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Search Results for: Cuban music

Role of the Triangle Trade in the birth of Cuban rumba

What Cuban rumba is

As we all know, Latin music is a very diverse mix of a series of rhythms and musical styles from all over the world. What we know today as Latin music was the result of a whole concoction of historical facts that must come first in any story that seeks to explain the origins of any Latin rhythm that wants to be studied.

A good example of this that we have just said is the Cuban rumba, which is part of a set of cultural concepts that can be found in many parts of the world. There are certain musical rhythms that have allowed us to see that some seemingly alien places have made us discover each and every one of the common points they have, both historically and culturally.

How Cuban rumba starts

Cuban rumba and the Triangle Trade
Some people dancing rumba and and playing drums

One of the most important historical events that marked the birth of the Cuban rumba was the triangular trade carried out between Africa, America and Europe. This fact was the emergence of a large number of musical genres that were resulting from the mixture of rhythms and styles from all the aforementioned continents.

After the Discovery of America, Europe saw in the New World a useful territory for many of the economic activities that were not possible in their respective countries. In the case of labor, many African chiefdoms offered for sale to part of their inhabitants, something that was seen with very good eyes by the powerful Europeans of the time. This is how what historically would be known as triangular trade began.

This activity consisted of sending low-quality materials to be exchanged by African slaves to work with African and American resources in terrible living conditions. Once in America, some African ethnic groups were in charge of introducing the rumba in the Antilles, although the origins of the groups that brought these rhythms continue to be controversial among many scholars of the subject.

Although the slaves worked very hard during the day, they continued to practice their traditional rituals and rites at night. These practices were entirely based on their traditional music and religious customs to stay united with their Mother Earth despite the remoteness and the circumstances. Over time, these rites and percussion instruments were banned, so the new inhabitants of America had to adapt to the instruments allowed by the Spanish Crown. This made these sounds unknown to the Africans together with their forbidden dances in this land were merging until resulting in what we know today as rumba.

Rumba today

Cuban rumba and the role of the slaves
People dressed in white to enjoy Cuban Rumba on the streets

The characteristics of the rumba vary enormously from one place to another, since there are many variations and changes from one continent to another. In Africa, many see this genre as similar to zouk or benga, while Europeans refer to it as flamenco or Catalan rumba. There have been many artists who have taken on the task of making this genre their own and making it evolve to unsuspected levels to make it what it is today.

Today, we can appreciate a good number of subgenres that have their origin in the same parrones rhythms from which rumba derives in its different versions.

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Azúcar Club Cubano – Brazil

Meet the “ Azúcar Club Cubano ” of Sao Paulo, Brazil:

Since the Salsa boom in the sixties, “60” invaded the ears of many Latinos and North Americans, later Europeans, Africans and Asians in restaurants, Academies, clubs, parties and events since they were the novelty of the moment and they had something that made his guests dance with seasoning and fun and for future talents (artists) a new style and / or musical genre.

Brazil is the largest country in South America and is one of the countries with the most energy and positivity. The good humor of its people and its constant party atmosphere make this Brazilian culture one of the pillars of world dance. Among the dances that exist in Brazil, the “Samba” stands out, which is danced during festivals and popular celebrations such as the Carnival, some of the most popular versions include “carioca”, “a baion”, “conga”, “mesemba”, “a batucado” and “carnivale”.

Outside of the carnival there is the Carimbó, Capoeira, Lundu, Baião and “Xote” (typical type of lining dance that is incredibly versatile and has several variations throughout the country, it is a dance that has a mixture of European and African influences, it also incorporates elements of salsa, mambo and rumba, depending on the region of Brazil).

Night Club
Azucar Club Cubano is open

Despite everything in Brazil other musical rhythms are also danced but in less quantity such as salsa and bachata in nightclubs and in Brazil there are a great variety of Latin academies, restaurants and clubs where you can enjoy pleasant music and if what You want to dance Merengue, Salsa and Cumbia, you can go visit the “Azúcar Club Cubano” which is a disco and nightclub that is located at Rua Dr. Mário Ferraz, 423 Itaim – Bibi, São Paulo, Brazil.

Which was inaugurated in August 2000; being the first Latin house in Sao Paulo at that time thanks to the Latin inspiration with its flirty and great Caribbean music. Currently it is recognized for being very cheerful and with excellent service where it had great successes and that until today it opens its doors to all people who like Latin rhythms, both music played by DJs and live music are also performed. events, concerts, festivities (birthdays, anniversaries, celebrations, among others).

Azucar Club Cubano working
In the Azucar Club Cubano

They also have a bar where the most requested alcoholic beverages are Rum and Tequila and among their cocktails are ” El Margarita “, ” El margarita con Tequila ” and ” Mojito “, the latter known as the best in all of Sao Paulo, Brazil; They also have a varied menu so that people can taste good food and the music that they are playing at that time.

