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Here you have our interesting comversation

We are here with Uruguayan bandleader, multi-instrumentalist, and percussionist Edgardo Cambón, who currently lives in Oakland. It’s very nice to meet you, Mr. Cambón. What a pleasure to have you with us today.

Hello, Karina. It’s a pleasure to have you here too despite the distance. I also send my regards to the followers of salsagoogle.com and to salsa fans around the world because this is an international connection. Thank you for the opportunity to connect with so many people.

Uruguayan bandleader and singer Edgardo Cambón next to new MOPERC walnut, 7 & 9 inches drums

On one of your Facebook pages, one can read that the conga is your main instrument, but you also play many others. In that sense, is the conga the instrument you most enjoy playing or are there others?

That’s a very good question. I am a percussion lover in general and, being Uruguayan, I also came into Brazilian percussion. The instrument to which I always gravitated around and returned to very strongly was the tumbadora or conga (commercial name). To study that instrument and the batá (the most religious Afro-Cuban music) I went five times to Cuba from 1989 to 2006. I have a very deep connection with Cuba and with all the countries in which the tumbadora is used. This is also the instrument I play while singing, which makes me have a very special connection with it. Jokingly, I say that I feel naked if I don’t play something while singing. I always try to play a güiro, maracas or another instrument because I always have.

You also teach music and percussion. It is well known that the teacher teaches students, but also that tstudents can also teach the teacher. Could you tell us what you have learned from your students?

That’s a very important and lovely question. I could tell you many things. The first thing you learn is to be patient with yourself and your own progress because the musician never stops progressing. The human being never stops progressing. When I see a student who is very nervous and isn’t patient with himself, I always try to make him understand that performing one instrument well takes a long time.

I learn a lot about what to do and what not to do. I learn to be patient with them, to rewind the cassettetape and to get back to the basics of what I learned in Cuba when I started traveling. My students also teach me to be grateful to my own teachers and connect with the instruments. When you reach a certain level, you become overconfident and it’s harder to connect with the instruments. Classes force you to pick up an instrument without being obliged to do so, which the professional musician tends to leave out after a long career.

My students remind me of what I was doing when I was learning and force me to keep practicing despite the experience. I always learn from them.

Edgardo Cambón in front of El Floridita

You teach both in person and via Zoom. What teaching strategies do you implement at home?

The difference between one mode and the other is huge and it was hard to get used to this situation. I was receiving a lot of proposals to teach via Zoom before the pandemic. I was avoiding at all costs the use of digital platforms even though many people were interested. I have a lot of online videos with great success and positive feedback, thank goodness. This has caused many people to ask me if I can teach them on Zoom.

The pandemic forced me to build that dormant muscle, so I think I achieved a very good system for giving online classes. In person, I use some applications that allow me to play certain songs I can slow down. These apps can work like a metronome, but funnier. Some of them are Percussion Tutor, Salsa Rhythm, Amazing, Slow Downer, among others.

In the case of Zoom, I suggest my students download these apps on devices other than the one they are using to meet with me. The biggest problem with digital teaching platforms is the delay sound between the student and the teacher. Now, amazing things have been done like the fact that a symphony can play in one country, while the conductor is in another conducting them. There have been improvements.

It may also be the case that there are students with excellent quality equipment, but others who have devices with outdated operating system and low download speed. So, we have to find a way for everyone to learn as well as possible. This system consists of doing a demonstration first, getting the student to play the rhythm from his side through the metronome or the application. Many times, we can spend a whole class trying to solve technical issues, but once everything is solved, you can establish a rhythmic relationship between the student and the teacher.

There are situations in which the mismatch between the sound and image prevents errors from being corrected, so we use phone calls to counter these issues effectively. This is how I look at the video image of the student (if there are no delays) and hear the sound at the right time.

The good news is that I can have students from around the world and doors are opened me for an broad international spectrum that I never expected.

Edgardo Cambón with a Pandeiro in a studio

Strategies on stage (título 3)

Radically shifting the issue, according to your website, one of the main defining things about Edgardo & Candela is that you know how to read the crowd very well and what the audience wants at that moment. How do you do that? What techniques do you use?

That’s a very good question. That’s a technique which is a bit instinctive. I must confess that that technique does not belong to the full orchestra, but to me as the lead singer and the orchestra leader. The guys know that I ask for a set list and even send it in advance. Several of them have their iPads and the music there in digital format, but others don’t.

I have over 240 songs in the repertoire, but I don’t get them all with me. On average, you play about seven songs in each set for an hour, which means that you’re thinking of 14 to 16 songs for two hours. It also depends on how long each song lasts.

If you’re playing to an American audience, you’ll probably have to slow down, play one or two songs in English and light beats such as cha cha chá. You have to include digestible things if you’re not playing to a salsa audience.

