pride and Symbol of Afro-Caribbean Music”

In Venezuela, the musical talent is undoubtedly first line and proven quality on any stage nationally and worldwide. Specifically in the state of Lara and in the city of Barquisimeto, a great number of artists with category and hierarchy have emerged and been born, exalting our Latin rhythms. — Jorge Luis Suárez, “Pride and Symbol of Afro-Caribbean Music”

In Venezuela, musical talent is without a doubt top of the line and of proven quality nationally and globally. A great number of artists with seniority and status have emerged and born in Barquisimeto, Lara, exalting our Latin rhythms.

For this edition of “Salsa Escrita”, we are honored to have as a special guest the vocalist Jorge Luis Suarez, pride and symbol of Afro-Caribbean music and diverse genres, who has showed his class and professionalism for years.

Jorge Luis is a singer, musician and multi-faceted artist; he was born on August 7 in the city of Maracaibo, the son of parents from the city of Carora, where he spent the most of his childhood in the state of Lara, began to lean towards music, and was largely influenced by his father, who played the guitar and sang romantic music.

At the beginning of the 80’s, he moved to Barquisimeto to attend university and was discovered as a singer and bass, cuatro and guitar player. Welcome to “Salsa Escrita”, through International Salsa Magazine, Jorge Luis Suarez.

To start this pleasant, enjoyable and long-awaited meeting, we would like you tell us your experiences about your artistic career, which has been very successful nationally and globally to make everyone who knows you very proud.

Thank you Professor Carlos Colmenárez for inviting me to your widely read and recognized salsa column, unique at a national and international level and in which you project Venezuelan musicians.

Jorge Luis, with which groups did you start your journey of this wonderful art in which you have demonstrated versatility, perseverance, discipline and quality? Well, let me tell you that I started my musical activity professionally, being part of groups of regional standing like “Las Estrellas del Momento”, “Orquesta Alegría” and then “Venezuela en Gaitas”, “Sason Latino” and at the end of the 80’s and beginning of the 90’s, I joined the staff of the orchestra “La Banda Actual”, a salsa icon in the state of Lara.

By the way, Jorge, we remember your beginnings with “La Banda Actual” and it was an obligatory reference for private parties, night places and of course sharing stage with great artists and Latin and Caribbean music luminaries.

In which groups did you have the joy and the pleasure to sign with national and international stars? In fact, Professor, when I was part of La Banda Actual, we performed with Héctor Lavoe, Wilfrido Vargas, Las Chicas del Can, Porfi Jiménez, Guaco, Los Melódicos, Hermanos Carruyo, Billos Caracas Boys, Orquesta La Crítica and many more during their visits to Barquisimeto, having the Bolivarian Dome and the Trade Fait Complex as locations.

In fact, Jorge Luis, due to your outstanding vocal capacity, gave rise to the call of Luis Frómeta, Billo Frómeta’s son, to join the ranks of Billo’s Caracas Boys. With them I learned to have more artistic discipline and gain experience during 4 years, managing to record three musical productions and traveling through Latin America, the US and Europe; precisely in the Tenerife carnivals we achieved the Güines Record related to public attendance to a dancer, sharing the stage with Celia Cruz and Oscar D’León.

Jorge, tell us about your entry into the orchestra of the world’s leading sonero Oscar D’León. Professor Carlos, precisely as a result of that event in the Canary Islands, Oscar called me and told me that he needed a vocalist of my characteristics to accompany him in his shows and international tours and honestly, it was a difficult decision because with Billo’s Caracas Boys, I was well established along with other Barquisimeto artists: Ely Mendez and Wolfang Perdomo, integrating the line of vocalists for that time, it was all “guaros” (nickname received by the Barquisimeto people).

Jorge Luis is a singer, musician and multifaceted artist, born on August 7 in the city of Maracaibo, son of parents from the city of Carora, where he spent part of his childhood in that entity larense and began to lean towards music, having as main influence his father, who played the guitar and sang romantic music. — Jorge Luis Suárez, “Pride and Presidium of Afro-Caribbean Music”.

