Search Results for: Cuban music

Mark Weinstein Flutist, composer and arranger

North America / United States / New York

With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn where he was raised.

Between then and age 14 when he started to play trombone in Erasmus Hall High School, he tried clarinet and drums. Playing his first professional gig on trombone at 15, he added string bass, a common double in NYC at that time.

Mark learned to play Latin bass from Salsa bandleader Larry Harlow. He experimented playing trombone with Harlow’s band and three years later, along with Barry Rogers, formed Eddie Palmieri’s first trombone section, changing the sound of salsa forever.

With his heart in jazz, Weinstein was a major contributor to the development of the salsa trombone playing and arranging. He extended jazz attitudes and techniques in his playing with salsa bands.

His arrangements broadened the harmonic base of salsa while introducing folkloric elements for authenticity and depth.

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn — Mark Weinstein Flutist, composer and arranger

The only horn in a Latin jazz quintet led by Larry Harlow in the jam session band at the Schenks Paramount Hotel in the Catskills

The only horn in a Latin jazz quintet led by Larry Harlow at the jam session band at Schenks Paramount Hotel in the Catskills, soloist and arranger with Charlie Palmieri in the first trumpet and trombone salsa band in NYC, arranger and featured soloist along with the great Cuban trumpet player Alfredo Chocolate Armenteros in Orchestra Harlow, and with the Panamanian giant Victer Paz in the La Playa Sextet, and with the Alegre All Stars, Mark’s playing and arranging was a major influence on Salsa trombone and brass writing in the 60s and 70s.

Mark Weinstein continued to record with Eddie Palmieri, with Cal Tjader and with Tito Puente. He toured with Herbie Mann for years, played with Maynard Ferguson, and the big bands of Joe Henderson, Clark Terry, Jones and Lewis, Lionel Hampton, Duke Pearson and Kenny Dorham. In 1967 he wrote and recorded the Afro-Cuban jazz album, Cuban Roots for the legendary salsa producer Al Santiago.

It revolutionized Latin jazz; combining authentic folkloric drum ensembles with harmonically complex extended jazz solos and arrangements. Chick Corea was on piano and the rhythm section included the finest and most knowledgeable Latin drummers: Julito Collazo, Tommy Lopez Sr. and Papaito (timbalero with La Sonora Matancera).

El único cuerno en un quinteto de jazz latino liderado por Larry Harlow en la banda de jam session del Hotel Schenks Paramount en los Catskills, solista y arreglista con Charlie Palmieri en la primera banda de salsa de trompeta y trombón en NYC, arreglista y solista junto con el gran trompetista cubano Alfredo Chocolate Armenteros en Orchestra Harlow, y con el gigante panameño Victer Paz en el Sexteto de la Playa, y con los Alegre All Stars, el hecho de que Mark tocara y arreglara fue una gran influencia en la escritura del trombón de salsa y los metales en los años 60 y 70.

Mark Weinstein continuó grabando con Eddie Palmieri, con Cal Tjader y con Tito Puente. Hizo giras con Herbie Mann durante años, tocó con Maynard Ferguson y con las grandes bandas de Joe Henderson, Clark Terry, Jones y Lewis, Lionel Hampton, Duke Pearson y Kenny Dorham. En 1967 escribió y grabó el álbum de jazz afrocubano Cuban Roots para el legendario productor de salsa Al Santiago.

Revolucionó el jazz latino, combinando auténticos conjuntos de tambores folclóricos con solos y arreglos de jazz extendido armónicamente complejos.

Chick Corea tocaba el piano y la sección rítmica incluía a los mejores y más conocedores bateristas latinos: Julito Collazo, Tommy López Sr. y Papaito (timbalero de la Sonora Matancera).

A principios de los 70 Mark se tomó un tiempo libre de la música para obtener un doctorado en filosofía con una especialización en lógica matemática.

Se convirtió en un profesor universitario y sigue siéndolo hasta el día de hoy. Cuando regresó a la escena musical en 1978 tocando la flauta, escribió produjo y grabó las Suites de los Orishas con la cantante Olympia Alfara, el gran pianista de jazz colombiano Eddy Martínez y los percusionistas Steve Berrios, Julito Collazo, Papaito y Papiro junto con un coro afrocubano. Inédito hasta hace poco, la música de las Suites de los Orishas se convirtió en el tema del Sunday Salsa Show de Roger Dawson en WRVR.

Mark Weinstein volvió al jazz con una venganza, trabajando en conciertos y grabando más de una docena de CDs desde 1997.

