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A walk through the history of Latin music in the United States

Latin music has been of great influence for singers in training and, without a doubt, marked the lives of its pioneers. Some born in Spanish-speaking countries and others with descent from these lands have not been able to put aside the flavor that has been inherited to them. There are those who affirm that these tropical and Caribbean rhythms are carried in the veins and it is very difficult to get rid of these roots.

The arrival of Latinos in the United States also implied the arrival of their customs and culture. Latin music is considered to be a large number of genres, including: salsa, merengue, bachata, bolero, bossa nova, reggaeton, rumba, ranchera, cumbia, tango, among others.

Photo of Latinamerican Festival at Nagoya in Golden Week

Latinamerican Festival at Nagoya in Golden Week

How did Latin music begin to enter the United States?

Latin American music has influenced American music, starting from jazz to country music. Many bands added congas, percussion, or maracas to their instruments as they were drawn to the result these elements brought.

Starting in 1940, the music of Latin America, which still did not have a specific term, covered a greater number of audiences in the United States; international radio networks broadcast different themes of the time. In addition, they featured different Mexican bolero musicians such as Alfredo Antonini, Néstor Mesta Chayres, Eva Garza and Juan Arvizu. In the 1940s the US also heard the “Calypso” with great acceptance.

It was not until the 1950s that the term “Latin music” became popular, seeking to establish a difference between Afro-American and Afro-Latin American rhythms. Some artists marked this musical fusion to a greater extent, making the best of Latin music known on American soil. During the 1950s, music brought to the north from the island of Cuba, such as mambo, cha-cha, and rumba, was very popular. As well as the famous Mexican songs: rancheras and mariachis.

Some Latino artists who marked the history of Latin music in the United States Tito Puente was an American percussionist with Dominican origins remembered for his participation in worldwide jazz, Cuban music and salsa. In 1950 he helped promote the genre of mambo and cha-cha. His album “Dance Manía” was considered the most famous by the artist, it was one of the most heard among the Latino community in the US The album also set a precedent by being recorded in Spanish, generally, Latin albums were in English or with instrumental songs. It was Tito Puente who broke with this tradition.

At the beginning of the 20th century, tango touched American soil. Then, in the 70s, the Argentine Astor Piazzolla gave something to talk about by demonstrating his passion for the genre and revolutionizing what was known until that moment. Piazzolla was born in Mar de Plata but lived in New York from a very young age. It definitely changed the way of looking at music that was long marginalized, it was considered the music of the working class. The singer made mixtures between tango, jazz and contemporary classical music. His songs were a great success and were famous in bars of the time.

It was not until the late 1960s and early 1970s that the term “salsa” began to become known. Afro-Caribbean musicians mixed Cuban dance with influences from jazz, Caribbean music, and American rhythms. Although in previous decades it had already had its beginnings, it was in the streets of New York where it was consolidated as a commercial success.

Photo by Celia Cruz and Tito Puente

Celia Cruz and Tito Puente – Latin music

Salsa launched artists who are now legends to stardom, such as: Celia Cruz, Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, among others.

Between the 1970s and 1990s, Dominican immigrants to the United States continued, especially to New York City, and promoted genres such as merengue and bachata. Juan Luis Guerra was one of the great exponents of both styles.

In the 90s, Selena mixed the Texan aesthetic with pop, giving her the title of the highest representative of the genre.

Entering the 2000s

In this decade, Latin rhythms continued to set the trend. Singers like Rubén Blades returned with songs that promised to be hits in the country.

At the end of 1999 Marc Anthony surprised his followers with an album of the same name. Although he was already known in the salsa genre, he decided to try other styles. With the intention of reaching the Anglo market, he is encouraged to sing in English. “I Need To Know” is a cha-cha song that quickly became popular in the United States. For eleven weeks it remained in the top North American positions, ranking in the Top 10 on the Billboard. The Spanish version won the Grammy for the best Latin song of the year 2000.

Marc Anthony was one of the artists who marked this decade in the US That same year a compilation of his best salsa songs went on sale, which he called: “Desde el principio”. With these successes to his credit within this country, he set out to make an important tour of the United States. Canada and Central America. Madison Square Garden in New York was overflowing with fans who wanted to hear this American singer but who positioned himself as the leader of a Latin genre.