But I found Oscar’s offer interesting and finally I said yes. With the Word’s Leading Sonero, to whom I owe a lot, because thanks to him I established myself even more as a performer and especially in salsa, bearing in mind his recommendations to the letter and of course it was an unforgettable experience, since with his orchestra we traveled many countries and performed on stages such as: Carnegie Hall, Madison Square Garden, House off Blue in Los Angeles, Orange Ball, jazz festivals in Europe, sharing with established artists.

Professor, while I worked with Oscar’s orchestra, I recorded my production “Una Tercera Persona”, in mid 1992, which spawned the hit single “Niegalo Todo”, obtaining the first places in the hit parade.

In that production, I was accompanied by renowned musicians, such as Luisito Quintero, Roberto Quintero, Robert Vilera, Raúl Agraz, Yorman León and the Nicaraguan Luis Enrique.

Jorge, how many years did you work with Oscar and why did you decide to leave his orchestra? I worked with Oscar for approximately four years and I decided to leave the group due to force majeure such as business and commercial commitments that I had and still maintain to this day in Barquisimeto.

For those who do not know, Jorge Luis is a multifaceted artist and has managed to enter in different musical genres as a vocalist, from salsa, bagpipes, tropical dance, guaracha, merengue, Venezuelan and boleros; becoming the musical arranger and producer of the trio Carora International at the end of 2014 in the last one.

At the same time, he produced and performed 19 Venezuelan music songs with arrangements by Jean Piero González, which will be released soon.

Jorge Luis, when you settled again in the musical capital of Venezuela, who did you record with? Professor, in Barquisimeto I have been invited to record with the following groups: Venezuela Somos Gaita, Nikitao, Amantes de la Gaita, Venezuela en Gaitas, Unión Gaitera, Rafa y sus Diamantes, Grupo Colorama, Con Klase, Orquesta Variación, Orquesta la Mayor, Orquesta la Gran Premiere, Venezuela Rumba, La Orquesta Raza Caribe, recording 8 songs with this last one in the production that is also about to be released.

Likewise, I was invited to record with the Son Colón Orchestra from Maracay and the Latin Grammy nominees, our Grupo Santoral from Barquisimeto, participating with them as a special guest in the show “El Amor se Canta” during Valentine’s Day, touring and starting in Juares Theater and other cities in the country, and private presentations.

Regarding current projects, what can you tell Salsa Escrita readers? Currently, my second solo production in the gender of salsa is about to be released with arrangements by Barquisimeto multi-instrumentalist Taylor Aranguren and myself.

We are releasing the album this June with the promotional track “No lo beses”, a song that was interpreted by Alejandro Fernández and by Mexican composer José Luis Roma. The production is called “Jorge Luis Suarez Covers”, which includes songs that have been hits around the world, such as: Cobarde cobarde, Escándalo, La bomba, Cuatro rosas, Darte un beso, El amor más grande del planeta, Bailando, No lo beses, among others.

In this production, I am accompanied by my nephew Taylor Aranguren and the musicians: Carlos Giménez, Rómulo Paiva, Jeison Marchán, Wílner Navas, Freddy Adrián, in the master and mixes: Latin Récods Digital.

Sound engineer: René Zerpa and in the general production: Jorge Luis Suárez. Jorge Luis, what are your social networks or digital platforms to interact with your followers? My contacts are, Instagram: @jorgeluissuarezoficial, Youtube: Jorge Luis Suárez Oficial, [email protected].

Jorge Luis, finally, we want to congratulate you for your consistency in music and wish you continue to fresh triumphs, because you have quality and to spare. Salsa Escrita “La Columna Salsera”, will be at your disposal to support you in your present and future projects, at a good time… Thank you professor and personal friend, Carlos Colmenárez, for offering me your support in your salsa column, allowing me to reach your regular readers all over the world; once again a thousand thanks, blessings and long live Venezuela!.

Cheo Valenzuela, “El Sonero de la Dulzura”

At the age of 7 he moved with his family to the city of Caracas, settling in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, "La Columna Salsera" and the International Salsa Magazine. — Cheo Valenzuela, “El Sonero de la Dulzura”

We are pleased to have as a special guest in our salsa column one of the vocalists who has a unique, admirable and respected quality of interpretation, which has been highlighted in our country and abroad and took his flavor and swing with great professionalism and hierarchy. We are talking about Cheo Valenzuela, “El Sonero de la Dulzura”, born in Cantaura, Anzoátegui on January 24th.

