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Search Results for: Cuban music

Producer, composer, and guitarist Oscar Almonte innovates with Dominican music

The United States is and will remain the land of opportunities for artists from all over Latin America, and Dominican producer, composer, and guitarist Oscar Almonte is one more of those examples of what effort and discipline can achieve on fertile ground. We could talk exclusively with Mr. Almonte about the most important aspects of his prolific career, and we want to make them known to our readers, who always honor us by visiting to our content each month.

Oscar posing for the camera
Oscar Almonte with his guitar posing for the camera

What drew Oscar’s Attention to Music

Oscar began telling us that music as such has drawn his attention since he was very little, more specifically, the ones he was listening to at home and that some relatives played, as several of them are professional and amateur musicians. That mix of rhythms and melodies always intrigued him, especially those from Cuban music, which was very popular at that time.

Family parties were the perfect occasion for the young man to show his strong interest in music, as it was not uncommon for one of his uncles to bring out his guitar, play, and sing to lighten the mood. This was one of the things that led Oscar to learn to play as he saw adults do it.

Not to mention that Caleo López, his grandfather, was a guitar maker and played them as well.

Academic Training in Music

Oscar’s primary education in music was given in a self-taught way, In fact, their parents bought him his first guitar at just nine years of age, and he took some classes with this instrument. He stopped for a while and resumed his interest in the guitar at age 14, which is when he learned his first chords and memorized some rock songs he liked to play them.

When he had the right age, he began studying music at the Culture and Art Institute in his hometown, Santiago de Los Caballeros, where he completed a bachelor’s degree in classical guitar.

Move to New Jersey

Today, Oscar is based in New Jersey City, where he moved for the purpose of seeking new horizons personally and professionally. He wanted to soak up the musical culture that exists in the New York area, which is very close to where he is now.

When asked about the job opportunities he had upon arrival, he told us that he had the fortune of having contacts and friends with whom he had already traveled to the country, which allowed him to play with some bands he knew. However, he does admit that it took him a while to find a balance in his economy, so he had to work in family automotive businesses while his situation stabilized. He was working in that until he could devote himself exclusively to music, just as he did in his country.

Oscar performing at SOB’s
Oscar Almonte performing at SOB’s (Sounds of Brazil) in Nueva York

The main difference he noticed between the music scene in New Jersey and the Dominican Republic is that, in his home country, it is easier to live exclusively from music as a simple artist. There are things that are easier to do because the budget allows it, and certain places where musicians play cover some elements such as sound engineers and show producers. When he arrived to his new destination, he had to learn many of these things to be able to do them himself and not have to spend what he did not have.

Projects Oscar Has Been Involved In

Just as Oscar has taken great pains to make his own project, he has also been involved in others belonging to artists such as Pavel Nuñez, Felle Vega and La Orquesta de Las Danzas Mezcladas, Xiomara Fortuna, Irka Mateo, El Prodigio, and many others.

He has managed to make contact with several of them because they live in the same city as him. It also happens that he played with several jazz musicians through whom he got to know others, something which took advantage to develop contacts and friendships with whom he could work in the future.

Among the most important things he learned from them, one is audience management, repertoire management, certain vocal techniques that he did not know and, mainly, everything that has to do with the responsibilities an artist who is already the head of his own project should have. 

Soberano Awards Nomination 

The artist has also been nominated for the famous Soberano Awards in the category of Merengue of the year in 2012 thanks to the song ”Levántate”, which was recorded by Héctor Acosta ”El Torito”. An interesting aspect of this piece is that Oscar wrote it with the purpose of showing it to Ricky Martin so that he would finally record it, but unfortunately it was not possible to make contact with the Puerto Rican.

Oscar and Daddy Yankee
Oscar Belmonte next to Puerto Rican reggaeton singer Daddy Yankee

Over time, he learned that Héctor was looking for songs to add to his new album ”Corazón Abierto”, so Oscar got down to business and contacted his musical director to see if Acosta would be interested. Fortunately, he was and the song enjoyed very acceptance among the public, so he managed to get the nomination at that time.