The Club opens its doors to the public from Tuesday to Friday from 7:00 p.m. (7:00 p.m.) and on Saturdays from 8:00 p.m. (8:00 p.m.) and there one can pay with any credit card or debit.

Cocktails
cocktails are “El Margarita”, “El margarita con Tequila” and “Mojito”,

For more information you can search through:

WebSite:

Facebook: @ azucarclubcubano

Instagram: @ azucarclubcubano

Correo: azucar@ azucar.com.br

Teléfono: +55  11 3074 3737

Tripadvisor:

 

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Unity, The Latin Tribute to Michael Jackson

North America / USA /

Unity, The Latin Tribute to Michael Jackson is a testament to the power of music and one man’s indomitable spirit. The passion project of Peruvian-born, Miami-raised producer / multi-instrumentalist / arranger Tony Succar, Unity features more than 100 musicians, such Latin superstars as Tito Nieves, Jon Secada and Obie Bermudez and the mixing magic of Jackson’s  legendary engineer Bruce Swedien in the first ever Latin album salute to The King of Pop.

Unity, The Latin Tribute to Michael Jackson
Unity, The Latin Tribute to Michael Jackson

Fueled by his relentless commitment, quiet determination and passionate faith in the loving message behind much of Jackson’s music, Succar has spent the last four years carefully creating Unity: The Latin Tribute to Michael Jackson. He overcame seemingly insurmountable obstacles, turning each roadblock into a stepping stone to take the project to new heights. In the process, he married Jackson’s timeless pop and R&B tunes, such as “Thriller”, “Bilie Jean”, and “I Want You Back” to his glorious salsa and tropical rhythms, creating innovative, vibrant arrangements that snap to life with exhilarating energy.

“American funk, soul, jazz – all those styles that were influencing Michael – were inspired from African music”, Succar says. “Same with Afro – Peruvian music, Cuban music. These songs were meant to be. Their original flavor lends itself to these Latin rhythms”.

Succar, 28 grew up listening to his parents play Jackson’s music, and by 13 had begun his own music career. He started on piano and segued to percussion, graduating with a degree in jazz performance at Florida International University in 2008. But it wasn’t until after the superstar’s untimely passing in 2009 that Succar, who earned his Master’s in Jazz performance from FIU in 2010, took a deep dive into the music and the man.

Unity, The Latin Tribute to Michael Jackson - Flyers
Unity, The Latin Tribute to Michael Jackson – Flyers

“That’s when I became a fanatic, memorizing all his lyrics” he says. “He was an amazing singer. I started analyzing every single detail”.

As Succar pored through Jackson’s material, revisiting songs like “Man In the Mirror”, “Earth Song” and “They Don’t Care About Us” – all of which are reimagined on Unity – he came to a realization: “Michael wasn’t only a musician, he was a spiritual person. He was speaking to people’s hearts through his music. He was a true role model and leader, not only in the music industry, but life in general”, he says.

Concurrent with his discovery, Succar arranged a salsa-infused version of “Thriller” for a Halloween party at Miami’s legendary, now closed Van Dyke Café. The reaction was so immediate and overwhelmingly positive to the performance of this new arrangement, that Succar recorded a version in his bedroom with his band, posted in online and gave away copies. Djs started playing the track and Succar began getting requests from around the world for a full album of Latin – flavored Jackson songs. “That sparked it”, Succar says. “I was such a fan. I felt like I had to do something”.

Photo 1: Tony Succar
Photo 1: Tony Succar

He launched a Kickstarter campaign and raided more than $10,000, which allowed him to record basic tracks and the idea and harmonious ideal of Unity was born. “The one thing that stood out in Michael’s usic was love. The reality was unity,” He says. “I also wanted the title to stand for something: a real marriage between Latin roots and American pop culture and to help keep Michael’s legacy alive”.

Part of keeping Jackson’s legacy alive meant incorporating elements of the original production in each of his fresh renditions for Unity. “Even the horn lines, I would transcribe them from Quincy Jones’ produtions and then apply them to the arrangement in a different way,” Succar says. “The essence of every song was respected. I gave it my best to create this very thin line between what Michael did with his production and what I brought to the project”.

As Succar proceeded, an astounding number of coincidences buoyed the project. Succar’s initial plan was to record the album with one vocalist, soulful Broadway veteran Kevin Ceballo, but as Succar finalized the arrangements, the idea of a compilation album cae to him. The first artist he reached out to was legendary salsa singer Nieves. He heard nothing back for months . Then, one day in the studio someone suggested Nieves fo “I Want You Back”. Succar explained he’d had no success contacting Nieves.