At the age of 7, he moved with his family to the city of Caracas, specifically in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, “La Columna Salsera” and International Salsa Magazine. Thank you, my friend and professor Carlos Colmenárez, for giving me the opportunity to be present in this tribune of our Afro-Caribbean music, which serves us to make known our talents and musical projects and thus be able to interact with its ragular readers in Venezuela and around the world. Cheo, to begin with, we would like you to tell us how your beginnings in music were. Carlos, at the age of 14 I began my career as salsero and eventually I was called to join quite renowned orchestras.

Such as? I belonged to the Latin Dimension, then Oscar D’León called me nd I was at his side with his orchestra; later I joined “Nuestra Orquesta la Salsa Mayor”; later I was called by “La Sonora Antillana”; then I joined the following groups: Rumbero Menor, Venezuelan Master Orchestra, Orquesta los Latinos, among others. Nowadays I have my own salsa orchestra “Cheo Valenzuela y su Orquesta” and also my own bolero group, called “Cheo Valenzuela y su Ensamble”. It is amazing, Cheo, we really admire your work, which has been persevering and constantly on the up over the years with national and international projection. Yes, Carlos, let me tell you, apart from thanking you for inviting me to your salsa column, I was launched as a soloist some time ago and I currently have two musical productions, the first one entitled “Cheo Valenzuela y su Orquesta eres tù”.

I belonged to Dimensión Latina, then Oscar D'León called me and I was at his side with his orchestra; then I joined "Nuestra Orquesta la Salsa Mayor"; later he called me "La Sonora Antillana". — Cheo Valenzuela y su Orquesta

This CD is composed of traditional salsa, romantic salsa, bolero, son and ballads. Dear salsa lovers and consistent readers, let me tell you that Cheo, every time he gets on stage, shows off all his musical talent with total stage control, since he is a sonero backed by multiple experiences acquired in his presentations, both in Venezuela and in the different countries he has visited.

Cheo, what can you tell us about your current musical situation? Professor Carlos, at present I am presenting the new promotional theme to all music lovers, which is part of my second musical production called “Salsa buena”, a theme of my own with musical arrangements by Venezuelan pianist, trombonist and singer Mauricio Silva, which we hope will lead to your full satisfaction.

Of course, it will be a success, my friend Cheo, because your productions always carry an indisputable seal of quality. By the way, what are your digital platforms and contacts? You can get me as Cheo Valenzuela in all social networks, you can also do it by email: [email protected] and [email protected] and for bookings by phone +58 424 1044822 and +58 416 6388420.

At the end of the interview, let me say that it was an honor to have you in Salsa Escrita “La Columna Salsera” and wish you continue to succeed inside and outside our country, so that we all enjoy Cheo Valenzuela “El Sonero de la Dulzura”.

A thousand thanks, Professor Carlos Colmenárez, for your unconditional friendship and for giving me a space in your column through International Salsa Magazine, I also predict successes to bulk and that you continue to support us in order to make our productions and presentations known very soon in the name of the lord. Blessings to you Carlos and count upon the Cheo Valenzuela’s friendship “Con Dulzura” and a lot of salsa…!

Gustavo Gerardo

“Singer and composer from Venezuela to the world”.

Today’s character is the extraordinary vocalist Gustavo Adolfo Gerardo González, artistically known as Gustavo Gerardo: singer and composer. He was born in Caracas, Venezuela, on September 12, 1972.

He began his career in July 1990, studied theory, solfege, and lyrical singing at the José Reyna School (CONAC). He has participated in different orchestras and accompanied more than 90 artists or orchestras of Venezuela, and almost 60 of other countries live and/or in record productions, on backing vocals or as a soloist.

His voice has transcended boundaries of his land, as he has sung on stages in Panama (Chiriqui and Panama City), Colombia (Cali, Bogota, Manizales, Medellin, Quibdó, Apartadó, Barranquilla, Supía, Istmina, Pereira, Necoclí, Marmato), France (Marseille and Dax), and Mexico (DF).