Photo by Marc Anthony

Marc Anthony

The opening of “I Need To Know” appeared in the Nissan Versa commercial in the United States and in 2009 it also featured in an American Dad chapter, an American television series; thus giving greater projection to this genre throughout the North American territory.

During this decade, salsa and Latin music in general ended up positioning themselves in the United States.

In 2002 Blades launched his album “Mundo”, becoming one of the most popular in the United States. In fact, it won a Grammy. The album contained a mix of various rhythms and instruments. The artist wanted to create a fusion of cultures and musicians from different countries. “Estampa” was a subject with great acceptance as it evoked the Afro-Cuban influence in New York music.

By the year 2000, there were already music channels and with them the projection of emerging talents who in many cases did not speak the English language. The dynamics of these channels focused on the public, who chose which songs and videos were to be played, giving the opportunity to many young, little-known artists. They were also considered a springboard for the singers of the season and the Latin movement in general.

A movement that is here to stay

Latin music had come to continue making history and it was time to give it greater merit within the American spectacle.

Today, Latin singers, songwriters, and bands are innumerable. Latin music continues to gain space in the United States and more and more artists are achieving success within its borders. In addition, the endless awards that enhance their work in the industry.

Ruben Blades - Mundo

Ruben Blades – Mundo

The consumption of these musical rhythms has increased throughout the American territory. Latinos and followers of this genre have gained space over the years; they can enjoy nightspots, live music, festivals, concerts and much more. Long live Latin America and its people! Long live the United States and the countries that have opened their doors to Latin music

How Jacira Castro and Salsa Power changed the Latin music scene

How did Salsa Power start?

Latin culture, specifically the musical part, has had a large group of unconditional allies who have promoted it worldwide through their work and platforms, being Chilean-American Jacira Castro one of the best known. Jacira is a salsa casino-style salsa teacher and web designer who had the dream of spreading the typical rhythms of our countries, but she did not figure out how until she came up with a revolutionary idea: Salsa Power.

Salsa Power was born in 1999 as part of an initiative created by Castro and graphic designer Julian Mejia, who practically became her partner until the moment when the page stopped working. From that year on that the dance instructor began to generate contacts and develop human networks with people inside and outside the world of music, especially from the salsa genre. A particularity of this system devised by Jacira was that it was fed by the information received from people from anyqhere in the world about everything related to concerts, festivals, press conferences, autograph signings and much more.

Jacira Castro - Salsa Power — Dance instructor and web designer Jacira Castro – Salsa Power

How did this project work?

Thanks to the technology that was advancing little by little in all this time, there were many more contact ways and social media came along to facilitate these activities. The website grew to such an extent that it came to have more than 300 correspondents in over 60 countries, many of whom did not even have professions or occupations related to music, but wanted to strive to make the initiative successful and Latin artists and orchestras have a dependable space to promote their work.

Contrary to what many readers may have thought, everyone involved in this project never received a single cent or publicity in return for all the work being done. In fact, it was Jacira herself who had to pay for all the expenses related to Salsa Power such as plane tickets, travel, lodging, food, wardrobe, among other things. Not to mention the website maintenance and other hosting costs for the domain to work properly.

Fortunately, all that effort and money were worth it because Salsa Power rose to become the largest salsa website on the internet and a true reference for any independent media planning to do anything remotely like that. Much of the fruits harvested by this beautiful project can still be found on the internet and consist of articles, interviews, event coverage, videos and many other things.

The name Salsa Power was so respected that you could not talk about the Latin salsa scene in the United States without mentioning it, especially in South Florida, a place where competition for the first places was at its higuest. This competition was not only between artists and musical groups, but also between media, associations and academies, triggering some inconvenience and regrettable situations like the one experienced by Jacira and Julián a few years ago.

Jacira paid for all the expenses related to Salsa Power

Controversies

Jacira has had run-ins with some important personalities of the Latin music community in Florida because of her political positions, which went against the current of a large number of Latin artists and dancers at that time, especially those who are part of the Cuban exile. Her attitudes towards the political situation in Cuba have been highly controversial, mainly those related to the U.S. economic embargo on the Caribbean country and the limitations on free cultural exchange between both nations. Both Castro and other leaders of the entertainment industry were opposed to the decades-old blockade, which has been maintained until today.