If I’m playing for the Mexican community, I have to include cumbia and medleys of local bands and artists like Maná, which is a very important Mexican group.

I have four original score albums. The first one was called ilusiones and released on vinyl in 1989. We produced it here in the Bay Area when there were few groups making original music around here. Following a trip to Cuba the same year, I decided to go back and focus more on my melodies, my songs and my lyrics. Another thing I wanted was to keep the Uruguayan essence in salsa and add a bit of candombe, which is the Afro-Uruguayan rhythm par excellence.

Edgardo and Candela at The Seahorse

I’ve had a lot of popular songs on certain digital platforms, but I wouldn’t be honest to say that I had a big hit like Llorarás by Oscar D’ León and Yo no sé mañana by Luis Henrique. I can use these things to push my original music a bit harder in general. You can have your original music, but you also have to play music known by the public to accustom people to your style and make them learn to digest your thing a little bit.

In the 70’s in New York, the bands only played original music, but those times has disappeared. That’s why I mix original music with familiar music, but I focus on making the result digestible and danceable for people. I play at least four times a week and, if I want to maintain that rhythm of work, I need a repertoire that includes Cuban, Colombian, Venezuelan, Mexican, Dominican music, among others.

What made you get involved in Charley’s project?

No self-respecting musician can allow his career to revolve around two or three clubs because these venues can open and break.

What I liked most about Charley’s was its proposal so similar to that of the 80’s, the decade when I arrived here. They were more stable clubs that had organization and the collective participation of artists such as DJ’s, dance instructors, radio folks, among others.

Also, Charley’s is a nice place and has a size that I think appropriate. When clubs get too big, there comes a point when the vibes can get cold, something that doesn’t happen in this place due to its moderate size.

The only downside is that gas is $6.25 and it’s far away for people from San Francisco, but people from closer areas can go.

Your music reaches audiences from all over the world. Have you had the chance to play abroad?

Yes. In 1996, we were at the Benny Moré Festival in Cuba. A few years later, we were on the island of Guam on the occasion of 5 de Mayo sponsored by Budweiser.

On both occasions we were very well received by the audience.

Most recently in May this year, we just played a large concert with over 1500 people at the Fairmont Orchid Hotel in Kona, Island of Hawaii. On that occasion, everything was arranged by the Salesforce company.

This last work was impressive because of the high technical and professional level of the entire production, since in addition to our Latin music, the popular pop singer Kathy Perry closed the show…

International jobs, and simply out your city, give another angle to the career encouraging the musician to present his original music.

After playing in Cuba, Guam and Hawaii, I jokingly say that I only get booked to play on Islands (chuckles).

Traveling on my own (without the orchestra) gave the pleasure of performing in Sweden and Argentina with the support of local musicians from those countries.

Cambón at Brooklyn Basin in Oakland

 

While it is true that salsa is very much alive, it is also true that it has been enriched through fusions and transformations.  Of course, this is not the first time we see that the salsa sound is transformed to give way to increasingly daring musical themes.   

I’ve said it before and I’ll say it again: “I’m glad there are collaborations where the wallet of other sounds invests in producing music that I enjoy.  Note that the only music I enjoy with the passion I enjoy nothing else is salsa.  This salsa I’m talking about also includes fusions and other inventions, as long as I like them.”

Well, let’s get to the mambo….

During the “Tropical Music Festival” I was backstage and was able to share with the musicians before and after their performances.  That privilege gave me the opportunity to talk to them about their projects, among other things.  On a side note, Oria Rivera graciously let me know about the release that same day of Bobby Valentin’s latest single.  As soon as I got home I listened to the song via You Tube.

Once again, maestro Valentín delivers a very daring and innovative song. I know that “chinchas” are going to fall on me as usual; but without being repetitive, you know that I am one of those who believe that Valentin is never wrong. 

Let’s establish that boogaloo or bugaloo is a Latin music and dance genre that was popular in the United States in the 1960s. It originated in New York City, mainly among Hispanic and Latin American teenagers. The style was a fusion of popular African-American rhythm and blues (R&B), in turn combining soul music with mambo and son montuno.

In the 1950s and 1960s, African Americans in the United States listened to various styles of music, including jump blues, R&B and doo-wop. Latinos in New York City shared those tastes, but also listened to genres such as mambo and cha-cha-chá. There was a mix of Puerto Ricans, Cubans and African-Americans in clubs, whose groups tried to find common musical ground. In the end, boogaloo or bugaloo was the common musical ground, a fusion of many styles cooking American son montuno, guaguancó, guajira, guaracha, mambo, R&B and soul on the same stove.  That must have been the reason why the boogaloo or bugalú allowed Spanish and English on equal terms.

As you can see, fusions are not a recent fad.