He has already recorded his first album, which will be entitled “Valió la Pena Esperar”, under the musical production of Víctor “Piolín” Gámez, of which 3 songs are already known, and at the same time he is working on what will be his second album, still without a name, produced musically by Irving Manuel, of which 2 releases have also been made: his first single as a soloist, “Volveré a nacer en ti”, to be released in October 2015, with lyrics and music by Sonsireth Perdomo and arrangements by Alexis Sánchez.

His second promo single “Manos Negras” was released in May 2016, a composition by Pedro Linares, and an arrangement by Víctor “Piolín” Gámez. In February 2017 he presented his third proposal, “Lo que me quedó”, a composition by Colombian singer-songwriter Santiago Cruz, with an arrangement by Irving Manuel; all accompanied by video clips made by Montmadfilm and Jam Producciones.

In October 2017, in Medellín, he released his fourth single, “Se me acabó el amor”, whose authors are Karen Loewy and Ricardo Prado, arrangements by Irving Manuel. February 2018 was the month chosen for several Youtube channels (Venezuela, Colombia, Mexico, Ecuador and Peru) to make public their fifth theme, “Me extrañarás”, again with arrangements by Irving Manuel, and authorshipof lyrics and music by Sonsireth Perdomo; both accompanied by audiovisuals in photo format made by Jam Producciones.

There is particular focus on featuring or collaborations in productions by other artists: “Cuando una madre se va”, (Los Andrade ft Gustavo Gerardo / May 2017); “Homenaje a Leo” (Luis Ángel Tovar y su Distrito Salsa ft Gustavo Gerardo / 2017); “Ángel o demonio” (Carlitos Flores ft Gustavo Gerardo / December 2017); “007 Mambo” (Orquesta Siguarajazz ft Gustavo Gerardo / September 2018).

Among the songs recorded as the leading voice in recordings by Venezuelan artists are: “Plazos traicioneros” (Reinaldo Torcatt y su Orq. “La Manzana”), “Mujer sensual” (Pedro Méndez y su Orquesta), “Vuelve” (Pedro Méndez y su Orquesta), “Sueño enamorado” (Pedro Méndez y su Orquesta), “Ahora Dios sabe” (Pedro Méndez y su Orquesta), “Ven tú” (Machado y su Orquesta 210), “Esa mujer” (Machado y su Orquesta 210), “Dudo” (Machado y su Orquesta 210), “Marijuana” (Carlitos Guzmán y su Orquesta), “La lluvia” (Carlitos Guzmán y su Orquesta), “Me falta todo” (Carlitos Guzmán y su Orquesta), “De jean y franela” (Carlitos Guzmán y su Orquesta), “Nunca dejé de amarte” (Frank Márquez y su Orquesta) “Dancing was dancing” (Sabadonga), “At Maria’s house” (Sabadonga), “Thirsty for rumba” (Sabadonga), “Paint your lips Maria” (The Constellation “Wladimir Lozano”), “Llanerísimas 1” Popurri (Los Eléctrikos del Vallenato), “Burial night” (Los Eléctrikos del Vallenato), “Nobody is eternal” (Los Eléctrikos del Vallenato), “The Testament” (Los Eléctrikos del Vallenato), “The Old Men are in charge” (Los Eléctrikos del Vallenato), “Your love is good for me” (Los Eléctrikos del Vallenato), “Back to the Amazon” (Kenny su Orquesta El Trovador de la Salsa / September 2018.

Venezuelan artists or orchestras that has been accompanied by Gustavo Gerardo live and/or in record productions, on background vocals or as a soloist:

His first album, "Valió la Pena Esperar", is already recorded, under the musical production of Víctor "Piolín" Gámez, of which 3 songs are already known, and in parallel he is working on what will be his second album, still unnamed, musically produced by Irving Manuel, of which 2 releases have also been made: his first single as a soloist, "Volveré a nacer en ti", was released in October 2015, with lyrics and music by Sonsireth Perdomo and arrangements by Alexis Sánchez. Her second promotional single, "Manos negras" was released in May 2016, a composition by Pedro Linares, and arrangement by Víctor "Piolín" Gámez. In February 2017 he presented his third proposal, "Lo que me quedó", composed by Colombian singer-songwriter Santiago Cruz, with arrangement by Irving Manuel; all accompanied by video clips made by Montmadfilm and Jam Producciones. — Gustavo Gerardo Singer and composer from Venezuela to the World