Debut as a singer-songwriter

Finally, in the year 2020, Oscar was ready for his debut as a singer-songwriter and, at finally, to do things other than what a simple musician does. Although he was writing since he was 14 years old, always thinking for other artists, he decided to change his approach and focus on himself and his career. 

It is then when he made his debut in this facet with the song ”Mi Tierra”, in which he describes his hometown Santiago de Los Caballeros as the title indicates. Something interesting about ”Mi Tierra” is that it fuses rhythms from many parts of the world with Dominican pambiche.

Oscar defines pambiche as one of the sounds of merengue, but softer and calmer when compared with the more lively merengue.

As for the rest of the colors it has, the artist used elements of African music and very different tempos to those often used in merengue.

He is also promoting the song ”Bermudas” with the young singer Carolyn Rodriguez. A mutual friend introduced them and thought that their voices would work well together, so they gathered and made a romantic song based on urban bachata with hints of reggae and some electronic touches.

Oscar and Carolyn
Oscar Belmonte singing ”Bermudas” next to Carolyn Rodríguez live

Read also: Joshua Levine and his quartet have a lot of Guataca

Songoyó the perfect idea Experimental Cuban Son Group with its own style

Songoyó is an experimental musical group of the Cuban son genre with a particular style, since it fuses many musical rhythms, born on the initiative of Professor John “Goyo” Useche, on November 11, 2021 in La Victoria, Aragua State, Venezuela.

Songoyó the perfect idea Experimental Cuban Son Group with its own style
Songoyó the perfect idea Experimental Cuban Son Group with its own style

In order to unite Victorian musicians and start putting together songs by the remembered Madera Group, icon of the Caracas parish of San Agustín in Marín, and thus present themselves at the Guataca Salsera, which takes place every December 31 at the Madera 15 court, located in the Las Mercedes urbanization of the same town.

The idea immediately begins to take shape and that is when Professor John “Goyo” decides to communicate his project to Shinaury Rojas, a personal friend of many years, who at that time was based in Argentina, then informs the poet guitarist Rafael Pérez who was in Brazil and knew by reference of salsa groups via the web. Communication was fluid and accepted, regardless of the distance. John, Rafael and Shinaury embody everything that Songoyó is today.

It should be noted that the first name of the Victorian group was Son Madera 15, due to the loyalty that is maintained with the Madera 15 foundation, then it was changed to Sabor Madera 15 and finally they decided to name it “Songoyó” as the definitive name.

Songoyó is an experimental musical group of the Cuban son genre.
Songoyó is an experimental musical group of the Cuban son genre.

The communication was continuous and they immediately began to organize the activities that had to be carried out to group the musicians who were willing to belong to the group, musicians were contacted by phone and in person, finally the interested parties were grouped and the rehearsals began in an accelerated manner at Professor John’s house, to fulfill the main objective which was the presentation at the Guataca Salsera at the end of the year, in that 2021.

From that moment until the present, there have been many musicians who have passed through the son group, including the young music teacher Willian Herrera who is assigned the task of directing the group, the rehearsals are given and four songs are put together that were played at the Guataca Salsera achieving total success in said presentation causing the acceptance and applause of all those present.

Our Sonero Machado Noel the indigenous salsa singer and our General Manager John Goyo
Our Sonero Machado Noel the indigenous salsa singer and our General Manager John Goyo

By January 2022, the creator of the group calls the musicians and proposes to continue the project, achieving the acceptance of all. In the following months they contacted maestro Fael Alvarado, an expert musician who knows the TRES very well, the base instrument of the Cuban son, who agreed to join the project and professor William Herrera gave the musical direction to maestro Fael.

In February of that same year, the second presentation was made before a large audience at the Juventud de la Victoria festivities on Paseo La Juventud and Songoyó was again liked by the public.