Well then.  The time has come to tell you what my salsa ears have heard, since there will be those who say that this is not a salsa song.  Well, the truth of the matter is that it is not suitable for salseros without musical appreciation skills.

From the first bars of this song, Bobby Valentín’s musical arrangement highlights the bass, accompanied by trumpets and saxophones in an arrangement that sounds great.  In the first thirty seconds of the song you can appreciate the vocal part of the composer -Bobby Valentín- ultra well accompanied by his most recent acquisition for the front of his orchestra: Leró Martínez. And for the most skeptical, Bobby and Leró sing in impeccable English.

The song is perfect, since in three minutes it opens up a range of musical possibilities in “English without barriers”.  Despite the brevity of the song, it lacks nothing.  Nor does it feel or sound like musical creativity was curtailed by trying to shorten the time.  The track flows naturally from the prelude, to the mambo, to the closing. At one and a half minutes, the saxophones provide the melody and the trumpets the breaks.  At the fiftieth minute, the trumpets play challenging the rhythm section, formed by:  Victor Roque on the tumbadoras, Kevin Vega on the timbal and Javier Oquendo on the bongo. Ceferino Cabán’s piano complements the “king’s” bass in a masterful way.

Shortly after the second minute (2.19), Victor “Yuca” Maldonado’s baritone saxophone sets the stage for Julito Alvarado and Angie Machado’s trumpets to firmly establish their presence.  This second minute also highlights the dynamism of the trombone by Eliut Cintrón. Let’s not forget that the composer, arranger, producer and bassist of this song was a trumpet player in his beginnings. At exactly 2.40 the bass takes command of the orchestra with more forcefulness, melodically allying itself with the sound of the trumpets and saxophones. Well into the second minute (2.44) the electric guitar in command of Javier Perez begins a correspondence with the bass, which is maintained until the closing of the song.

As for the cover art, it features a childish Bobby Valentine dressed as a musical celebrity.  The boy wears dark pants and a white shirt with those stylish puffed sleeves that scream mambo.  The title letters, which read It’s Boogaloo time are superimposed over the child’s image.  The style of the yellow letters that inscribe the word Boogaloo over the image described above make me imagine letters in some liquid material. The composition of the artwork rests on a rather garish salmon-colored background. According to the credits, both the graphic design and art direction were created by Orialis Valentin. Brava!

If you are one of those who say you are tired of the same old same old, I challenge you to listen to this gem, just as I recommended El Twist a while back. 

Salsa lives! I hope I have dispelled your doubts, if you had any.  If you still have any doubts, I confirm that you are not ready for this salsa conversation.

Musical Director: Bobby Valentín

Audio Recording & Mixing: Play Bach Studio

Engineer Carlitos Velázquez and Ramón Martínez

Mastering: WAVEM Acoustic LLC; Eduardo Ramos

Producer: Bobby Valentín

© 2022, Bronco Records, Inc. (Artist: Bobby Valentín)

 

By Bella Martinez, ISM Correspondents, San Juan, Puerto Rico

 

 

A graduate of Berklee College of Music, with his college degree in hand, the young bassist returned home to make his homeland in salsa time.

Jesús Algarín is a Puerto Rican bassist who, at the age of 25, landed in the salsa scene to make music his life project.  The young musician already walks with a firm step accompanied by the forceful interpretation of his bass, leading his own orchestra with confidence.

From the time he was born, according to what his parents told him, they used to party, so it was not surprising that at the age of 8 he was already the one who was the one who was livening up the parrandas while playing the Puerto Rican cuatro.  Algarín, who was born and raised in the heart of Puerto Rico (Caguas), candidly tells us that as a child, he discovered through our very own parrandera tradition, that music -which he refers to as a wonderful art- had a healing and restorative power.

Well advised by the adults in his family, he recounts that his uncle explained to him early in his life that if he failed to ignite his audience at the Choliseo during a parranda, it would become more difficult for him. Once he understood the advice, he applied it to himself.  Today he concludes that it is necessary to dominate every stage, from a marquee to a public square, and to take it one step at a time.

Through Puerto Rican folk music, studying and interpreting the seis, the aguinaldo, the bomba, and the plena, he was entering into what without planning it became his life project.  Later, playing the Puerto Rican cuatro purely by ear, he was able to enter the “magical” world of music, as he himself describes it.

Already in the sixth grade of elementary school, he began his formal apprenticeship at the Escuela Libre de Música de Caguas.  Before that time, he played the cuatro but did not read music.  Once he learned to read music, he decided to continue growing musically in his instrument.

