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Search Results for: Dance TV

The multifaceted artist Yamila Guerra and all her projects

Who is Yamila Guerra

Yamila Guerra is a Cuban singer, dancer, actress and TV host who has always felt a great passion for music from an early age and knew she wanted to devote her life to the world of entertainment. She is the daughter of the famous Cuban duo Rosell y Cary and sister of famous producer, bandleader, arranger, composer, classical guitarist Yalil Guerra, who is a great friend of International Salsa Magazine.

Yamila Guerra in a studio
Yamila Guerra in a studio

We had the honor of talking with Yamila for a while and know a little more about her both personally and professionally. It was really a pleasure for us to have had her here and to know more about her great career.

Inclination for the arts from an early age and academic background

Yamila reveals that she has always felt very attracted to the art world and started this journey doing impressions of certain Cuban and foreign artists who she saw on TV. Some of them were friends of her parents’or colleagues because they shared the stage with them in all the activities they did in Cuba.

Evidently, the fact that she grew up in an artistic and musical environment included a lot in the inclination she had towards this world, but it was not the only thing that made her dedicate herself to all this. She always felt a natural and organic attraction to the world of entertainment, music and art.

Seeing that her career began at the Cuba’s National Ballet School, it can be said that the first area in which she began to develop was dance. When she took the physical tests, she was admitted to the institution and attended as a listener until she was old enough to be able to participate in the classes. She feels that she had a complete training because, besides studying classical ballet, she learned all the Cuban dances such as contradanza, Cuban son, cha cha chá, danzón, among others.

Yamila Guerra with his brother Yalil Guerra
Yamila Guerra with his brother Yalil Guerra

At the School of Artistic Varieties, she developed in areas such as acting, singing, music and much more. All these disciplines mentioned above helped her a lot with her professional future.

Once in the United States, she studied at Berkley College of Music and took singing lessons in some genres such as blues, jazz, country, ballads, among others. At other schools, she studied art history, marketing, business, sales and other areas that have served her professionally speaking.

Life in Spain

Guerra tells us that she left Spain and moved to Miami because she could not tolerate its cold climate and wanted to be closer to her family in Cuba, but she has many good memories and is thankful to the European country, as it gave her the opportunity to be a TV host on channels such as TVE, Canal Satélite Digital, Antena 3 and Telecinco. Likewise, she was able to take her music to different stages and many parts of Spain. She felt that the Spanish people welcomed her art with open arms.

Once she moved to Miami, she worked on  ”Sábado Gigante” as an actress with Don Francisco, whom she thanks for the opportunity his team gave her.

Yamila Guerra, His brother Yalil Guerra and their parents Rossel and Cary
Yamila Guerra, His brother Yalil Guerra and their parents Rossel and Cary

How business, economics and legality have helped her in her career

One of the first pieces of advice Yamila gives to anyone who wants to work in entertainment in the United States is to master the English language. The artist defines herself as an eternal student because she has always liked to learn everything, especially languages. In fact, when she was in Spain, she paid for an English academy once a week to learn that language because she knew it would be very important in her career in terms of negotiation.

She also stresses that it is important to find out about legal and business issues to deal with clients and partners in the best possible way and avoid loopholes that naturally arise in the entertainment world. Yamila believes that it is very important to separate art from business and ”not to be trusted with money”. The Cuban highlights the importance of being pragmatic about making decisions and not allowing the artistic part to prevent people from making the right decisions at the level of business.

Social media

The talented performer considers that social networks are a fundamental part of her work and promotion, so she thinks it is important to have a presence on each and every one of them and design a strategy depending on the characteristics of each one. She considers that it is very important to post videos and photographs in order to promote her work, but also use her platforms to talk about other more personal topics such as family, beauty, nutrition, love and other things. That variety of facets is what attracts so many people to her content.

Yamila Guerra with Celia Cruz
Yamila Guerra with Celia Cruz

As for her personal tastes, she confesses that she loves Tik Tok because she considers it a very organic and authentic platform. This is where she posts videos of herself acting and giving her opinion about all kinds of topics, something that gives her great exposure.

On this same issue, she stated that social networking has become essential to all types of professions and that we must all be present on them as much as possible because they have become part of our letter of introduction to others.