The rehearsals continued, and it was maestro Fael himself as musical director, who proposed to everyone to create their own style with songs that belonged to the group and to have a unique sound in order to accept more contracts from then on.

In January 2024, the recording of the first and unpublished production of Songoyó “EL NEGRITO BEMBA” began under the creation and pen of the poet Rafael Pérez and the general recording direction of maestro Fael, in the recording studio “Fael Alvarado” in San Mateo, Aragua State. This recording was a huge success and can be found on various digital platforms,  Its release took place in January 2025, with a great acceptance.

Songoyó
Songoyó

From that moment on, the group began to be sold and promoted for public and private events inside and outside Venezuela.

Currently, there are 8 musicians that make up the group: Norberto Machado, güiro voice, Noel Machado, clave voice and percussion direction, Rafael Pérez, maracas voice, Alexis Tovar, tres, Edwin González, bass, Jonhy Vergara, tumbadoras, Fael Alvarado, tres, piano, violin and musical director, and John Goyo, bongo and general direction.

 

“SONGOYÓ, THEY ARE AS WE ARE”

For hiring, contact Professor Useche by phone at

+58 424-3212762

Instagram: Songoyo

Facebook: Songoyo

Research and Writing Source:

Djane. Shina Rojas

Also Read: Cuban Son is one of the most popular musical styles in Cuba and Kiki Valera is one of its greatest exponents.

Damian Ballester and the transformations of Cuban Folk Dance

Latin America / Cuba
Photo 3- Damian Ballester on stage
Photo 3- Damian Ballester on stage

The relationship of Africa within the musical and dance culture in Latin America is notorious when we see the cultural expressions of the peoples of this continent, it is easy to see how similar they are, the use of percussion is one of the most relevant topics, in itself a mixture of cultural customs, religion, musicality, dance, in itself all the elements of the black race.

America, one of the main destinations of the ships with black slaves from many areas of Africa, caused our culture to be armed with a bit of each custom, therefore, we can say that in America there is a bit of each African people, this relationship of variety of slaves focused on dividing the forces of the race so as not to make it powerful, divided languages, customs, words and religions only left the marginalized population to communicate through percussion, an element that made the system improve at times of understanding within the fences where they lived.

Due to the above, African religions and customs are born in Cuba but, adopted by those already existing on the island, this combination gives us a rich variant of movements from three continents, Europe through Spain and Africa in all its splendor.

To clarify some topics of the folklore of the Caribbean island and its current dance transformations, we had to contact a great teacher, Damian Ballester, director of Iya Aye, one of the best folklore groups on the island of Cuba, to speak with this professional of the dance is necessary if we want to obtain real information about Cuban traditions, a great teacher who has left his teachings in many Spanish-speaking countries, among which Venezuela, Colombia, Ecuador, Mexico and now in the United States stand out…

we begin by greeting him and opening a pleasant conversation, to which we got an original response “Greetings acere, what was it”, calling him opens up a range of questions on the subject in question, here is an extract of the most common doubts generated around the relationship with salsa, its festivals and diffusion in the world.

Greetings Prof. Damian, grateful for your receptivity, we want to give information to our readers about the relationship of Cuban folklore within our world, Salsa, to begin with, what is defined as Cuban Folkloric dances?

Grateful for the opportunity and sure, that if we report on the case, folk dances are nothing more than the set of cultural goods or phenomena that constitute a cultural complex with manifestations of all aspects of popular life. It is the sum of the manifestations acquired by experience, by inheritance, by tradition, by the satisfaction of biological or sociological needs, among other things. This lasts through several generations and almost always undergoes transformations.

They will get compound terms in the word folklore, which speaks of people or people, popular knowledge, together with the popular knowledge of the people. It is a very long topic, because I should talk about so many things about my culture, better let’s leave the definition until here and thus add flavor to the interview.

Much better, we continue then, do African dances have any impact on Cuban folk dances?