This caused the dance teacher to make some enemies in the Miami music scene, which led to the hacking of Salsa Power with the caption ”This is a communist website” in big red letters along with a message whose author calls Jacira ”communist” and ”pro-Fidel Castro”. Obviously, she got worried and immediately called Julian to bring down the page.

As they began to diagnose the issue and its possible causes, they concluded that those responsible were part of an association composed of a dozen dance schools in Miami and its sorroundings called Salsa United. Around the same time, this organization had just created its own website, which published content very similar to that of Salsa Power, so much so that its principal spokesperson Jolexy Hurtado and Jacira came to have some arguments and run-ins due to how much alike the interviews were in both websites. The conflict reached at such a level that Jacira states that Hurtado told her she was messing with the wrong guy.

Undoubtedly, this whole situation was a big headache for the web designer, but has never let any of this daunt her or make her feel inadequate. On the contrary, she has grown before adversities and has faced them with the gallantry that has always characterized her, since she knows what her work is worth in terms of quality and globality.

However, there comes a point when the effort and time invested are not enough, so it is time to be realistic and assume that everything has its end, as the great Héctor Lavoe would say.

Jacira and Larry — Jacira Castro with producer, composer, and pianist Larry Harlow

Farewell to Salsa Power and Jacira’s current life

After 22 years of operation of the Salsa Power project, many of the correspondents who provided information for the page got married, had children, studied, moved and pursued other professional opportunities that did not allow them to continue their work. For the same reason, Jacira had no choice but to terminate the project that was her life for more than two decades and publish a farewell message thanking all her readers for their support over the years and assuring that she will continue to travel and enjoy salsa and dance.

In spite of abandoning her duties as administrator of Salsa Power, the great impact of the Chilean-American’s work on those who have come to know her and collaborate with her cannot be denied. On her LinkedIn profile, there plenty of favorable reviews about her professionalism and commitment in every activity she makes.

From International Salsa Magazine, we wish her the greatest success in every project she undertakes and that she enjoys all the stages that are to come.

Tata Güines known as Manos de Oro, Cuban rumbero and percussionist

Known as Manos de Oro, he modernized the tumbadoras and played with the most important musicians of the island of Cuba.

He was born in Güines, Havana on June 30, 1930, in the bosom of a family of musicians, son of Joseíto “El tresero” and Niñita, who from a very young age used to play a boot-cleaning box in the corner of the Chapel of Santa Bárbara, in the legendary neighborhood of Leguina, where so many congas and bembés have been made and will continue to be enjoyed.

Artistic trajectory

Saying Federico Arístides Soto Alejo may not say anything to some music neophytes, but when you say Tata Güines, things change radically and everyone thinks: That is the tumbadora made soul and flavor.

Tata Güines conocido como Manos de Oro, modernizó las tumbadoras y tocó con los más relevantes músicos de la isla de Cuba

He became attached to percussion instruments, especially the tumbadora, which, as a Cuban, groaned under the effect of his prodigious hands. Under the influence of Chano Pozo, whose touches bewitched him and gave him the key to create his own style.

He was formed as a musician among the drums and the religious festivities of his neighborhood. He adopted his nickname as a child -el Tata-, and as a surname the name of the town where he grew up. Music was in his blood: his father and uncles made music with their hides.

He played double bass in the group Ases del Ritmo. He was part of the Partagás group, led by his uncle Dionisio Martínez, and later founded the Estrellas Nacientes orchestra and performed with the Swing Casino orchestra in Güines.

In 1946 he performed in his hometown with the Conjunto de Arsenio Rodríguez.

Tata Güines, rumbero y percusionista cubano

}In 1948 he moved to Havana, where he was a member of the orchestras La Nueva América, led by Pao Domini; La Habana Sport led by José Antonio Díaz, Unión, led by Orestes López, La Sensación led by Belisario López, and in 1952 he joined Fajardo y sus Estrellas, with which he traveled to New York in 1956.

He joined Los Jóvenes del Cayo, with which he appeared on the radio station La Voz del Aire; later he performed with the ensembles Camacho and Gloria Matancera.