Tradicional Cubano

Yamila had been wanting to make an album fully dedicated to traditional Cuban music, which she considers to be the most flavorful, since it does not need a lot of instrumentation to feel it. It is very old, but it does not lose its flavor and its validity over the years. This is how her latest album ”Tradicional Cubano” came about.

This album includes composers such as Ignacio Piñeiro and Celina González. Guerra wanted to rescue this repertoire that she listened to when she was a child, since it always caught her attention and she was fascinated to be able to portray the Cuban culture and the lives of Cubans.

Read also: We interviewed IndiviDúo singers Tiffany Joy and Maqui Reyes

The 4 Ladies of Venezuelan Salsa project

The rumba night is dressed as a woman with the arrival of Las 4 Damas de la Salsa de Venezuela, a project of musicalizers at parties and events to exalt one of the Afro-Caribbean rhythms that most identifies Latin culture: SALSA.

The 4 ladies of Venezuelan Salsa debuted in May 2018, on the initiative of Sol Graffe after feeling that there was no female and group movement as DJane’s or musicalizadoras.

When musicalizing becomes, not a job but a passion, the commitment grows, and so these D’jane’s arrive presenting a different proposal giving prominence to females, with the aim of incorporating into the salsa market 4 women willing to permeate in a movement where the male presence predominates.

Professional and tasteful, lovers of this genre that unites us in one spirit: SALSA, to bring a musical selection, energy and good vibes to encourage salsa dancers and dancers of Venezuela and beyond its borders.

4 Personalities Conjugated in one Rhythm

DJane. Sol Graffe: Born in Caracas, a salsa dancer at heart, she became a radio promoter, TV producer and event producer under her slogan “Sol 100% Salsa” with more than 25 years of experience in the salsa industry.

DJane. Rocío Blanco: Born in Maracay edo. Aragua, lawyer, manager of the Posada Turística África and salsera by birth, dedicated to the musicalization five years ago being the only lady of the aragüeña entity baptized “La Consentida de la Salsa”.

DJane.  Zaire Plater: “La del Melao Salsero”, born in Caracas, economist by profession, salsera by conviction; dedicated to the musicalization of salsa for five years, leads the family project called “El Arepazo Salsero Plater”, where they gather a large group of dancers and salsa lovers to dance and share eating some typical and delicious arepas.

DJane. Zulay Millán: Caraqueña, lives between two passions: Radio and Salsa. She is a teacher by profession and a salsa dancer by heart. Announcer, certificate #55.721, voice over, radio producer, with experience in events and TV production, radio host for 25 years and counting, presenter/entertainer, composer and article writer, which explains her slogan “Soy Salsa y Más” (I am Salsa and More).

The 4 Ladies of Venezuelan Salsa have managed to position themselves with this interesting project in the salsa environment, whose protagonism brings a touch of elegance and distinction when they go on stage uniformed and organized, supporting each other, where camaraderie and good vibes are noted, as well as the demonstration of commitment and discipline setting a precedent, opening the way for alternatives to enrich the forms of dissemination of the salsa genre.

A solid project, which has the acceptance of producers and especially the dancers, who have become an important support for the permanence of Las 4 Damas de la Salsa in the collective memory and the salsa scene.

Sol, Zaire, Rocio and Zulay.

Last March 12, 2022 they were awarded as best musical project 2021 – 2022 event held at Cerro del Avila V.I.P Disco in Caracas, this activity was conducted and sponsored by Libia Ascanio and Edgar Mendoza.

They are The 4 Ladies of Venezuelan Salsa

Facebook: https://www.facebook.com/4damasdelasalsadura

Frederlyn Mayora returns to Venezuela to sing Salsa Romántica to the dancing public.

Last Friday, April 22, at 7:00 p.m., a concert was presented at the Juana Sujo Hall of the Casa del Artista, in Quebrada Honda, Caracas. Tickets are already on sale at popular prices.

After several years out of the country, Venezuelan singer Frederlyn Mayora returns to Venezuela to relaunch his musical career and sing Salsa Romántica to Venezuelan dancers and music lovers.