Marianella (La Rubia de la Salsa), 2. Salvador Pino, 3. Naty y su Orquesta, 4. Wladimir Lozano, 5. Hildemaro, 6. Erick Franchesky, 7. La Salsa Mayor, 8. Paquito Barón, 9. Mariana (La Sonera de Venezuela), 10. Los Generales de la Salsa, 11. La Dimensión de Siempre, 12. La Constelación, 13. Magia Caribeña, 14. La Orquesta de Franklyn y Alonso, 15. Cheo Valenzuela, 16. El Pavo Frank Hernández, 17. Canelita Medina, 18. Trina medina, 19. Rodrigo Mendoza, 20. Cesar Monges (Albóndiga y su Pandilla), 21. Roxana, 22. Wilmer Cobos, 23. Jimmy (El León), 24. Mundito y su Orquesta Celestial, 25. Edgard Rodríguez (El Abuelo), 26. Orquesta Caché, 27. Pasión Juvenil, 28. Wilmer Lozano, 29. Wiwi Buznego, 30. Orquesta Filarmónica Nacional, 31. Argenis Carruyo, 32. Julio Moreno, 33. Pedro Santana, 34. Reinaldo Torcat (Orquesta la Manzana), 35. Pedro Méndez y su Orquesta, 36. Tommy Mata, 37. Descarga Criolla de Pibo Márquez, 38, Orquesta Los Satélites, 39. Wilman Cano, 40. Bazil Alexander, 41. Oscar D´León, 42. José Madera Niño (3er Mundo), 43. Machado y su Orquesta 210, 44. Orquesta La Negramenta, 45. Carlitos Guzmán y su Orquesta, 46. Frank Márquez (El Ingeniero del Timbal), 47. Los Soneros de La Calle, 48. Orquesta Calle Luna, 49. Lisandro Torres y su Orquesta, 50. Luis Conny, 51. Adrián Marchán, 52. Roberto Antonio, 53. Mireya, 54. Marco Toro y su Ensamble, 55. Orquesta Selecto, 56. Orquesta Puerto Rico es Salsa, 57. Charanga Cien Fuegos, 58. Orquesta Tierra en Trance, 59. Swing Band, 60. Orquesta Camagüey, 61. Tito Gamero y su Orquesta, 62. María José Estrella y su Grupo, 63. Milenio Banda Show, 64. Orquesta Entre Panas, 65. Orquesta La Trayectoria, 66. Orquesta Los Latinos, 67.?Mayito Rivera, 68. Louis Cuellar, 69. Wito Rodríguez, 70. Jairo Andrade y Charlie Andrade (Los Andrade), 71. Siguarajazz Orquesta, 72. Alejo Beltrán, 73. Mauro Mosquera, 74. Sammy Marrero y su Orquesta El Trovador de la Salsa, 75. Mario Kaona y su Orquesta, 76. Diego Velasco (D´Velasco), among others.

Currently, he records songs for his solo record productions, teaches vocal technique classes in Medellin, Colombia: vocal coach and recordings vocals or leading voice for other artists.

He participated in the symphonic Latin concert of radio station Latin Stéreo Medellín, in which he interpreted the work Hommy of master Larry Harlow and the always cheerful theme by Raphy Leavitt, accompanied by the Symphonic Orchestra of the University of Antioquia. Finally, Gustavo Gerardo reiterated the invitation to the Gala Night this Saturday, November 2 at the Santo Juan Nueva Era club in Medellin.

For bookings, please contact him at +57 323 5116736 with his legal representative Sonsireth Perdomo. From “Salsa Escrita” the salsa column and from this servant Carlos Colmenárez, we wish all success to this extraordinary Venezuelan vocalist.

Negramenta Orchestra

One of the Venezuelan salsa bands with greater international projection "La Negramenta", an orchestra formed in 1998 by Pedrito Linares and Willians Castillo, with the idea of highlighting all the contribution that Barlovento has given to salsa. In 2008 they recorded their first production "Cosas de negros". "La Negramenta" has its origin in the "Orquesta Magistral", founded by Pedro "Saba" Linares. The name of the group "Negramenta", is given to highlight the gentilicio, ideals and feelings of its people. — Negramenta from Barlovento and its black guy stuff

Negramenta from Barlovento and its black guy stuff.