He accompanied the trio Taicuba as a bongo player, and worked with Guillermo Portabales, Celina y Reutilio, and Ramón Veloz. He participated, along with Chano Pozo, in the comparsa Los Dandys de Belén; also, Los Mosqueteros del Rey, Los Mambises and Las Boyeras.

He recorded with Arturo O’Farrill (Chico) and with Cachao y su Ritmo Caliente, Frank Emilio, Guillermo Barreto, Gustavo Tamayo and others. He was part of the Quinteto Instrumental de Música Moderna (later Los Amigos), led by pianist Frank Emilio; Guillermo Barreto, timbal, Gustavo Tamayo, güiro, Israel López (Cachao) and Orlando Hernández (Papito), double bass.

In 1955 he travels to Caracas, Venezuela, to participate in the carnivals of that city. He traveled to New York with the Fajardo y sus Estrellas orchestra, with which he performed at the Palladium, where he coincided with Machito y sus Afro-Cubans and Benny Moré, whom he accompanied on the tumbadora; he also performed at the Waldorf Astoria Hotel, where he worked for the first time as a soloist.

He prepared a show and shared the stage with Josephine Baker, Frank Sinatra, Maynard Ferguson and Los Chavales de España, with whom he recorded the piece “No te puedo querer”.

In 1960 he returned to Cuba. Four years later he founded Los Tatagüinitos. He offered a concert with the National Symphony Orchestra, conducted by Manuel Duchesne Cuzán, with which he performed his work Perico no llores más. He accompanied the guitarist and composer Sergio Vitier in his work Ad Libitum, danced by Alicia Alonso and Antonio Gades.

International tours

He toured California, Chicago, Miami, Puerto Rico, Panama, Venezuela, Colombia, Mexico, Martinique, Monte Carlo, Switzerland, Bulgaria, Hungary, where he participated in the Jazz Festival; Soviet Union, Finland, Spain.

Musical Validity

Tata Güines was a master of masters of Cuban percussion. His death represents a notable loss for Cuban culture. Nobody like him in Cuba to make percussion an art.

In front of Tata Güines, the leather of the drum seemed the most delicate and expensive silk. He would place his agile hand on the tanned skin stretched by the fire, and with his fingernails he would achieve the saddest of laments as well as the most contagious smile.

Few knew him as Federico Arístides Soto Alejo, but everyone knew that he had modernized the tumbadoras, that he was a master at placing the “loose” beats in a song, as if “carelessly”, but that the piece could not survive if it lacked that imprint of someone who let himself be carried away by the rhythm of the claves, by his very fine ear and by the demands of a body accustomed, since he was almost a child, to music.

He died on February 4, 2008 in Güines, Havana.

Federico Arístides Soto Alejo Tata Güines

Awards and recognitions

National Music Award 2006

Félix Varela Order 2004

Alejo Carpentier Medal 2002

Tataguines Soto Martinez

La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”

It was founded in Matanzas in 1924 under the name of La Tuna Liberal.

Its first members were: Valentín Cané, director and tres player, Manuel Valera, guitar and second voice, Manuel Sánchez (Jimagua), timbal, Ismael Governa, cornetín, Pablo Vázquez Govín (Bubú), double bass, Domingo Medina, guitar, Ismael Goberna, cornetín, Julio Govín, guitar, José Manuel Valera, guitar, Juan Bautista Llopis, guitar.

In 1926 Carlos Manuel Díaz Alfonso (Caíto), falsetto voice and maracas, and Rogelio Martínez Díaz (El Gallego), guitar, joined the group and it adopted the name Sexteto Soprano.

On January 12, 1927, under the name of Estudiantina Sonora Matancera, they moved to Havana. In November of that year they recorded their first two recordings for the Victor label: Fuera, fuera, chino, by José Manuel Valera, and El porqué de tus ojos, by Valentín Cané.

With the definitive name of Conjunto Sonora Matancera, it began its transmissions on the radio station El Progreso Cubano (later Radio Progreso). At that time it appeared on Radio Atwater Kent; in 1932, at the suggestion of Rogelio Martínez Díaz, it took the name of Sonora Matancera, and began its performances in the Havana Sport dance academies, and later in Marte and Belona, and later became part of the cast of CMQ Radio. In 1935, trumpeter Calixto Leicea joined the group; in 1939, composer, pianist and orchestrator Severino Ramos, who gave the Sonora its distinctive sound with his orchestrations.