Mayora, who has been part of the orchestras of Tony Vega, Maelo Ruiz, Jose Alberto “El Canario”, Luisito Carrion and Tito Nieves, among others, arrives in the country with a single called “Viernes Romantico” that promises to be a hit in a short time.

“I want everyone to know what I am doing and what I come to do in Venezuela”, said the singer who now has his own orchestra.

The singer will be in Venezuela until the end of his musical production loaded with romantic Salsa, ballads and merengues.

On April 1 and 2, Mayora offered a couple of concerts called “After Party de los Hermanos Primera”, that is to say, he performed in a well-known venue of the CCCT as soon as the presentation of the renowned singers Servando and Florentino was over, and it was a full house.

On Friday, April 8, at 4:00 pm, he will offer a press conference at the Doris Wells Hall of the Casa del Artista in order to announce in detail the entire agenda that he will fulfill on Venezuelan soil.

On Friday, April 22, he offered a concert at the Juana Sujo Hall of the Casa del Artista, located on Amador Bendayán Boulevard, Quebrada Honda, Caracas.

The event was scheduled for 7:00 pm. The occasion will be propitious to record a video click.

All Frederlyn Mayora’s events and presentations are in charge of her manager, Humberto Gonzalez, president of Producciones Salsayer.

A little bit of history

Frederlyn Alejandro Mayora Martínez, was born on July 27, 1982, in the populous Sucre Parish, west of Caracas, Venezuela.

He is a musician, singer and percussionist. At the age of 9 he began his musical studies, especially in percussion. He belonged to the estudiantina Héctor Pacheco and spent several years at the Bigott Foundation, where he received master classes with Professor Rodolfo González.

When Mayora turned 15 years old, he decided to focus his musical career as a singer and it is when the producer Humberto González, currently director of the Salsayer Orchestra, took him to sing in several salsa groups in Venezuela, among them, “Herencia”, “Neo Latino” and “El Combo Antillano”, among others.

In 2003 he moved to Spain, specifically to Galicia. There he became part of the orchestras “Panama”, “Filadelfia” and “Orquesta TV”, among others. His artistic commitments reached the beautiful city of Santander, located in the North of Spain, where he performed ballads, salsa and merengue.

In addition to the aforementioned orchestras, Frederlyn Mayora has been the lead voice in groups such as “Ekilibrio”, “La Junior”, “Mandinga Star Band”, “Puma Band”, “Patatín Orquesta” and the “Máquina de la Salsa” and has accompanied in the chorus, since 2002 to date, renowned singers such as “Maelo” Ruiz, José Alberto “El Canario”, Tony Vegas, Luisito Carrión and Charlie Aponte, former member of the Gran Combo de Puerto Rico.

Balance of the work carried out at the level of Social Media in Venezuela.

Publication of the Briefing

Noti-America (01-04-2022) Mexico

La Patilla (El Farandi) (02-04-2022) Venezuela

https://www.elfarandi.com/2022/03/30/briefing-vuelve-a-venezuela/

Notimundo (03-04-2022)

Press Conference

Day: Friday, April 8, 2022

Place: Doris Wells Hall of the Casa del Artista.

Attended by representatives from 10 media outlets and Instagram accounts. Examples: Venevisión, Portal La Patilla, Rumbas Venezuela, Intervez, Diario La Calle, Noticiero Digital, Analítica, El Universal, Tendencia Internacional and Radio Tiuna, among others.

Press releases published in digital media

Analitica.com (11-04-2022) Venezuela

https://www.analitica.com/emprendimiento/noti-tips/de-vuelta-al-barrio-toma-caracas-de-la-mano-del-salsero-frederlyn-mayora/

Tendencia Internacional (11-04-2022) Venezuela

https://www.tendenciainternacional.com/2022/04/11/de-vuelta-al-barrio-toma-caracas-de-la-mano-del-cantante-salsero-frederlyn-mayora/

Contraste Noticias Newspaper (12-04-2022) Venezuela

https://www.diariocontraste.com/2022/04/de-vuelta-al-barrio-toma-caracas-de-la-mano-del-salsero-frederlyn-mayora/