Seasoning, su primer CD de flauta experimentó con diferentes escenarios para la flauta, incluyendo un cuarteto con el vibrafonista Bryan Carrott y Cecil Brooks III en la batería y un trío de flauta y dos guitarras con Vic Juris y Rob Reich.

En 1998, Mark grabó Jazz World Trios con el maestro guitarrista brasileño Romero Lubambo y el premiado percusionista Cyro Baptista.

Su exploración de temas brasileños con guitarra clásica y percusión contrastaba con un trío de freebop con Santi Debriano en el bajo y Cindy Blackman en la batería.

Jean Paul Bourelly y Milton Cardone completaron el conjunto con música basada en temas de santería.

El lanzamiento de Three Deuces en 2000, emparejó a Mark con los guitarristas Vic Juris, Ed Cherry y Paul Meyers.

Mark continued to record with Eddie Palmieri, Cal Tjader and Tito Puente — With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging – Mark Weinstein

Because of limited distribution and more demand that albums available, Mark rerecorded the material from the original Cuban Roots with new arrangements and the help of such giants of Cuban music as pianist Omar Sosa, percussionists Francisco Aquabella, Lazaro Galarraga, John Santos, Jose De Leon, and Nengue Hernandez. It was co-produced with his nephew, trombonist, violinist and arranger Dan Weinstein for Michael McFadin and CuBop Records.

In 2002 Mark had the incredible opportunity to go to Kiev, Ukraine, where his father was born, to record the music of the Ukrainian composer Alexey Kharchenko. Milling Time, the record that they made, stretched his playing in a number of directions, from modern classical music to smooth jazz to Ukrainian folk music.

He continued his exploration of his roots with a jazz album of Jewish music with Mike Richmond on bass, Brad Shepik on guitar and Jamey Haddad on drums and percussion.

He then turned to Brazil and the music of Hermeto Pascoal’s Calendario do Som, entitled Tudo de Bom with guitarist and vocalist Richard Boukas, Nilson Matta on bass, Paulo Braga on drums and Vanderlei Pereira on percussion.

In 2005 he began his ongoing association with Jazzheads record recording another version of Cuban Roots called Algo Más, with Jean Paul Bourelly playing electric guitar, Santi Debriano on bass, Thelonious Monk award winning percussionist and vocalist Pedrito Martinez, as well as Nani Santiago, Gene Golden and Skip Burney on congas and batá drums.

His next release on Jazzheads was O Nosso Amor with Brazilian jazz masters Romero Lubambo, Nilson Matta and Paulo Braga along with percussionists Guilherme Franco and Jorge Silva.

In the early 1970s Mark took time off from music to pursue a doctorate in philosophy with a specialization in mathematical logic. — Mark Weinstein He became a university professor and continues to be one to this day

This was followed by Con Alma, a Latin Jazz album featuring Mark Levine on piano, Santi Debriano on bass, Pedrito Martinez playing conga and drummer Mauricio Hererra.

Next a straight-ahead album, Straight No Chaser, with guitarist Dave Stryker, bassist Ron Howard and Victor Lewis on drums. A return to Brazilian music, Lua e Sol, saw Romero Lubambo and Nilson Mata joined by award winning percussionist Cyro Baptista

Mark Weinstein took time out from Jazzheads to record an album for Otá records in Berlin with Grammy nominated pianist Omar Sosa playing vibes, marimbas and piano along with Ali Keita on balafon, Mathais Ogbukoa and Aho Luc Nicaise on African percussion, bassist Stanislou Michalou and Marque Gilmore on drums. Back to Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, joined by Roman Diaz with the young giants Axel Laugart on piano and bassist Panagiotis Andreou. This was followed by Jazz Brasil with NEH Jazzmaster Kenny Barron on piano along with Nilson Matta and drummer Marcello Pellitteri.

His most recent album, El Cumbanchero was recorded with a string ensemble and arranged by Cuban piano virtuoso Aruán Ortiz, along with Yunior Terry on bass and percussionists Mauricio Herrera and Yusnier Bustamante.

Next up is an album of tangos with GRAMMY and Latin GRAMMY nominee, bassist Pablo Aslan, and featuring Latin GRAMMY winner Raul Jaurena playing the bandoneon, pianist Abel Rongatoni and guitarist Francisco Navarro. And many more surprises to come.