Photo 2: Tony Succar
Photo 2: Tony Succar

It’s turned out a studio visitor knew Nieves, called his manager, sent Nieves an MP3, and within 10 minutes, Nieves was on the phone asking when he should come in to record his vocals.

Nieves became the project’s godfather, bringing in other Latin stars, such as India and Jean Rodriguez. “If it weren’t for Tito, I would never have been able to develop this into what it is, “Succar say. “He really opened the doors for me”. Nieves even brought in his son, Tito Nieves Jr. to duet on the album closer, an emotional take on “You are Not Alone”.

As the project progressed, Succar sought out Secada, but once again, was running into walls. He had switched to a different studio and the recording engineer just happened to have worked wih Secada and upon hearing Succar’s story, gave Succar the singer’s direct email. Secada immediately replied that he wanted to record “Human Nature,” his favorite Jackson track.

But there was more to come. Succar contacted Swedien about mixing some tracks, but failed to get a yes after more than a year’s effort. He met his engineer Nick Valentin through a mutual friend, who piped up that he’d been Swedien some music and next thing Succar knew, he’s sitting beside his hero at Swedien’s ranch as Swedien mixed “Earth Song” and “Smooth Criminal. “He was the cherry on top,” Succar says. “When we were mixing, he would put up the original Michael songs and put on our remixes to compare and contrast. He mixed the tracks on the same Harrison 32C model console he mixed ‘Thriller’ on”.

The groundbreaking album, a joint project between Universal Music Classics, Universal Music Latin Entertainment and Universal Music Mexico, embodies Jackson’s spirit of harmony and bringing diverse cultures together through music.

Members of Unity, The Latin Tribute to Michael Jackson
Members of Unity, The Latin Tribute to Michael Jackson

Where there once was nothing but a dream, Succar now sees unlimited possibilities. Not only will there be a tour to support Unity: The Latin Tribute to Michael Jackson, but he is considering future Unity projects that could salute the music of other timeless artist, such as the Beatles or the Bee Gees, filtered through a Latin musical lens. “Unity is going to become a movement,” he says. And given how far Succar’s come already, who could possibly doubt him?

Michael Jackson
Michael Jackson

Julio Albino Y Su Secreto A Voces released ‘‘Pasaporte A Rumbero’’

After a few months of absence, we’re finally back with the batteries recharged to put a magnifying glass on the current projects of the best soneros right now. Today it is the turn of percussionist Julio Albino, who, as usual, delights us with every project he releases. 

But before that, we are going with a bit of the artist’s story so that everyone can know him better.

Julio during an event
Julio Albino during a live event

A little bit about Julio Albino’s beginnings

Julio Albino, also known artistically as Junito, became interested in music in his homecity of New York, and after his subsequent return to Puerto Rico, this curiosity did nothing but grow as time went by. It was then that he started listening to the music of legendary names in the industry such as “El Rey de Los Timbales” Tito Puente and Oreste Vilato, who inspired him to join the San German’s school band to some extent. He would later pursue an artistic career through collaborations with more experienced artists.

He ventured into this world professionally in the 1960s, when he began to be taken into account by several of the greatest salseros of the time, such as Frankie Ruiz, Hector Tricoche, Marvin Santiago, Paquito Guzman, Junior Gonzalez, Los Hermanos Colon, Joe Quijano, among others.

There is no denying that each of these collaborations contributed to Julio making known his great talent as a percussionist, but he would not rest until he was able to form his own project, which he eventually achieved. That was how he founded his own orchestra, Julio Albino Y Su Orquesta Secreto A Voces.

Secreto A Veces

Thanks to all the effort invested in his career, Julio has managed to secure a place for his orchestra in the salsa scene, and his best-known musical works are proof of this. His big debut came in 2005 with the album ‘‘Bailalo’’, which ranked high on the charts in countries such as Italy.

Ten years later, he also released the album “Haciendo Ruido” and, the following year, he came with his single “Chachara Con Cua” and the promise of a new album. In 2018, he released “Edén Borinqueño” as his second promotional single, and shortly after, Julio released the full album, which he named “El Secreto Ya No Es Secreto”.

secreto a voces
Cover art of the song ”Pasaporte de Rumbero”

Pasaporte de Rumbero

In 2025, Julio once again showed why he deserves the place he has earned and released his new single “Pasaporte de Rumbero”, with which he looks to consecrate himself as a worthy heir to the soneros who previously gave him the opportunity to join their ranks. Similarly, he shows absolute respect for Afro-Caribbean culture and its deepest roots. 

This joyful and energetic piece is not only a reflection of the Puerto Rican artist’s talent, but also of the strength and modernity of his orchestra, which is deeply connected to the Cuban musical tradition. From the very first seconds of the song, listeners can appreciate a festive street atmosphere, but at the same time with sophisticated percussion led by Julio himself, who boasts incredible technique that serves as a guide for the rest of the musicians accompanying him.