Six years later, in grade 12, about to finish high school, he took part in the camps that Berklee College of Music brings to Puerto Rico every year. He auditioned for the Puerto Rican cuatro.  However, at the time, he did not achieve his goal of positioning himself. Determined not to give up, the following year he returned to the Berklee camp but changed tactics. He showed up to the workshops with a bass because he understood that the cuatro was not a good fit.  When he filled out the registration form for the workshops, he reported that his bass playing was at the advanced level, even though he knew it wasn’t true.  This adolescent idea, which added a good deal of pressure and stress to his musical performance, helped him get into the ensembles he aspired to qualify for. Today he admits that at that time, which today seems far away, he could not handle the bass because, as an instrument, it was still unknown to him.

In any case, Algarín qualified because, as we know, you have to take your chances with life.  The rest is history. 

With the bass as his main instrument, Algarín got Berklee to give him a scholarship and after four years in Boston, Massachusetts he graduated with a degree in Music Business. In other words, he spent four years making music while learning to see music as a business.

The young bass player confesses that he had not planned to be a musician nor had he thought he would make a living from music.  He did not see music as a possibility, since although it was always an integral part of his life, music was a hobby or a way to serve God in the church.  And that’s what he limited himself to until he came to Berklee’s summer workshops.  Before that, he saw himself as a lawyer and when it was his turn to enter college, he initially enrolled at Ana G. Mendez University.  There he attempted to complete a bachelor’s degree in accounting. However, from the very first accounting class he knew that accounting was not for him.

Algarín capitalized on what he learned, and has been able to stick to music as a way of life; from a more realistic and less idealistic perspective. Of course, all without losing the artistic focus of musical interpretation.  Along with his musical training, he has been preparing himself in legal issues, maintaining business awareness, focusing on the protection of music and copyrights.  He has also been responsible for making other musicians aware of the importance of registering their music with the Library of Congress and thus making the most of their work.  There is no doubt that Algarín knows his worth as a musician and from his space he has decided to serve and guide his counterparts to protect their work.

Before entering the studio to record his project, Algarín had recorded with Manolito Rodríguez.  During his student years in Boston, he was a musician in the Eric German Orchestra, the orchestra that accompanies visiting solo singers in the New England area.

Today, his main instrument is the bass, double bass, baby base or electric bass.

The bassist, a native of Caguas and graduate of Berklee College of Music, class of 2020, returned to Puerto Rico to lead his own musical project.

Two years after Algarín’s return home, the orchestra is already promoting its first production entitled “Dímelo Algarín”, which is part of his project “Jesús Algarín”. The format of the base orchestra of the project is as follows: winds (trumpet, trombone and baritone saxophone), bass, piano, conga, timbal, bongo and bell; backing singers and choirs. This, his first production, contains 5 songs, with contemporary themes in its lyrics. This lyric, however, embraces the nostalgic sonority of the sextet, complementing some of the songs with the Cuban tres. The bassist leader of his project arranged and composed these 5 unreleased tracks, which are merged in a production for which Jesús Algarín is also responsible.

The production is available in digital format on all platforms. The promotional cut is Sigue tu camino performed by Ricardo Colón, who also sings in the Willie Rosario Orchestra. The other four tracks included in the production are:  Playita, Cadencia y sabor and La calle se prendió; performed by vocalist José Luis De Jesús and Caribeña, in the voice of Marisabel Vázquez Varela.

The recording studio musicians who participated in the production are from the Caribbean.  Puerto Ricans, Cubans and Venezuelans merge in a salsa embrace; as is to be expected.

Vocals: José Luis De Jesús, Ricardo Colón and Marisabel Vázquez Varela.

Backing vocals: Jorge Yadiel Santos, Carlos García, Ricardo Colón, José Luis De Jesús, Manolo Ruiz and Carloscar Cepero.

Bass: Jesús Algarín

Piano: Aníbal Cruz and Juan Rivera

Tres: Renesito Avich

Percussion: Miguel Martínez

Trumpets: Luis Arnaldo Ramos, Angel Segarra y Nicolás Benítez

Trombone: Johan Escalante y Carloscar Cepero

Baritone saxophone: Efraín Martínez

Cuatro: Jesús Algarín.

As the son of documentary filmmaker Juan Félix Algarín, Jesús considers himself blessed to have been mentored by a father with first-hand knowledge.  His father always instructed him to be aware of music as a business in the entertainment world. Jesus knows his worth and has kept himself informed as to the costs of production and is clear as to the rates of his work.  He identifies himself as a Puerto Rican and Caribbean musician. He is in every sense of the word, a music worker.

As it is, we are still in salsa.  Yes, salsa lives! The effort, discipline and talent -in that order- of this young bandleader attest to that. Congratulations, and may you continue to “catch the ride”.

For bookings, Ángel Ilarraza: 787-347-4662 or e-mail: [email protected]

 

By Bella Martinez, ISM Correspondents, San Juan, Puerto Rico