Mark took time from Jazzheads to record an album for Otá records in Berlin with Grammy-nominated pianist Omar Sosa — Back at Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, along with Roman Diaz with young giants Axel Laugart on piano and bassist Panagiotis Andreou

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Hanny the Voice of Cuba for the world

Leosbel Jiménez Licea is Hanny the Voice of Cuba

Born on July 8, 1972, Havana Cuba in the Vedado neighborhood. For the love of the songs I used to listen to on the radio at home, the love for music was born, especially for the guitar. That’s why since I was 4 years old all my toys were musical instruments, a drum set, drums, harmonicas, triolas, until I had a little toy guitar with which I used to invent concerts on the balcony of my house, the neighbors would pass by and laugh when they saw me so small believing me to be a star.

Leosbel Jiménez Licea Born on July 8, 1972, Havana Cuba in the Vedado neighborhood By the passion to the songs that I listened at home on the radio was born the love for music especially for the guitar, so since 4 years old all my toys were musical instruments, a battery, drums, harmonicas, triolas until I had a toy guitar with which I invented concerts on the balcony of the house, the neighbors passed and laughed to see me so small believing me a star Translated with www.DeepL.com/Translator (free version) — Leosbel Jiménez Licea

Hanny the Voice of Cuba

9 years old, I begin to study the basics of the guitar in the house of culture of the neighborhood at the same time that I was practicing fencing, at the age of 11 I won the national infantile championship of fencing earning me a scholarship to the school of sport incision (Eide) in the city of Havana, school from where many glories of the Olympic and world-wide sport of Cuba have come out.

14 years for disenchantment with the sport life I decide to leave the sport and to concentrate only in the music, in a self-taught way of course, there I begin to write my first songs that were poems that I was musicalizing at the time that I was learning new chords.

At the age of 19 I already had some songs that were sometimes played on some programs of the radio station in the province on the Havana City Radio.

So I was trolling the streets meeting many street artists until one day, an Englishman David Butlle, known as Mr. Bongo, arrived in Cuba in search of an orchestra to produce a record in Britain, a few days before leaving Cuba wanted to buy several albums of Cuban music from the 50s and did not know how to speak Spanish, my friend who passed by helped him with the translation into English, thanked him and told him who he was, my friend told him about my music, then we recorded a demo of 11 songs of my authorship then took them to London.

Between August and September of 1996, I was flying to London to record my first CD titled (Athe Voice of Cuba) production of 11 themes of my authorship and a danzón of the composer Niurka Díaz and Daniel Rodriguez, recorded with British, Cuban, Venezuelan, Colombian musicians all settled in London, my first recording work came out two themes that were in the French movie “Place Vomdome”, with the famous actress Catherine Deneuve, a British novel called Coronation Street, I also use my music, novels and series from Argentina, one called the Lola from Colombia and Israel, my first cd enjoyed good reviews in the best known and respected media especially in the UK opening the doors to the Royal Albert Hall, jazz cafe in London, the most prestigious jazz festivals and world music generally from the UK, as well as taking my music to all Europe, Colombia, Peru, etc, making for the success of the album concerts in Norway, Spain, Turkey, and Finland.

So I was trolling the streets meeting many street artists until one day an Englishman David Butlle known as (Mr. Bongo) arrives in Cuba looking for an orchestra to produce an album for him in Britain — The Troubadour Leosbel Jimenez Licea

In 1998 I recorded my second album produced by my company (Hanro Records) and this time we recorded between the laboratory of electroacoustic music of Cuba and London with the participation of musicians from the Orchestra of Elio Reve, Paublito fg and Irakere, plus some British and Latin musicians based in London, at the same time conducted and directed a radio program in Spectrum radio called Cannonazo in England. Then came a period of just a few acoustic concerts to prepare all the new songs that we will start recording at the end of the quarantine. In 2019, I did 6 concerts in Finland, 5 Acoustic and one with a band in one of the most prestigious halls of Helsinki, I did 5 concerts in Ecuador and one concert in Cali Colombia, now we were preparing a group of concerts in Colombia, Chile and Peru everything is stopped until normality arrives, with 3 albums ready to start recording little by little.

In 1998 I record my second album produced by my company (Hanro Records) and this time we recorded between the laboratory of electroacoustic music in Cuba and London with the participation of musicians from the Orchestra of Elio Reve, Paublito fg and Irakere — Hanny the Voice of Cuba for the world

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Tito Puente’s must-hear: Records you won’t be able to forget

North America / Unites States

The best and more emblematic Tito Puente’s records

Ernesto Antonio Puente, better known as Tito Puente, El Rey del Timbal, was a recognized percussionist in the music industry. He was born in Harlem, New York on April 20, 1923.

Those who knew him as a child considered him very active. He was always looking for objects to generate sounds and make noise. The New Yorker, of Puerto Rican parents, began his music studies too young. At an early age he learned to play percussion and piano.