La Sonora Matancera congregación musical de larga trayectoria y su calidad sonora, es una de las más populares en la isla caribeña “Cuba”

In 1944 pianist Lino Frias and trumpeter Pedro Knight Caraballo joined the group, who with Calixto Leicea formed the most interesting trumpet duo in the history of Cuban ensembles; in 1945 singer Bienvenido Granda Aguilera; in 1948, Angel Alfonso Furias (Yiyo), tumbadora. At this time the Sonora Matancera was formed by Rogelio Martínez Díaz, director, guitarist and chorus; Pablo Vázquez Govín (Bubú), double bass; José del Rosario Chávez (Manteca), timbal; Ángel Alfonso Furias (Yiyo), tumbadora, who replaced Valentín Cané; Calixto Leicea, first trumpet; Pedro Knight Caraballo, second trumpet; Lino Frías, pianist; Carlos Manuel Díaz Alfonso (Caíto), falsetto voice and maracas; Bienvenido Granda, singer and claves; and Celia Cruz, who soon became the stellar singer we knew and the mainstay of the Sonora Matancera hits. Thus began a period that critics have called the golden age of the Sonora.

In 1950, with the advent of television, the Sonora Matancera was one of the first musical groups to perform on this medium. It also signed a contract with the Seeco record company, with whose recordings it made a name for itself in the international market. In 1952, Raimundo Elpidio Vázquez replaced his father, Pablo Vázquez, on double bass (when Rogelio Martínez Díaz died in 2001, he took over the leadership of the group).

In 1926, it changed its name to “Septeto Soprano”. That same year, Carlos M. Díaz “Caíto” accompanied Eugenio Pérez in the choir.

Later in 1927, on Caíto’s recommendation, Rogelio Martínez joined the group and the name of the group was changed to Estudiantina Sonora Matancera.

With a great desire to improve the group travels to Havana where they get in touch with the record company “RCA Victor” and make their first recording on January 12, 1928.

At the beginning of the thirties, the group began to adapt to the new rhythms that were appearing at that time as well as adapting new instruments, such as the grand piano, which was played for the first time in the group by Dámaso Pérez Prado, who years later would become the “King of the Mambo”.

But it was in 1935 when the group took the name La Sonora Matancera, and with this change it introduced a new trumpet player: Calixto Leicea, who replaced Ismael Goberna, who died a few months later due to health problems.

The unforgettable José Rosario Chávez “Manteca”, who replaced the resigned “Jimagua”, also joined the band. Humberto Cané joined the group playing the tres and his father Valentín Cané began playing the tumbadora.

In 1938, Dámaso Pérez Prado retired and left the vacant piano position to Severino Ramos, who soon after became the musical arranger of the group.

During the first years of the forties they made presentations in dance academies, cabarets and in Radio Progreso Cubano, they also included in their repertoire: guarachas, montunos.

On January 6, 1944, two musicians from Arsenio Rodriguez’s group joined the group: Lino Frias (author of the popular song Mata Siguaraya) who began to play the piano and Pedro Knight who became the second trumpet player of the Sonora Matancera.

In the month of December, Bienvenido Granda enters the band recommended as vocalist, being his first recording “La Ola Marina” by Virgilio González, and with him they sign a contract with the nascent record label Panart Records. Valentín Cané, Israel del Pino, Caíto and Humberto Cané made recordings with this label.

In the middle of 1946 the founder Valentín Cané suffers asthmatic problems that force him to leave the group, dying two years later. Before the group joined Panart Records, it recorded other songs for the “Varsity” label, without the name of the Sonora Matancera appearing on the labels, here the first version of “Se Formó la Rumbantela” by Pablo Cairo, “Tumba Colorá”, “El Cinto De Mi Sombrero”, Bienvenido Granda and Humberto Cané participated in these numbers.

El Regreo de La Sonora Matancera 2022 2023

Members

Trumpets: Calixto Leicea and Pedro Knight

Double Bass: Elpidio Vázquez, replacing his father Pablo Vázquez, “Bubu”.