Yes, of course, it is the root, the exercise of dance has always characterized my land and has suffered the same processes of contagion and transculturation between the ways of dancing of the colonizer and the styles introduced by African ethnic groups since the 16th century, in fact, the colonizers brought romance, active in the Cuban countryside for several centuries, with its couplets and their ways of singing and founding alegrías, while the black slaves included their ancestral rites, their drums, and their particular sense of rhythm and movement. bodily.

Given this brief explanation, we can say that not only dances of African origin contributed or influenced Cuban folklore, we can say that there is also an incidence from Spain, France and the Caribbean, but its main axis was born from the Spanish and the African.

We know the extent of Cuban folklore, for how long should a person prepare to be called a professor in this branch?

First of all, to carry the name, whether it is a teacher or instructor of Cuban folklore genres, there are two factors that are very important, the first is study, since Cuban folklore is made up of a very wide range of genres divided into different styles, I could mention some examples: Peasant, popular, Afro-Cuban and Franco-Haitian folklore.

Within the styles of peasant folklore, examples could be given of the Cuban zapateo, the ripiado parakeet, the chidonga, the hawk, the caringa, the son montuno, among others.

Within the styles of popular folklore, the Complex of the rumba, the mambo, the chachachá, the danzón, the dance, the pilón, the congas and the comparsas, the casino can be mentioned, within the Afro-Cuban folklore the Bantú cycle can be mentioned, the Yorubas, the Arara, the Abakua, within Franco-Haitian folklore we can mention the French tomb, the Haitian merengue, the gaga, the vodu among others, if I continue we will not finish today. (laughs to close)

Of the folkloric dances, which are the most outstanding or spread worldwide?

It could be said that there are several, examples are the popular folkloric ones, one could say the casino, the mambo, the chachachá, the son, the rumba complex, that the latter people tend to say are African or Afro-Cuban dances, that have African influence does not mean that they are classified within Afro-Cuban dances because this genre emerged in Cuba, was used as an object of protest against the government of that time and was eradicated in the essence of Cuban. In the same way, the one that has had the most impact and remained in the whole world are the Yoruba dances or dances of the orishas.

Should we open another interview to just talk about the many genres that the island embraces, what institutions correctly form the folkloric traditions in Cuba?

There are many institutions in Cuba, from the community point of view what is named in Cuba as amateur dancer are the community projects and actions that are nothing more than groups created in the communities, all of these supervised technically and methodologically by specialists from the houses of culture of each area by provincial and national methodologists governed by the Ministry of Culture.

From a professional point of view, there are art schools such as the ENA (NATIONAL SCHOOL OF ART) and the ISA (SUPERIOR INSTITUTE OF ART) all governed by a logical curriculum organized by specialists and connoisseurs of the genres.

Photo 2- Damian Ballester on stage
Photo 2- Damian Ballester on stage

Other institutions that could be mentioned, is the little school of the national folkloric group of Cuba with 56 years of creation in charge of rescuing and safeguarding the traditional Cuban musical and dance traditions.

Wao, Enough, Do you know if there is any similar institution in the world?

In the world there are countless schools that are training dancers with the Cuban style and technique, whether they are Cuban or foreign teachers, but nothing like the preparation of art schools in Cuba that work with a logical and well-prepared program, in some schools around the world it could be said that they do not work under a logical methodological program for the teaching of these genres due to the commercial and monetary part, unfortunately there are many dedicated to commerce, to money and not to the necessary dedication.

This dissemination has been achieved while respecting the roots and traditions of the farmers? The root? The original essence?

Unfortunately, it could be said that a good diffusion of Cuban genres worldwide has not been respected or achieved, of 100% of the performers, it could be said that only 10% are protecting Cuban traditions, it is sad to say, but trade and populism it is destroying the folklore of an entire country.

Have these changes in traditions positively or negatively impacted Cuban culture?