It is the turn of one of the most onternationally recognized Venezuelan salsa bands “La Negramenta”, an orchestra formed in 1998 by Pedrito Linares and Willians Castillo, with the idea of highlighting all the contribution given by Barlovento to salsa. They managed to record in 2008 their first production “Cosas de negros”. “La Negramenta” has its origin in the “Orquesta Magistral”, founded by Pedro “Saba” Linares. The name of the group “Negramenta”, is given to highlight the kindness, ideals and feelings of its people.

They have recorded the following productions: “Cosas de negros volume 2”, “Otra cosa”, “Pa’los cuatro vientos” and “Libre”. The list of their successes includes: Aquí no se rinde nadie, Música negra, No me caso, La ley y Pedrito el lento; by the way, these last two songs reached the top ten brands in the Latin environment of New York, Miami, Peru and Colombia.

The staff of “La Negramenta” is made up of: Wiwi Buznego, Anthoni Ramos and Noel Alexánder Machado (vocalists), Heyzer Cabrera (bongo and chorister), Renzo Hernández (tombales), Mauricio Landaeta (timbales), Willie Melo (piano), Franklin Rodríguez and Joel Brito (trombones), Luis Allen and Ignacio Blanco (trumpets), Wílmer Maestri (sax), Willians Castillo (bass and musical direction), Pedro Linares (composer and general director), Celedonio Martínez (production and animation).

La Negramenta’s contacts for booking are: +58 414 2988874 and +58 426 5132334

Orquesta Negramenta Los Buenos — Negramenta Los Buenos Orchestra

Inicio

Professor MSc. Carlos Colmenárez

Mauricio Silva with ¡fury!

Composer, arranger, producer, pianist, trombonist, vocalist and conductor he participated in the recording of more than 200 productions.

It is a great honor and the pleasant satisfaction of having one of the most prolific, successful and recognized Venezuelan musicians who works as a composer, arranger, producer, pianist, trombonist, vocalist and conductor as a special guest; who is also recognized by all salsa fans at home and internationally.

We refer to Mauricio Silva, who has a musical lineage inherited from his grandfather Manuel Silva Linares and his father Miguel Angel Silva; the latter stood out as the jazz bassist for Gerry Weil, Billo’s Caracas Boys, Los Melódicos and Orquesta de Porfi Jiménez, among others; his uncle Rafael Silva was considered one of the best and most experienced trombonists in Venezuela.

Composer, arranger, producer, pianist, trombonist, vocalist and conductor He participated in the recording of more than 200 productions — Mauricio Silva with ¡fury!

Some of his brothers are also musicians and include: Josué Miguel Silva (now deceased) and Daniel Silva, an outstanding bassist and singer in diverse orchestras nationally and internationally. His son Briant Silva and his nephew Harold Silva are part of the new generation.

Mauricio Silva was born in Caracas on December 30th and became interested in training very well in his profession from a very young age which is why he studied with great Venezuelan and foreign musicians.

He has participated in the recording of more than 200 productions. Some of them with: Sexteto Juventud, La Crítica de Oscar D’León, Wladimir y su Constelación, Dimensión Latina, Los Satélites, La Salsa Mayor, Arabella y su banda, Los Melódicos, Billo’s Caracas Boys, Silva y Guerra, Mauricio Silva y su orquesta, Oscar D’León, Cheo Valenzuela, Caribbean Magic, Porfi Jiménez, Salserín, Erick Franchesky, Guaco, El Trabuco Venezolano, Wílmer Lozano, Legacy of Venezuelan Salsa, Legacy of World Salsa, among others. His compositions include Se Necesita rumbero (recorded by Oscar D’León), Te haré feliz, Debe ser el amor and Canto al Madera.

To start this interesting interview, we want to welcome to Mauricio to “Salsa Escrita” the salsa column in which we support musical talent and promote the event of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com.

Thank you very much Professor Carlos, the truth is that I am very happy to appera as a guest in your widely-read column and I want to send my greetings to your readers and followers, I am very happy to share with you.