Vida y Arte (14-04-2022) Venezuela

http://www.vidayarte.com/farandula/cantante-salsero-frederlyn-mayora-esta-de-vuelta-al-barrio

Intervez (14-04-2022) Venezuela

Business and Destinations (15-04-2022) Venezuela

Cantante salsero Frederlyn Mayora regresa a Venezuela con “De vuelta al barrio”

La Calle Newspaper (17-04-2022) Venezuela

Mentions on Instagram accounts

@TendenciaInternalcional

@caracas_view

@augustofelibertt (Dj)

TV Programs, Portals and Radio

Wednesday, April 6, 2022

Venevisión, Channel 4. Presentation in the program “Sábado Sensacional” on the occasion of the 50th Anniversary.

Thursday, April 7, 2022

Globovision, Channel 33. Interview

Tuesday, April 12, 2022

Portal La Patilla. Interview. Broadcasted on April 20, 2022

Thursday, April 21, 2022

Program “Asi Suena”, Channel 8, with Rubén Jiménez. Broadcasted on Sunday 24-04-2022

Radio program 24-04-2022

“Ni tan Bravo”, with Isnardo Bravo. FM Center La Romántica 88.9 FM

This is a balance of the presence he has had in the media.

Wednesday, April 27, at 8:00 am, he was on Televen, Channel 10, in the program “Con lo actual”.

Sources

Salsayer Press Director: Yira Yoyotte, journalist. 0424-105-61-66. E-mail: [email protected]

Facebook: Frederlyn Mayora

Cuban singer Daymé Arocena and her pride of being Afrocuban

This is our conversation

Here we are with Cuban artist Daymé Arocena who lives now in Canada. How are you, Daymé? Nice to meet you and great to have you here today.

Hello, nice to meet you. Thank you very much for the invitation. It is my pleasure to be here talking to you.

I understand that your musical career started at the age of eight. What made you start walking this path? What was the experience that made you make that decision?

I never made the decision to become a musician. I think it was part of the package. I never said that this is what I wanted to do because I’ve always done it. From the age of eight, my parents began taking me to music lessons and preparing me to came to the art and music school and the conservatory of music. I started singing with the choir in the community of 10 de octubre, where I came from. That’s how I started performing and getting up on stage as a soloist of a choir.

Daymé Arocena was born in Havana, Cuba

Considering that you come from a musical family and that music was always present at home, I imagine that also influenced your interest in making a career of it.

My family is profoundly musical, but they are not professional musicians. My dad is a music lover, but he is not a musician. My mother is a health care worker, qualified as a child cardiovascular surgeon. Actually, these are people who have a very nice sensibility for music, but they are not professionally dedicated to it.

I grew up in an intense environment. My house had many people; when I was born, there were already 22 people living at home, but some of them found more comfortable spaces to move and we became a family of 14. I was born in the 90’s, which was when the big crisis occurred and big power cuts were more frequent. There were electricitiy for very few moments during the day, so we couldn’t listen to the radio or TV. Then, my uncles and cousins kept singing, so I grew up watching the family sing and dance. In fact, several of my cousins today are folk musicians who went on to play in various traditional musical groups. It was a deeply spontaneous issue. I saw people enjoying and trying to alleviate the sufferings and shortages they were experiencing.

I imagine that musical and artistical growth in this context was very difficult. What challenges did you face in Cuba in becoming the artist you are today?

The mere fact of being born in Cuba is a challenge, but I had to face things beyond the fact that I was born on an island ruled by a dictatorial regime and all that that means. There was a lot of deep racism and a way to slyly to deal with social classes. For all these years, I have tried to purge my energy of resentment and pain caused by the situation and turn all these feelings into light and creativity. In my case, A lot of things happened like feeling uncomfortable in my own skin and not knowing how to deal with my skin color, my hair and my race. Today, I am deeply proud of my blackness and defend it to the death, but I went through a very hard and aggressive process before that.

The young and not so young prople have to know that you can make art and music through your own essence without having to please the eyes of a few.

So you would say that those things that were an obstacle are now part of your cover letter.

Totally. And proudly, too.

Daymé is deeply proud of her blackness

After leaving Cuba

When you left Cuba, what kind of support did you receive? What was the hardest moment?