He was heavily influenced by jazz artists and Gene Krupa, considered the most influential drummer of the 20th century. Puente participated in various local bands and was part of the Machito group; musician and singer of Cuban origin who contributed to the creation of Afro-Cuban jazz.

Remember the great percussionist — Tito Puente made history with his unique style

Their first steps

At the age of fifteen he made his debut in a Miami orchestra. He amazes everyone with his ability for Latin perc battledussions.
For seven years he studied piano and drums. He then attended the Juilliard School, a conservatory of the arts located in New York. His musical training was very solid, which led him to become a great figure of the genre.

It was part of the development of rhythms and fusions that led to the success of salsa. However, he wasn’t a big fan of that term. Although he was known as a “salsa ambassador”, when asked about it, he responded in a humorous way:

“Salsa is what I put in spaghetti. What I play is Cuban music”, he repeated over and over again, extolling the roots of Afro-Caribbean music.
In the 1940s, he decided to form his own band, the Picadilly Boys, specializing in Latin jazz. They received the support of Tico Records to make their first musical recording. His career was just beginning. At the end of the 50s, “Dance Manía”, one of the artist’s most popular albums, was released.

Puente walked among the mambo, bossa nova and Afro-Cuban jazz. In the 60s, he ventured into salsa, without leaving behind other rhythms that characterized him.

The timbalero did not hesitate to support talented young people, Sophy from Puerto Rico recorded his first productions under the recommendations of Puente. Puente was in charge of the production, arrangements and instruments. It was a pleasure for her to receive the affection that he gave her. He treated her like a daughter and learned a lot from him; Celia Cruz was another of the artists who had the honor of working with “El Maestro”.

The sound of their timpani was known worldwide. He recorded more than a hundred albums, received a star on the Hollywood Walk of Fame in 1969, as well as the key to New York City and different nominations: Grammy Award for artistic career, Grammy Hall of Fame Award, Latin Grammy Award for Best Salsa Album, Grammy Award for Best Traditional Tropical Latin Album, Latin Grammy Award for Best Traditional Tropical Album, Grammy Award for Best Salsa Album and Grammy Award for Best Latin Recording.

Throughout his career, he had the opportunity to work with several record labels including: Charly Records, BMG, RCA Victor, Fania Records, Sony Discos and Concord Picante.

Most recognized albums:

Dance Mania, 1978.

Dance Manía, 1958 was the artist’s first album. Considered the most famous percussionist. The study work, entered in 2002, in the National Recording Registry; list of recordings that are considered important and part of the culture and history of the United States. It is also found in the 1001 Albums You Must Hear Before You Die, a music reference book founded in 2005.

The history of Latin music in the United States took a cultural turn after the appearance of Dance Manía. It was recorded under the voice of the Puerto Rican Santos Colón, in Spanish. They were generally performed in the native language of the United States or only as instrumental music.

Tito Puente wanted to break down barriers and have the American public listen to the pieces in Spanish. The album is positioned as the most famous Latin album of all time, surpassing successful artists of the time like Héctor Lavoe and Celia Cruz.

Homenaje a Beny, 1978.
Tito Puente made history with this album, by obtaining his first Latin Grammy. It was the winning album for Best Latin Music Album. With the help of his orchestra, he created an unprecedented album, full of flavor; an album that highlighted Cuban origins and fusions. A heartfelt tribute to the remembered Benny Moré, Cuban singer and musician who died in 1963. “Homenaje a Beny” featured 17 pieces of music.

Tito Puente - Nobody will have his wonderful character — Tito Puente ‘s grimaces while performing

Cuba y Puerto Rico son…, 1966.
The career of the remembered Cuban singer Celia Cruz was on the rise. In 1966, Tito Puente decided to contact her to work together. They established a kind of association that was maintained through the years. In addition, they became very close friends, a bond that went beyond the musical realm.

Cruz appreciated him and was saddened after his death. In her autobiography “Celia, mi vida” she recalled the day she received the terrible news. She considered him an authority on Cuban music and admired his career.“Tito was always in charge of the arrangements, and he liked to work at dawn. We would go out to dinner, and when we returned, Tito would stay until four in the morning composing arrangements for what we were going to record the next day.

Although we were not very lucky with our recordings, Tito and I did very well with the tours. Together we travel to many countries. It was during those trips that we developed that great friendship that we had, ”said La Guarachera del Mundo.