Master Mauricio for us it is a pleasure to interact through this prestige means of communication, let me tell you that we consider you a great idol of our Afro-Caribbean music and want to know how you started liking music. Carlos, music means everything to me, it is my formula of life and I am in it as long as I can remember. Through many studies and divine support for everything I have done and although I am not the most successful in the world, I feel very satisfied with it.

Well Mauricio, by the way, by the time you were in the orchestra “La Crítica”, were you influenced by any musician?

Yes, when I was in La Crítica, I was very much influenced by Oscar D’León as the main factor, when I saw him playing and singing with that incredible swing, that definitely left its mark and listening to artists of the time such as Andy Montañez, El Gran Combo, Ismael Rivera, Héctor Lavoe, Celia Cruz and note that life allowed me to work with all of them;

because I worked with Hector, Celia, Oscar and many others from Puerto Rico, Cuba and my training was routed to tropical music by accompanying Daniel Santos, Celio Gonzalez, Alberto Beltran and the commitment was greater to know that they came from the Sonora Matancera and that is how my taste for music was cultivated.

And to start this interesting interview, we want to welcome you Mauricio to "Salsa Escrita" the salsa column, where we project the musical talent and make known the events of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com. — Mauricio Silva has participated in the recording of more than 200 productions

When was the idea of singing born, Mauricio? Really, the idea of singing was not one of my goals, it dit not crossed my mind to be a singer, and moreover, being in front of an orchestra got me so nervous, since being behind made feel like a duck to water, conducting, playing, but not facing the public. I did not consider myself a singer, I simply have a normal ear to have a guide to melodies of the songs, the fact that I started singing was with “Salsa, Silva y Guerra”.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

Manuel Guerra had asked me for some musical arrangements for a project of his, which was going to be recorded in Puerto Rico with arrangers from there, with Ray Santos and Máximo Torres. — “Salsa, Silva y Guerra”

I made arrangements to two of my compositions for him: “Qué linda es la vida”, “Se va el amor”, and well, it was recorded on the island of Puerto Rico, that was spectacular, but the “Black Friday” occurred and costs doubled, so Manuel had to finish the production in Venezuela and then he asked me to help him finish it, we set up the trombone, chorus and I took him to ride the voice, but Manuel had tone problems with the songs, he did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him.

Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.

And yet, at the end, I ended up recording that album, which was called “Salsa, Silva y Guerra”, because I got involved with Manuel Guerra and the label Rodven decided to call it that, and there the singer Mauricio Silva was born without wanting to. I never intended to be a singer, so when it is for you, it is like you do not even take off and so begins my career as a vocalist. Mauricio, we understand that you participated in more than two hundred productions and that shows that you are a very active musician in the music industry due to your professionalism.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

He did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him. Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.

Tell us: look, I had about 200 albums I had them computed, but I don’t know, I lost count.

For example, these days I met again with a musician from Barranquilla, we had already worked together in 1987 during a musical tour of the United States, me as a pianist in an orchestra and him as a timbalero, who is very famous in his city and I made an arrangement for him at that time and he brought back to that work and told me it was on Youtube.

So my participation has been as an arranger, musician, pianist, trombonist, choirboy, apart from the records I have served as a singer or as a guest.

I remember that I worked with “El Trabuco Venezolano”, artists from Panama, Puerto Rico, Colombia, naturally Venezuela, the United States, and Cuba.

I have done many things, both with salsa, boleros, bagpipes and much more, what happens is that I am more known in the salsa style, Venezuelan music, jazz, Bosanova, merengue, the Billo’s music, Los Melodicos, actively participating with them and salsa I have done work with Choco Orta from Puerto Rico, El Canario, Oscar D’León, Arabella, with the song’s arrangement I made of “Callejón” by Tite Curet Alonso; the truth is that I’m not complaining. Mauricio, by the way, an almost obligatory question, what have you made in such confinement by the pandemic there in Miami and how has Covid-19 affected you?

Tell us: well, the year 2020 was very difficult for all of us and the main thing that can never stop is the food and medicines supply; but entertainment and recreation is paralyzed and has timidly begun to move a little bit, but they have even stopped it again because the pandemic is still going on and here vaccination began here but the first to receive them will be the doctors, the nurses, elderly people, children and the general public, which, hopefully, will be the solution by 2021 and so artists will return to the stage.