First of all, traditions do not change if they are not passed down from generation to generation. In terms of their impact, I see it negatively because the dissemination that is taking place is incorrect and worst of all, there is no organization, which was of Cuba, can follow up on the program that is being given to Cuban genres, in itself, many see the commercial and hence they do not care about the poor distribution of what is taught.

What is the reason that so many dancers seek to perform Cuban dances? It is notorious to see it at festivals and congresses.

There are two very important factors: 1 Cuban music, which has been evolving in an incredible way, fusing Cuban rhythms within its repertoire, and the other factor is not because I am from Cuba, Cuban folklore could be said to be the most complete genre available. world level from the point of view of dance, is that it has a history, virtuosity is varied, it could be said that it is well complemented, due to its complexity and interpretive difficulty, it is what attracts attention, additionally, salsa comes from us, from these roots is born what now wants to be denied.

Teacher and the Cubans? Have Cubans spread their dance correctly?

It could be said that the vast majority of Cubans have disseminated the genres well, why do I say that the vast majority?

Because there is another small group that deforms it, money changes everything, foreigners think that all Cubans They dance, it has happened that they say Cuban and quickly you think he is a dancer, he knows everything, he is good, and no, that is not reality, one thing must be clear about being an opportunist, not a dancer, being a dancer by hobby and another is being one by profession or for being a teacher.

There are Cuban teachers who are hurt by the deformation that is happening with what has been studied so much, but there are others who only care about getting paid and do not care if their students do it well or badly.

How has the interpretation of Cuban roots impacted the so-called Salsa Casino in the world? Has the original and real spread of traditions been respected?

Look, since Cuban music began to evolve inside the casino, it began to undergo a series of transformations from movements to choreography due to the musical style that Cuban orchestras began to spread, known as TIMBA, which was well accepted by the public, If we talk about the impact from the traditional point of view, it could be said that there is no original interpretation of the Cuban roots because they are not executing a specific traditional genre, but rather what they are using different styles of the traditional folk dances that all this could be called Variety.

Have Cuban music and dance festivals or congresses devoted time and effort to improving these transformations? Have they worried about minimizing the damage?

In most cases, very few, first of all, if it is a competitive event, the organizers make the mistake of hiring unqualified personnel to evaluate genres of Cuban origin, and that is where the serious faults come from. There have been cases where there are groups , couples or soloists who perform a good technique within normal limits and the jury evaluates for a taste problem if they see it as beautiful and give it less points, or disqualify it, it is not about beauty, it is about correctness, the organizers should be more careful about these things.

What recommendations would you give to our dancer readers on this controversial topic?

The dancer must be clear about four aspects that are fundamental to his artistic life and entire career: dedication, love of dance and, most importantly, study.

Do only what you love and you will be happy, the one who does what he loves is blessedly condemned to success, which will come when it should come, because everything that should be, will be, and will come naturally.

Photo 1- Damian Ballester on stage
Photo 1- Damian Ballester on stage

Let’s spend time respecting the roots and cultures of peoples, and above all, let’s take a good look at who we entrust our desire to learn, there are thousands of ways to learn correctly, everything is in the research, knowing who we contact and why There are hundreds of excellent instructors in the world, not to mention the many means of learning today.

I invite you to learn a little about this and other topics, I have a virtual classroom where I teach a lot of the theoretical and practical content online, I do it through the son rumbero academy and its virtual classroom format, follow the @sonrumbero accounts on Instagram and Facebook.

Larry Harlow and Ismael Miranda: beginning of the so-called “Salsa Arseniana” in honor of the music of Arsenio Rodriguez, the creator of Son Montuno and “King of Guaguanco”

Extracted from the book called: “El origen y la creación de la Salsa”; creator: Mon Rivera, promoter: Al Santiago.

For sale on Amazon kdp, by clicking on the following link:

With which is attached a complete summary of the musical work of Larry Harlow with Ismael Miranda from its creation in 1966 to 71.

At the end is the original song of Arsenio: “Oiga mi Guaguanco”, with the fabulous musical arrangement of Harlow himself in “Salsa Clasica”, with the exquisite singing of the “Niño Bonito de Puerto Rico” Ismael Miranda.