Although I’ve spent years touring and working for years, I made the decision to leave Cuba a couple of years ago. I received a lot of international support that made my music visible, but it started playing long before I left my country. In Cuba, there is a control mechanism for artists consisting on a permit issued by the minister of culture to be able to practice that profession.

You can graduate from art school with full honors in the world, but that’s irrelevant because you graduate to be a music teacher, not a musician as such. In order to go on stage and get paid for your work, you need a permit issued by the Minister of Culture himself. To get it, you have to go through a lot of bureaucratic barriers such as commissions, auditions, among others. I didn’t have that permit to sing and profit from my singing when I met the record label that launched me as an artist. One day, I was singing in a deeply underground space without anyone’s permission. When I started to sneak into those spaces, my mom always told me to sing with energy because I never knew who was going to listen to me.

One day of those, a person named François Renié was watching me from the audience. This man was the creative director of the Havana Cultura platform. At that moment, they asked me to make a record with international DJs and singers. They invited me to do a casting, I showed up there, was selected and recorded the album despite not having permission to sing. When I was invited to the realease of the record in England, I showed them the music I Wrote and they offered me to sign with them officially.

You have been compared to Celia Cruz, Nina Simone and other artists of this stature because of your style, what do you have to say?

I had no idea who Celia Cruz was and it’s something I’m ashamed of. When I was compared with Celia Cruz, I wondered who she was. I think I really knew her following those comparisons.

Daymé thinks new generations have to know who Celia Cruz was

I think it has to do with that idea of homogenizing Cuban music into one thing. It was when I was compared with Celia that I started to find out about her and knew that she was the most universal of Cuban artists. She had a phenomenal way of petforming, transmitting, impacting and being as authentic. Musicians who do have access to Celia must do their utmost to let the new generations know who she was. If they can’t listen to her on the radio or TV, they can go online to listen to her and find out who La Guarachera de Cuba was.

How do you think Canadians perceive your music? 

I have done very few concerts in Canada as a soloist. In fact, I’m not even there at the moment, but in Puerto Rico. I can’t provide an overview of how Canadians perceive me, but I do think that they are super friendly, docile and open to all kinds of music. They appreciate, dance and enjoy whatever you play. I must thank my ancestors for the expansion of my music beyond the Canadian framework, so I don’t rely on that market for a living.

Do you plan to stay in Puerto Rico permanently?

I came to Puerto Rico to record my next album. I’m super happy and honored to be able to do it on this island so similar to mine because it has so much culture and colorful art. Here, I found the industrialization and visibility that Cuba doesn’t have. I still don’t know if I’m going to stay here for the rest of my life, since Canada enters into my plans in some way, but this is the stage I must live now.

Daymé Arocena is now living in Puerto Rico and recording her new album

To speak of Leonardo Ortiz Chacón is to speak of a musical institution of Mexico

Performer of the tres, composer, arranger, music and radio producer, director and founder of Combo Ninguno since 1983.

He studied at the Faculty of Music of the UV, in JAZZUV, in Musinetwork in Boston MA and with teachers Luis Martinez, Carlos Tercero and Edgar Dorantes, he is a teacher of Musical Education in the Ministry of Education of Veracruz and since January 2019 participates in the direction of the Papakilistli Orchestra of the same Secretariat.

He has collaborated in television as musical director of the program “Cómo suena la clave” in TV Más. He is currently producer and host of the program “Cadencia Caribe”.

Since 1983 in Xalapa, the members of Combo perform dance music from the Antilles, integrating a repertoire with their own creations and original arrangements to themes of other authors in different musical genres such as son, guaracha, mambo, merengue, danzón, bolero, etc, achieving in their thematic diversity, a unique sound full of references to their native state of Veracruz.

He has taught workshops of appreciation and execution of Caribbean music and has participated as a lecturer and speaker on this subject in countless events, have been presented in Spain, Cuba, United States and Canada.

Accessing different forums from the small and improvised street space to large venues with capacity for tens of thousands of spectators such as the Azteca stadium or the Salsa Fest in Boca del Rio.