I was affected by the coronavirus, it really hit me, solitary confinement for 15 days with many symptoms, but it detected with the exam, I did all medical treatment, I went through a lot of depression, but thank goodness I woke up much better one Sunsay and I said, am I cured? (laughter) then I had another test and it was negative, but it is an experience that has killed colleagues, friends and family; here in Florida, more than 2000 people are infected daily and 3000 people die every day in the whole country, but we remain optimistic with respect to work out airy.

Mauricio, do you have any upcoming project? Yes, there are always projects, I am producing new artists that will be know later on, but the global legacy of salsa is the most recent thing I put on the market, it is a tribute to salsa, so that the new generations can get to know that salsa that falled us in love in the 70s, 80s and 90s.

This is on all digital platforms and there is also the legacy of Venezuelan salsa. Likewise, the album “Billo’s Legendarios” in which I got the chance to be the arranger and in charge of the musical part of that production with the participation of: Carlos Vives, Oscar D’León, Charlie Aponte, Wilfrido Vargas, Sergio Vargas, Alex Bueno, Eddie Herrera, Don Fulano and Mily Quesada; in addition, the Venezuelan singer Karina and the vocalists of Billo’s Caracas Boys are special guests.

I am also working with the new from “Adolescentes” in its new phase from the hand of El Negro Mendoza.

I am doing the “Legendary Billo’s No. 2” and in talks with Gilberto Santa Rosa, Tito Nieves, Silvestre Dangon, Carlos Vives, who wants to sing the theme “La Casa de Fernando”, and also I am helping many colleagues because the world of the record has changed a lot, there are no longer record companies that support, so stay tuned to 2021 because very good productions are coming.

Mauricio, tell us, which singers have you accompanied in your successful career? Well, I had the honor of learning and playing with Alberto Beltrán, Celio González, Daniel Santos, those three singers from “Sonora Matancera”, we accompanied them with “La Crítica”, but even then, I accompanied Ruddy Márquez, José Luis Rodríguez, Oscar D’León, Celia Cruz, Héctor Lavoe, Justo Betancourt, Ismael Miranda, Eddie Santiago, Vity Ruiz, Maelo Ruiz, Tito Rojas (QEPD), Pedro Arroyo, Luisito Carrión, Rafu Warner, most of those artists from the 80s and 90s, and many more with whom I had the opportunity to be formed, musically speaking.

Mauricio, to finish, we have a friend in common, Nelson García “Nelsonero” in Barquisimeto, how was your work with him? Speaking of Nelson, is to talk about a great musician, a great person, from the first time I knew him, we were connected, we made a record with very few resources, but there was a magic of a talented boy who looked for a musician that is me and he put himself in his hands, and let them take him, although the songs are mostly from him or almost all the songs were from Nelson and I made those arrangements looking for a style with trombones and baritone sax, resulting in an album with a lot of heart, and from then on.

Many doors have been opened to Nelson for his way of being and he has traveled to many places in the world, and I really love him very much, I ask you to support him because he is one of those real talents, he is not made up, he is not manufactured, he is natural, that is Nelson de Jesus “Nelsonero”.

Dear Salsa fans, regular Salsa Escrita readers, we are very grateful to Mauricio Silva for the interaction we have had, give us a final message: Thank you Professor Carlos, of course, very grateful for allowing me to share in your widely read salsa column in which you promote and support the talent from my country and the rest of Latin America; I hope we can meet up again soon; I have a little bit of Barquisimeto, because I have an aunt who lives in the urbanization El Obelisco, I have cousins, godparents, Rafael Ure and a very big big greeting to all of them.

I love that city a lot, the “Musical City of Venezuela”, I have numerous friends there and I participated in orchestras such as: Nino y si Orquesta, La Banda Actual, they are all friends and we share a lot, so I send my greetings to all of them, thank you for this opportunity Professor Carlos Colmenárez “The Friend of the Salseros” and I hope to see you soon, we love you with fury!

after the rehearsal with the Los Angeles Philharmonic with Gustavo Dudamel and Oscar D'Leon - Mauricio Silva — Mauricio Silva after the rehearsal with the Los Angeles Philharmonic with Gustavo Dudamel and Oscar D’Leon

See you next time and keep dancing salsa!