In addition to “Cuba y Puerto Rico Son”, they recorded five more albums: Quimbo Quimbumbia (1969), Etc., Etc., Etc. (1970), Alma con alma (1971), En España (1971) and Algo especial para memoria (1972).

Timbalero Tropical (1998)
One of the last works of the artist and that featured fifteen songs. He worked hand in hand with the RCA label. The album stood out with works such as: El Timbal, Mi Guaguancó, Lo Dicen Todo, Mambo Macoco, Mambo and Preparen Candela. Topics that were very popular at the time and that today continue to sound at family gatherings. They are classic salseros that do not go out of style.

“Oye como va” was a song written by Puente in 1963. However, it was rock guitarist Carlos Santana who popularized it. The song went international and was positioned on the Billboard Hot 100, a list that ranks the best-selling hits in the United States. However, he was not the only one to cover it: Celia Cruz, rapper Gerardo Mejía, Bobby Hutcherson, Joe Cuba Sextette and Cheo Feliciano. When he presented the theme on stage he affectionately presented Santana as its author.

This 2020 marks the 20th anniversary of the physical disappearance of the great: Tito Puente. He passed away on May 31, 2000. His Caribbean flavor, his big smile and his white hair left a great void in the entertainment world. Puente left a great legacy. He contributed to the expansion of Latin music in the United States and served as a composer, percussionist, conductor, and performer.

His exaggerated grimaces, his style, energy, and his skill with the instrument earned him worldwide recognition. In addition to positioning him as an admirable figure among colleagues and young people who want to follow in his footsteps. Simply unforgettable!

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The Club de los Soneros Dorados The Orchestra of the Stars

The Club de los Soneros Dorados The Orchestra of the Stars, where great stars and legends of Cuban music meet

Two years ago, an orchestra made history. For the first time in Cuban music, the greatest legends, singers, and instrumentalists were united in a single project, their songs quickly transcended the world and occupied places in the charts.

The Golden was born from the hand of the young composer Carlos Sanabia from Santiago de Cuba. The Golden Soneros club (La Orquesta de las Estrellas) was one of the most awaited realities for all of Cuba.

The news of its 3rd record production is one of the best news in the musical world, its title will be MAESTROS DEL SABOR and it will count with the presence of several international guests, among them the living legend of Salsa Bobby Cruz, will consist of 21 themes in total divided into 3 volumes of 7 Songs Individually.

With a more modern and youthful style, the songs were specifically designed by Sanabia to capture the attention of the dancing public by inserting them in the popular taste.

With elements of Rumba, Salsa, and Timba and Occurring and Sticky Phrases from the day to day life of the Cuban people.

With the presentation of new talents, singers, and musicians in the Orquesta de las Leyendas, Sanabia insists on the purpose of bringing the secrets of its music to the new generations and thus guarantee the new formation of future stars in the new talents that abound on the island.

They have not yet entered the studio to record and this third album by EL GOLDEN has already made the news. Thanks to Carlos Sanabia and his Soneros Dorados, “Salsa is in fashion again.

Several established musicians played at the club during the 1930s and 1940s, including bassist Cachao López and bandleader Arsenio Rodríguez.

According to Ry Cooder, “Cuban and Caribbean society and even New Orleans society, as far as I know, was organized around these social clubs.

There were cigarette wrappers clubs, baseball players clubs, and they played cards and sports and had their pets, like dogs.

In the case of the Buena Vista Social Club, there were musicians there, like in the clubs in the United States.

Rodriguez’s pianist, Ruben Gonzalez, who played the piano on recordings in the 1990s, described the 1940s as “an age of true musical life in Cuba, where there wasn’t much money to be made, but they played because they really wanted to.

That era saw the birth of jazz-influenced mambo, charanga, and dance forms such as pachanga and cha-cha-cha, as well as the development of traditional Afro-Cuban musical styles such as rumba and son, which was later modified by Arsenio Rodríguez’s use of additional instruments to become son montuno.2 Son, described as “the foundation of Cuban music,” has transformed much of Latin American music in the 20th century.

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Latin America / April 2026

April 2026 – Festivals

International
Cuban Dance Festival

Apr 6 / 12, 2026

Hotel Nacional de Cuba
Calle 21 y O, Vedado, Plaza La Habana 10400
La Hanana, Cuba

€ 536

DIRECTORY OF NIGHTCLUBS
ARGENTINA	ARUBA	BELIZE
BOLIVIA	BRAZIL	CHILE
COLOMBIA	COSTA RICA	CUBA
DOMINICAN REPUBLIC	ECUADOR	GUATEMALA
MEXICO	PANAMA	PERU
PUERTO RICO	VENEZUELA