He has performed at prestigious cultural festivals such as the Cervantino, the Quimera, the Afro-Caribbean of Veracruz, the Vancouver Folk Festival and the International of Houston, at Fairs such as the San Marcos and the Expo Sevilla, Carnivals such as the one of Veracruz, Havana and the Mardi Gras in New Orleans and Galveston Texas.

Maestro Leo, how can you define yourself in the music scene?

Leonardo Ortiz Chacón is to speak of a musical institution in Mexico.
Leonardo Ortiz Chacón Tres player, composer, arranger, music and radio producer

I see myself as someone captivated by this music since I heard it for the first time, thanks to it I have been able to enjoy unforgettable moments and for many years I have not had a day in my life without doing something related to music. Be it as a performer, manager, broadcaster, props man, audio manager, producer, etc.

I understand that you have had many presentations abroad?

For me there have been many and I would like to have more. I think I have been fortunate to take advantage of the opportunities that have presented themselves with Combo Ninguno. I must say that personally I would never have been able to be in the places where music has taken me.

As part of your presentations you toured the U.S. How pleasant was the experience?

At one time we participated in a project to promote tourism in the State of Veracruz and we continually visited the State of Texas and then extended to Louisiana and Colorado, thanks to this an American promoter invited us to tour from coast to coast presenting a show of music and dance that began in New Hampshire and continued in New York, Pennsylvania, Illinois and other states to conclude in California after performing in New Mexico and Arizona. The program of the presentations was with original repertoire and Mexican authors.

What did it mean to you to perform for the first time in such a musical country where many great exponents of the island of Cuba came from?tional in 1989 at the Na Theater of Cuba

For me this was one of the memorable moments that I thank to music, the fact of participating with Combo Ninguno in a Gala dedicated to Mexico, in such an important place in Cuba, the country where this music was born.

I tell you that my emotion was so great that at the beginning of our performance, I could not complete the first verse of the song with which we opened, it was El jarocho by Lino Carrillo, I had to sing: Jarocho yo soy señores and I only said Jarocho, the rest was a sort of incomprehensible sounds that I could emit with a lump in my throat.

Have you had an endless number of participations in Cultural Festivals, which is the one that leaves a mark on you in your own country?

I can’t say one in particular, I remember presentations at anti-nuclear rallies where there were children, young people, adults and elderly people that were not festivals strictly speaking, a Cervantino festival where in the middle of a downpour people danced in the Alhóndiga de Granaditas under an impressive downpour, the Festival de la Nueva Canción Mexicana where we performed for the first time in 1983. And I could go on mentioning many more.

How did the Como Suena La Clave Festival come about?

 Combo Ninguno
Combo Ninguno

This festival arises with the intention of being a showcase where to make visible and position the Mexican orchestras with original proposal. Trying to promote, preserve and spread salsa music made in Mexico.

At first the orchestras were invited to play original arrangements of songs by other composers, then they were asked to play music by national composers and nowadays they are asked to play original music complemented of course with songs by national composers.

You don’t stop, you continue harvesting and now the project Coloquio Musical Afroantillano is born, why make this new proposal?

I think that in Mexico little is reflected and little is written about this genre. It seems that when we take the music out of the dance floor, we lose the rhythm and also the step.

For some time now, most of the debates on this subject have taken place backstage and in the places where musicians and some dancers gather to refresh themselves after the events. Recently, social networks have continued with this exercise, I must point out that for decades the main topic to be discussed has been: Does salsa exist or not? Should it be called salsa or son? And I believe that among other issues, we have left aside fundamental matters such as the creative part, the economic aspect and the diffusion.

Based on this consideration and thanks to the support of Rafael Figueroa, the Festival Como suena la clave, the Centro de Estudios de la Cultura y la Comunicación of the Universidad Veracruzana and the Red de estudios de la Música Afroantillana en México convened the Colloquium La música afroantillana en México: confluencias y divergencias where the participants in a framework of cordiality and respect have made valuable contributions that will be included in a report that will be released as a digital multimedia document for free distribution.

Do you think that the music called salsa is evolving worldwide?

I don’t have the slightest doubt about it, just as I don’t hesitate to mention that due to diffusion factors we only know a small part of the new salsa music that is being made in many places and that perhaps most of the music that is more accessible to us on digital platforms is not the best.