Among the members of the orchestra, we can mention trombonist Juan Colón, trumpeter Juan “Junito” León, saxophonist Ricardo Dávila, pianist Gabriel Rodríguez, and bassist Luis Rodríguez. Likewise, the lead vocalist is the charismatic singer Ángel Ríos, who contributes his exquisite phrasing and an enviable dominance of the clave at all times. 

Johnny Cru ISM corresponde in New York City

Read also: Our friend Tito Allen supports the Salsa Museum

Omar Ledezma Jr. shares with us the new from his project with Azesu

Today’s guest needs no further introduction because you know him very well. This is the talented Venezuelan percussionist and singer Omar Ledezma Jr., with whom we have been able to talk about his latest projects, one of which gets him focused and excited in equal parts. 

Omar talks to us about his projects
Percussionist and singer Omar Ledezma Jr. talks about his new project with Azesu

What is Omar Ledezma Jr. up to now?

After showing his gratitude for the latest of many invitations we have made to him in International Salsa Magazine, Omar went on to describe the new phase of his career, in which production plays a major role. We are talking about a project he has been involved in since 2011 called Azesu, which includes great musicians and is led by Cuban percussionist Orestes Vilato.

Although the initiative had progressed considerably, Omar and the rest of the group are still waiting for official communication from the social media of the organization that will fund the project by the artists who have applied for it. The group is awaiting approval, although they already have promotion, photos, and a series of details ready to be released once the financing becomes a reality.

What was required of Omar and the rest of the team to present the project

At the beginning, the idea of a recording was floated because this was one of the categories in which artists could apply for funding, so Omar and the others chose to pay tribute to Orestes Vilato. The organization loved the idea, which led them to be one of the groups chosen to receive this financial aid, and they are very happy about that.

However, not everything was rosy, as the members of Azesu could not find the right moment to start recording due to personal situations of some of them and the arrival of the pandemic. After overcoming all that, Jonathan Alford, the group’s pianist and overall director on the project, came to Omar with the idea of recording a second album (they had already recorded one in 2011, also called Azesu) to resume the project they had left behind.

It was then that the Venezuelan artist came up with the idea of paying tribute to Orestes and, in turn, bringing to life some of the lyrics written by his father, who passed away two years ago.

The material also seeks to be a tribute to that generation that is quickly departing, which is why Azesu tries to recreate those concepts and that way of making music, but at this time. 

Omar and the rest of Azesu
These are the members of Azesu from left to right: Sheldon Brown (Saxophone), Orestes Vilató (Percussion), Jonathan Alford (Piano), Maria Marquez (Vocals), David Pinto (Bass), and Omar Ledezma Jr. (Percussion and Vocals). Photo taken by Roddy Blelloch

Timeline and objectives for the project

When Azesu released his first album in 2011, it all started with Orestes calling some of the group’s members, who were pianist Jonathan Alfort, Venezuelan singer María Fernanda Vázquez, Peruvian bassist David Pinto, and American saxophonist Sheldon Brawn.

The project is not conceived as a commercial album in every sense of the word, but as a hymn to Las Americas that has a little bit of everything, including jazz, folklore, popular music, dance music, and many more elements coming together to create a unique and different result.

It is also important to note that Azesu’s new album, next to release in 2016, will feature new tracks and covers with completely new versions in the style of Azesu, some of which will be sung and others instrumental. In addition, the new music was composed and arranged by Jonathan and David, although Omar also played an important role in the creative process when it comes to lyrics and melody. It is anticipated that they will enter the studio to start recording in about three weeks, and the album is expected to be released before the summer of 2026.

Omar teaching
Omar Ledezma Jr. teaching at the San Francisco Ballet School

Omar and teaching

We have already addressed the issue of Omar and his role as a teacher in previous editions, so we wanted to know if he is still teaching and which capacity he is using. The musician replied that the teaching part has been and will remain very important in his overall project as an artist, as he believes that, due to his profession, he has a great responsibility to showcase the music he grew up with and the instruments that have allowed him to develop his career.

He currently teaches Latin percussion at the California Jazz Conservatory at Berklee, which is basically a summer ensemble where students learn to play congas, timbales, and bongos. During the rest of the year, he focuses on specific instruments and developing the tumbadora curriculum.

He also offers private lessons in which students can enjoy a much wider range of instruments to learn, such as drums, cajón, bongos, timbales, and much more.

Omar concluded this important topic by saying, “I always take on the idea of remaining a student. Just as I teach classes, I want to continue acquiring knowledge and taking classes with teachers who know many things I don’t.”

Read also: Caesar Vera Y Su Sexteto NuevoSon, traditional Cuban music with a touch of modernity

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.