Piano: Lino Frías

Timbales, Bongó and Campana: José Rosario Chávez “Manteca” Chávez

Tumbadora: Ángel Alfonso Furias “Yiyo”.

Guitar and Choir: Rogelio Martínez

Maracas and Chorus: Carlos Díaz Alonso “Caíto”.

Claves and Choir: Bienvenido Granda.

Last January 13, 2023 they turned 99 years old and are still going strong from generation to generation.

Source:

Enrrique “Culebra” Iriarte, Venezuelan pianist, arranger and orchestra conductor.

Bibliography: Ecured Cuba

La Sonora Matancera

You can read: Carlos “Patato” Valdés one of the best percussionists in the history of Latin Jazz

Wálter Rebatta from Peru is one of the most outstanding figures of Latin music

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

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

Welcome Wálter to Salsa Escrita “La Columna Salsera de Barquisimeto, Venezuela”.

Wálter Rebatta desde Perú es una de las figuras más resaltantes de la música latinaWálter Rebatta desde Perú es una de las figuras

It is an immense pleasure to have you as a special guest in International Salsa Magazine through www.SalsaGoogle.com.

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

How did you start in music? Well, teacher in my neighborhood called Ventanilla, in Peru, I grew up and since I was a child I breathed musical air, where at the age of 6 years old I was already playing “El Cajon”, traditional Peruvian Creole instrument, under the tutelage of my older brother Kike Rebatta, who took me later to learn other percussion instruments and prepare me with music theory, and then enter the music school of the renowned teacher Edelmi Chavez, and thus enter to form ranks in the most recognized orchestras in my country, such as: La Iniciativa, Orquesta la Grande, Banana Latin Jazz, among others. Wálter, which international orchestras and artists have you accompanied? I have accompanied and worked with “Los Hermanos Colón” from Puerto Rico and among many groups, I have had the honor of being on stage with my Venezuelan brothers, Hildemaro “El Sonero del Amor”, with whom I have a great friendship, as well as with the master timbalero Alfredo Villamizar, from whom I have learned a lot and from whom I must thank through his column Salsa Escrita.

Wálter Rebatta Multi-Percusionista Peruano

“Chato”, you are currently based in the French city of Grenoble and we would like to know how is the salsa movement, especially in Europe. In fact, professor, in 1995, I came to Europe with the “Orquesta Salsa Perú” and I met Mr. Rodolfo Guerra, with whom a great friendship was born and I became part of the “Orquesta Sincopa Latina”, directed by him, being present in his productions: Salsa que te pasa, Demasiado corazón, Mi bachata, Puerto Rico, Todo, Escándalo, Mi silencio, Mi toque, Habla conmigo and Azafata.

Wálter, I have heard that you have accompanied great salsa artists in their presentations, tell me who? I have had the honor of accompanying the late Tito Gómez, Willie González, Luisito Carrión and the great Venezuelan sonero Orlando José Castillo “Watussi”. Also, let me tell you professor, that I have worked in the Italian television Media Set, in the very popular program “Notte Vola”, also in 2002, I participated in the Tour of the Queen of Salsa, Celia Cruz, along with the orchestra of the prestigious world famous violinist Alfredo de La Fe.

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

In 2007, I participated in the prestigious and famous San Remo festival with the singer Daniele Silvestri, with whom I have recorded in his productions.

In 2009, I participated in the Italian tour “Terromotati Dil Abruzzo”, conducted by the famous singer Laura Pausini and later that same year I participated again in a tour in the United States for charity with Pausini again.

Excellent Wálter, and what can you tell us about the orchestra you are currently working with and what are your future projects? Professor Carlos, at present I am an official musician of the renowned orchestra “Mercadonegro” and in relation to my projects, is to form my own group and perhaps venture into the bachata, but without leaving aside the salsa, since living in Europe I have met many bachateros.

And something very important, my friend Colmenárez, I am also working on the project of my Venezuelan compadre, the musician Edwin Sanz, whom I would like you to interview at some point.

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

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

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

Known artistically as Mahel, Singer, composer, percussionist and professional model

You can read: Walter Rebatta