Have you experienced the best times in music today, and what do you think is missing?

Among other things, today and always it will be necessary to contribute new music that increases the cultural heritage of this genre. We need to talk about our present without forgetting the past, about our environment and our daily life in a globalized world. We need to speak our own language and disseminate these productions in the best possible way, trying to overcome the reluctance of many towards what is new and what does not come from the places where this music has traditionally been produced.

Already with seventeen record productions, now that you have worked on them, which is the production that has marked the history of Combo Ninguno? What has been the one that has left the greatest mark on you?

Undoubtedly the most significant record production is the first one, in it, as in each of the subsequent ones, our desires and also our possibilities and limitations are recorded musically. The most present record you have now is the one you are making or that you intend to make. Each record becomes a part of your musical history and your own life.

Have I heard salsa with the jalapeño touch mentioned because of that phrase?

In our case it is an advertising phrase that alludes to the hot sauce.  Salsa with jalapeño flavor. Initially it was used for our presentations in the United States where the chili peppers are called jalapeños. Today we use it by writing jalapeños with an x.

Combo None other cultural heritage that we have while we are still alive that you feel after 39 years in the music industry?

I’m looking forward to at least as many more. Looking back I realize that Combo Ninguno became a life project that has filled my days with music, so there will always be little I can do for music.

What do you expect from Leonardo Ortiz Combo Ninguno?

I have two record productions pending with Combo Ninguno, one of them is already quite advanced and I hope to finish both this year. I hope to give continuity to the Festival Como suena la clave and continue participating and enjoying everything that has to do with salsa made in Mexico.

Maestro, what would you like to say goodbye with and what message would you like to leave to the new generations?

I would invite them, besides the musical study, to try to make their contribution and leave their name in the salsa made in Mexico, to document their creativity in our reality and then communicate it in their creations, I would also ask them to debate and collaborate with their colleagues.

DISCOGRAPHY

 In their discographic work we can see a style that can be projected without problems towards the universal, but that does not cease to feed on their own Veracruz identity by offering us a combination of traditional and original pieces that exude Veracruz and Afro-Hispanic Caribbean flavor.

 To date they have made seventeen recordings, seven exclusively of combo none:

– Tumba Verde (1987)

– Traigo este son (1990)

– Son de amor (1994)

– Carnaval Veracruzano (2001)

– Con Sabor a Veracruz (2005)

– La Bruja recorded at the 17th Afro-Caribbean Festival Veracruz 2011 (2012)

– Inventario- Combo Ninguno, of which the singles Descarga de las flores, Calaveritas de Azúcar and Alambre, cuero y madera have been presented.

 And ten productions in which they intervene with other groups:

– Son 13 rolas antinucleares (1989).

– Somos indios (1995)

– Homenaje a Luis Martínez, recorded live at Barlovento de Xalapa in the 1st.

Festival Como Suena la Clave 1997 (1998)

– Tribute to Carlos Pitalúa, recorded live at Barlovento de Xalapa in the 2nd Festival Como Suena la Clave 1998 (1998).

Festival Como Suena la Clave 1998 (1999)

– From Son to Danzón (2000)

– Tribute to Emilio Domínguez, recorded live at Barlovento de Xalapa in the 3rd Festival Como Suena la Clave 1998 (2000)

3rd Festival Como Suena la Clave 2004 (2010)

– Con sabor a Veracruz-RTV music (2012)

– Tribute to Toña la Negra, a recording that records the V Festival Como Suena la Clave

Clave Festival held in Veracruz, Veracruz, Ver (2013)

– Salsa a la veracruzana, recording of the VI Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz, Veracruz (2015).

Veracruz, Ver (2015)

– Al Son del Covid, record of the VII Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz (2015).

virtual way in December 2020.

Erika Muñoz (La Mulata Rumbera)

Article of Interest: Maestro Jorge Anselmo Barrientos Silva, conductor, arranger and composer

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International Salsa Magazine (ISM) is a monthly publication covering salsa activities around the world and has been publishing since 2007. It is a worldwide network of volunteers coordinated by ISM Magazine. Together, we work to strengthen salsa events around the world.