Larry Harlow and Ismael Miranda: 1966 – 1971 with trombones.

Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa
Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa

Lawrence Ira Khan, better known in the music scene as Larry Harlow, affectionately known as “The Wonderful Jew”, was born in Brooklyn, New York, on March 20, 1939 and died in New York on August 20, 2021, American musician, orchestra conductor, pianist, composer, musical arranger, producer, creator of the so-called “Latin Opera”, in 73 he was one of the most important disseminators of Afro-Cuban Jazz, “Arseniana” Salsa and Classical Salsa, confirming at the highest level the use of the trombone and the USA instrumental technique, corroborated as the two most important characteristics that identify the new American Musical Movement.

The beginning of Larry’s musical work must be analyzed from his return from Cuba in 1959, after having traveled to the island in the mid 50’s, to know and study Cuban music in its different rhythms, but because of the Revolution he had to return to New York; finding the boom and enthusiasm produced by the Pachanga spread by Charlie Palmieri, Pacheco, Quijano, Orlando Marin, Mon, Eddie Palmieri, Ray Barretto, Richie, among others.

At the end of 65 he forms his orchestra with trombones and application of the instrumental technique of Jazz; he signs a contract with the “Fania” label and plans to record his first album.

In 1966 he recorded his first album called “Heavy Smokin” with Felo Brito’s vocals; L.P. little known, in which stand out: “Tu Tu Ratan”, “Maria la O”, “Rica Combinación”, “Mi Guaguancó”, “Orchestra Harlow” and “Adios Mamá”.

In the same year he recorded his second album called “Gettin’ Off” or “Bajándote”, sung by Ramón Quian: “Monguito” el Unico, an excellent full-length album that was a great success.

Some of the highlights are “Bajandote”, “Guarachita”, sung by Vickie; “Tu no lo creas”, “Meta y Guaguancó”, “Coco May May” and “Cienfuegos”.

In ’66, a young teenager appears singing in Andy Harlow y su Sexteto’s group.

Andy gave him to his friend Joey Pastrana at the beginning of 67 to record the album “Let’s Ball”, in which the young singer Ismael Miranda had his first hit with the song “Rumbón Melón”.

Larry Harlow who lacked a good singer, offered the job to Ismael, who without hesitation accepted it immediately; and debuted with Larry on his third album in 67 called “El Exigente” and thus began the WONDERFUL DUPLE OF LARRY HARLOW AND ISMAEL MIRANDA, who together formed a sensational duet, amazing and impressive, in the History of Classical Salsa.

In “El Exigente” with the debut of the “Niño Bonito de Puerto Rico”, the songs “El Exigente”, “Las luces”, “Rumba me llaman” and “El Mejor” stand out.  The following year, in 1968, he recorded the album, “Orchestra Harlow presenta a Ismael Miranda”.  With this unsurpassable combination, the Classic, Brava and Hard Niuyorquina Salsa begins in the unique style of the “Judío Maravilloso” with the singing of the fabulous Ismael Miranda, one of the most attractive, fine and sharp voices in the history of Salsa, in which stand out the songs: “La Contra- ria”, “Jaguey”, “Yo me voy”, “Lamento Cubano”, “Bobby’s Boo-galoo, ‘Rumba a la vida’ and ‘Mi Guajira si’.

In 1969 he recorded his fifth album and third with Ismael Miranda, called “Mi Mono y Yo”, in which he continues the teaching of Classical Salsa with Afro-Cuban Jazz fusion, in which almost all the songs stand out: “El Malecón”, “Voy para la luna”, “Amorcito Ven”, “Jovenes del Muelle”, “Ven Rumbero Ven”, “Para donde tu vas”, “Mi Madre” and “Traigo Guajira”.  With these last two albums, Larry with Ismael had achieved the expected success; and they had become the favorite orchestra in all the Salsa Concerts that had already become customary in the weekends of the Big Apple.   In ’69, the author witnessed for a month these Salsa Dance Concerts that were usually given in the halls of the Hotels of the New York districts.

DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.
DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.

In 1970, Larry introduces the electric piano in his orchestral format; this motivates him to title his album of the same year: “Electric Harlow”.  With the recording of this album really begins the so-called “Salsa Arseniana” of Larry, coinciding with the last year of life of the great Cuban musician Arsenio Rodriguez, the father of Son Montuno and “King of Guaguancó”, Legend and undisputed genius of the development of Cuban music; but, however, having been the most important Cuban musician of the twentieth century, for his contribution of having created the Son Montuno and the modernization of Guaguancó, has NOTHING TO DO WITH THE CREATION OF SALSA:  BUT YES; FOR HIS VALUABLE CONTRIBUTION, WITH THE DEVELOPMENT OF THE MOVEMENT CREATED BY MON.

In “Electric Harlow” stand out: “La Revolution”, the wonderful Salsa arrangement of “Oiga mi Guaguancó”, by Arsenio Rodríguez, “Guasasa”, “Con Dulzura”, “Donde va Chichi” and “Tu Cosita Mami”. In 71 he recorded his album “Abran Paso”, and here we have to refer to Ismael Miranda as a singer-songwriter; because if from his first album recorded with Larry: “El Exigente”; he had already shown his composer’s fiber, having composed some songs together with Harlow; in this 71 album:  “Abran Paso”, he confirms and ratifies his conditions as a singer-songwriter, composing five themes of his authorship, successfully distinguishing the theme of the same name of the album: ‘Abran Paso’, ‘Donde lle- vas el Son’, ‘Abandonada fue’, ‘Oigan bien mi Guaguancó’ and ‘Dolor y Amor’.  Other highlights include: “Se casa la Rumba” and ‘Vengo Virao’, by Tite Curet Alonso.

Orchestra Harlow Vocal Ismael Miranda – Electric Harlow
Orchestra Harlow Vocal Ismael Miranda – Electric Harlow

Having died the penultimate day of 70 Arsenio Rodriguez, Larry Harlow, a few months later had the idea of offering him a posthumous tribute, which materialized with the recording in 71 of an album “Homenaje Póstumo”, which was called “Tribute to Arsenio Rodriguez”, including four hit songs by Arsenio:  “Tumba y Bongo”, ‘No me llores’, ‘Sueltala’ and ‘El Terror’; ‘Arsenio’, Harlow’s theme with Ismael Miranda and ‘Saludos a todos los Barrios’, by Lázaro Prieto.  The Harlow Orchestra in the last two albums was integrated with:  Conductor and piano: Larry Harlow; Singer: Ismael Miranda; Trumpets: Larry Spencer and Ralph Castrello; Trombones:  Lewis Khan, Leopoldo Pineda and Sam Burtis; Bass: Lydio Fuentes; Congas: Frankie Rodríguez; Bongó: Manny Oquendo; Timbal: Phil Newsum; and Tres y Cuatro: Yomo Toro, in “Abran Paso”.

Finally, Larry Harlow participated as pianist in “Red Garter”; and also as pianist and producer in “Chee-tah”.  Ismael Miranda did it as a singer in the two concerts of the “Fania All Stars” in ’68 and ’71.

Julio Cesar Galindo Alarcón

Diplomat of Peru Minister (R), Musical Historian. Author of a book on the Creation of Salsa.

Also Read: Larry Harlow ”El Judío de la Salsa”: innovative and irreverent

Andy Gonzalez started as a musician at the age of 13 in the Latin Jazz Quintet in New York

Andrew “Andy” Gonzalez passed away on April 9, 2020.

Virtuoso bassist, arranger and musical director of Don Manny Oquendo’s “El Conjunto Libre” and Eddie Palmieri’s “La Perfecta”.

Andy has worked throughout his extensive artistic career that spans almost 50 years, with approximately 800 recordings, where he has had the opportunity to be as co-leader, producer, musical director or sideman.

Andy began as a musician at the age of 13 in the Latin Jazz Quintet, a group inspired by the music performed by vibraphonist Cal Tjader and in which he shared with his brother Jerry.

Although long before that, Gerardo Gonzalez, Gonzalez’s father, had already begun his son’s musical

Gerardo was the vocalist of Augie Melendez y Su Combo, an ensemble influenced by the sound of Sexteto La Playa.

Andy Gonzalez virtuoso Bajista, Arreglista y Director musical de “El Conjunto Libre” de Don Manny Oquendo y de “La Perfecta” de Eddie Palmieri
Andy Gonzalez virtuoso Bajista, Arreglista y Director musical de “El Conjunto Libre” de Don Manny Oquendo y de “La Perfecta” de Eddie Palmieri

It is worth mentioning that during their time in the Latin Jazz Quintet, the Gonzalez brothers met a person who would change their lives: pianist Llewellyn Matthews, with whom they learned the discipline necessary to “graduate” as professional musicians, both were part of the big band of this decisive leader.

Later came Eddie Palmieri’s La Perfecta, his brother’s Fort Apache Band, the Grupo Folklorico Experimental Nuevayorquino and Manny Oquendo y Libre, 4 groups that changed forever the perception of the music we know today as Salsa.

He collaborated with The Fort Apache Group, Dizzy Gillespie, Tito Puente, Eddie Palmieri, Astor Piazzolla and Ray Barretto.

Andy González is a fundamental reference in the history of Caribbean music and Latin jazz. He has played with almost mythological musicians at times when they left a deep mark on both Latin jazz and dance music.

Andy González se inició como músico a los 13 años en el Latin Jazz Quintet en New York
Andy González se inició como músico a los 13 años en el Latin Jazz Quintet en New York

He has been bassist for Eddie Palmieri, Ray Barreto, Conjunto Libre, Grupo Folklorico Experimental Nuevayorquino, Fort Apache Band, and on some occasions for Ismael Rivera y sus Cachimbos, Cortijo y su Combo and Sonora Matancera.

In this conversation, held in Santiago de Compostela -during the Compostela Millenium Festival in August 2000- he vibrates when talking about his record collection, he declares himself a fan of the study of the roots of the music he makes and reviews his artistic life since when with his band, at the age of 13 and together with his brother Jerry, they imitated the sound of Cal Tjader.

Passion for music      

I’m as much a music fan as I am a musician. Just like any music lover. I’m a fan of the things I appreciate that are important in the history of music. I have studied a lot and that has allowed me to notice the quality and quantity of artists that this music has produced. Great artists, people who have contributed a lot. When you have and study a collection of records like the one I have, you realize that now there are few.

Andrew “Andy” González muere El 9 de abril de 2020ººº
Andrew “Andy” González muere El 9 de abril de 2020

Inspiration

Cal Tjader was my inspiration when I started. Also for Fort Apache Band, because their music had a strong jazz component, but with Cuban rhythms. Good rhythms. We had a great interest in what Cal Tjader was doing.

When we started playing we were copying what Tjader was doing. We were little kids of 13 and 14 years old. We had a very similar repertoire with the same quintet, where Jerry played congas.

Once we even had a dance next to the place where Tjader played, doing the same music. Armando Peraza played congas for Tjader and once he saw us and congratulated us. We always had the support of musicians with more experience, veterans of other generations.

Dj. Augusto Felibertt, Andy Gonzalez, Rafael Muro y Omar Mejias. Centro Cultural La Estancia en Caracas
Dj. Augusto Felibertt, Andy Gonzalez, Rafael Muro y Omar Mejias. Centro Cultural La Estancia en Caracas

Main Source: Pablo Larraguibel

Also Read: Roberto Rodríguez fue un trompetista y compositor cubano, autor del éxito de Ray Barreto «Que viva la Música»

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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.